BRIAN ENO: VISUAL MUSIC

Brian Eno: Visual Music

Steve Dietz, Brian Dillon, Roy Ascott, and William R. Wright 

Chronicle Books, 2013.

 

Eno's Philosophy of Visual Music

Brian Eno has long been fascinated by how different senses influence each other. His approach to "visual music" is rooted in the belief that sound and vision can be integrated to create an environment that goes beyond the sum of its parts. Rather than having distinct boundaries between music and visual art, Eno's work blurs these lines, positioning the two mediums as complementary rather than separate.

Eno often talks about ambient music as an experience that can be absorbed passively or actively—much like visual art. In the same way that a painting can be experienced in a gallery, ambient music can be experienced in the background or as an immersive focal point. However, Eno doesn’t believe that the two forms should merely coexist in a superficial way. Instead, he strives to create dynamic relationships between the two, where sound and imagery respond to one another and the viewer/listener, often in real-time.

 

 

 Crystals, Cologne, West Germany, 1985 © Brian Eno

Generative Art and Systems Thinking

A significant part of Eno's work involves generative art, which uses algorithms, rules, and systems to create works that are never fixed but always in flux. This aligns with his belief that both music and visuals should be more fluid and open-ended, creating a constant state of change. Many of Eno's visual works, such as 77 Million Paintings and Generative Music, are built on these principles.

In 77 Million Paintings, for example, Eno uses a computer program to generate an infinite number of visual combinations. These combinations are not predetermined; rather, they evolve and transform continuously. The viewer may encounter a different visual display each time they interact with the piece, ensuring that no two experiences are the same. Similarly, Eno’s generative music works like Music for Airports were designed to be continually shifting, allowing listeners to engage with them on their own terms.

                   

                                Pictures of Venice (details). Venice, Italy, 1985 © Brian Eno

 

Synesthetic Experiences

In Visual Music, Eno discusses the idea of "synesthetic" experiences in detail—where one sense (such as sound) triggers sensations in another (such as sight). For Eno, music is not merely auditory—it creates visual associations, textures, and colors in the mind of the listener. His use of ambient music is often designed to evoke a sense of space, time, and atmosphere, all of which can have visual counterparts. This idea of synesthesia is essential to understanding how Eno blends visual art and music.

In 77 Million Paintings, the generative visuals are designed to reflect the mood and tone of Eno’s music, but they’re not bound to it in a literal way. Instead of matching specific sounds to specific images (e.g., a red shape for a loud note), the visuals interact with the music’s general qualities—its pacing, its patterns, its subtleties. This creates a type of emotional resonance between the two media. The music is not simply a soundtrack for the visuals; both the sound and the image work together to create a more immersive, holistic experience.

Quiet Club [Living Room], San Francisco, California, USA, 1988  © Brian Eno
 

Interactive Installations

Another important aspect of Eno's work that bridges visual art and music is his use of interactive installations. Many of his works allow viewers to engage with the art, often altering it in some way as they interact with it. This kind of participation is a key aspect of his visual music philosophy. For example, in Generative Music installations, visitors can manipulate various parameters, influencing the way both the visuals and the sound evolve. In doing so, the boundary between the observer and the artwork blurs—the viewer/listener becomes an active creator in the artistic experience.

In the context of Visual Music, this interactivity is essential to the idea that music and visuals are in constant conversation. Both the audience’s actions and the generative nature of the artwork influence how the work unfolds, creating a feedback loop that makes the work feel alive. Eno’s philosophy is not just about viewing or listening—it's about experiencing art in a dynamic, interactive way.

 

Influence of Technology on Music and Visuals

Eno’s embrace of technology plays a pivotal role in his ability to unite music and visual art. The tools he uses—whether it's computer algorithms, generative software, or visual synthesizers—allow him to create works that are flexible, dynamic, and unpredictable. These technological elements open up possibilities for both music and visuals to evolve continuously.

In Visual Music, the technological aspect is often highlighted as a bridge between the two art forms. The use of generative technology means that Eno’s visuals are not merely static images designed to complement pre-composed music. Instead, both the visuals and the music emerge and evolve together, in real-time, as part of an interactive system. This creates a feeling of immersion where the viewer is surrounded by a living, breathing artwork that changes with time and interaction.

 

 

Quiet Club [Living Room], San Francisco, California, USA, 1988 © Brian Eno 

Musical and Visual Cross-Pollination in Eno's Works

Throughout his career, Eno has made it clear that music and visual art should not be treated as independent entities. His approach to visual music is not about simply layering a visual component over music, but about creating cross-pollination between the two. Music doesn’t just set the mood for the visuals; it interacts with them and vice versa.

