The program’s start-up sound thus became ubiquitous in homes around the world, and the brief sequence was created by Brian Eno, an artist with so many diverse occupations that referring to him solely as an icon of ambient music and pioneer in the field of studio production seems like a disservice, even if both honorifics are accurate. When Microsoft released Windows 95, the operating system sold 40 million copies in the first year, and by 1998 it held over 50 percent of the global market share. This chapter is one of a number of research outputs in which Marshall and Loydell, a musician/writer and poet/painter respectively, use their own collaborative process to explore the nature of creative collaboration.Aaron Gonsher explores the ups and downs of Brian Eno’s work through the lens of four recent reissues that dropped December 2. Brian Eno: Oblique Music., the book that this chapter appears in, was published in a trade edition by Bloomsbury Academic, ensuring the widest dissemination to fans and critics of Brian Eno's music. Taking Eno's own words, drawn from interviews and his own writing, together with critical writing about his work and the writers and musician who inspired it, Marshall & Loydell re-presented Eno's own work and critical discourse surrounding his work, in new juxtapositions, combinations and contexts.Īn earlier version of this chapter was first delivered at Roehampton University in March 2014 at the 'Modular Forms' conference. In addition to established academic discourse, with its system of quotation and reference, they used the idea of the remix, drawing on the critical ideas of Mark Amerika, Kenneth Goldsmith and others. Marshall & Loydell wrote alternatively in a kind of dialogue or conversation, never quite knowing where the part written before or the newly turned-over card might send them, as a response to and about Brian Eno's collaborative work. This chapter was written collaboratively, using Oblique Strategies cards, a set of 100 cards printed with a series of cryptic messages, published by Brian Eno and the painter Peter Schmidt as a device intended to jog their respective minds in periods of creative impasse. Available under License Creative Commons Attribution Non-commercial.

Brian eno strategies