Yet it's an oddly riveting read, not only for its behind-the-scenes glimpses into the various big-deal projects that took up much of Eno's busy 1995 (producing albums by David Bowie and JAMES, working with U2, organizing a record/concert and a fashion show as charity work for Bosnia, directing art installations), but also for its healthy portion of quotidian trivia.
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Also included are numerous E-mails to buddy Stewart Brand, which are added on a day-by-day basis, plus 120 pages of appendices on the pet theories, obsessions, and projects of Eno's that crop up unelucidated in the journal - axis thinking, for example, or the excellence of screensavers versus the crappiness of CD-ROMs, or Eno's koan system for generative music (music that "grows" itself as fractal variations within certain adjustable parameters), or culture defined as everything humans do that we don't really need to do.Ĭobbled together, Eno frankly admits, to fulfill a book contract several years overdue, A Year really ought to be irritating. This is just one of the fascinating facts we learn in A Year with Swollen Appendices, which is basically Eno's 1995 diary, unedited and uncensored (save for some intimate marital stuff). Not that Eno is a slacker, mind - most weekdays he's up and working before dawn. Freed of the burdens of scrutinizing contracts and paying bills, he can devote his energies to creativity, cooking, playing with his two small daughters, shooting the breeze with other artists, and taking short vacations (usually sans famille, and in exotic places) to recharge his batteries. What a charmed life Brian Eno leads! Since his wife, Anthea, doubles as his manager, he doesn't have to deal with any of the ordinary hassles of a three-tier career like his - record producer, musician, visual artist. APA style: A Year with Swollen Appendices: Brian Eno's Diary.A Year with Swollen Appendices: Brian Eno's Diary." Retrieved from
1996 Artforum International Magazine, Inc.
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MLA style: "A Year with Swollen Appendices: Brian Eno's Diary." The Free Library.Burroughs famously once said, ‘you can’t will spontaneity, but you can encourage it with a pair of scissors’. Often used to encourage a ‘free-er’ approach to creative practice, the method takes it’s place next to other aleatoric creative process such as improvisation, chance procedures and John Cage’s ‘indeterminate processes’. Having been introduced to the ‘cut-up’ by Gysin, Burroughs applied the technique throughout his career and famously wrote ‘The Nova Trilogy’ with the method. The technique was later used by artists and painters such as Gysin, who interpreted the technique to form the ‘Collage’ technique. Tristan Zara would randomly pick lines of text from various different sources to form poems. Originally used by the Dadaists who preached ‘Poetry is for everybody’. Of linear text are folded vertically, placed next to the other, and read across the page conventionally, resulting in a new passage of text. Closely related to the ‘cut-up’, is the ‘fold-in’ technique developed by Burroughs. The ‘cut up technique’ is an aleatoric literary method in which lines and pages of text are literally ‘cut up’ and re-arranged to form new passages of text. Originating from Tristan Tzara and the original Dadaists, and later popularised by the painter Brion Gysin And ‘Beat’ author William Burroughs.
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