One of the more striking examples of this cross-pollination is his album Music for Films, where Eno explores creating soundtracks for imaginary movies. The sounds themselves evoke cinematic imagery, often taking on a quality that feels like a soundtrack to a film that doesn’t exist. This approach aligns with his visual work, where the audience is invited to create their own narrative or interpretation as they experience the piece. Eno’s philosophy, then, is that both sound and sight should be suggestive and open-ended, leaving space for the audience to fill in the blanks.

 77 Million Paintings, Sydney, Australia, 2009  © Brian Eno 

A Unified Experience

In Brian Eno: Visual Music, the marriage of sound and image is not just an aesthetic choice, but a deep philosophical exploration. Eno's work challenges the traditional separation between the auditory and the visual, proposing instead that these two realms can combine to create a richer, more complex experience. His philosophy is one of fluidity and change, where both music and visuals are alive, evolving, and reactive. Through generative art and interactive installations, Eno creates environments where the boundaries between the two media disappear, allowing them to merge into a unified whole.

This integration of sound and vision is the heart of Visual Music. It invites the viewer/listener into a space where perception itself is flexible, allowing for a more holistic engagement with the artwork. Whether through ambient music, generative visuals, or immersive installations, Eno’s work continues to redefine the possibilities of what art can be in the 21st century—an evolving, interactive experience that encourages deeper engagement with both sound and sight.

 

[REVIEW] FLOATING INDETERMINATION (FOR MORTON FELDMAN)

 Review by Alan Freeman, Audion 86, February 2026, p. 32.

 

[REVIEW] THE NORTHWEST PASSAGE

 

Review by Andy Garibaldi, Audion 86, February 2026, p. 43.

  

THE QUEST OF A MUSICAL PHILOSOPHER'S STONE?

 

I am currently testing GRM Tools (better late than never...). After the IRCAM plugins, I am exploring the infinite transformations and hybridizations of my own recordings in unexpected and exciting directions.

I like the idea of working with sound material in a chain of processing and remodeling, which sculpts its form, volume, motor skills, temporality, and space.

 

These tools can be used with an in-depth knowledge of sound physics. 

 

I prefer to approach them more intuitively, a bit like a painter working with colors or a sculptor working with raw stone or wood.

 

That's how I compose my music.

 

But once the tracks are recorded and mixed, they become the starting point for new sound experiments.

 

Years of practicing with hardware, analog, modular, and digital synthesizers, then virtual instruments, as well as years of listening to classical, contemporary, and electronic music, have trained a bit my ear.

 

By experimenting with today's new tools as a tinkerer rather than an engineer, I hope one day to hear the unheard and perhaps find the musical philosopher's stone that every musician dreams of!

WHEN A GREAT CREATOR DIES...

 

"When a great creator dies, history—including his own history—holds its breath, looks around, and wonders what to do, as if waiting for new directives or new insights that might suddenly shine through the opaque shell of habit. History waits to gather and summarize the significant episodes of creative power; it waits for a new autopsy of the organs and expressive organism of the great creator. Or it waits for a lazy and unexpected silence to be broken.

 

When, moreover, the great creator who dies has recently crossed the border into a new territory rich in meaning, because it has been long and organically prepared, then we wonder, distraught, what else this man might have discovered and offered us if he had lived longer. (...)."

 

Luciano Berio (about Stravinsky)

 

This beautiful text reminds me of the musicians who have inspired me so much over the years, and whose creative work I would love to see continue forever....

 

To name but a few, I am thinking of Klaus Schulze, Hector Zazou, Harold Budd, Jon Hassell, Morton Feldman, John Cage and so many others who are gone ...

 

THE ARTIST'S TASK...

 

 

"The artist's task is not limited to finding solutions to existing problems, but rather—as the works prove—to constantly inventing new problems."

Luciano Berio — Electronic Music (in: Ecrits sur la Musique, Philharmonie de Paris, 2025, p. 284)

 

 

Reading Luciano Berio's writings on music is a fascinating experience... They are so insightful, both in their reflection on his work and in their more general theoretical propositions.... 

This definition of the musician's task is so relevant, both in terms of his creative process and its effects on listeners.

Yes, all creation, whether musical, pictorial, literary, or intellectual, is measured by the problems it creates, not those it solves...

To create is to think, using the tools of the intellect, the senses, the body, and the imagination...

 

MUSIC STREAMING

 

Luminate’s 2025 annual report highlights a paradox at the heart of the global music industry. While the volume of music available on streaming platforms has reached unprecedented levels, actual listening remains extremely concentrated.

By the end of 2025, 253 million tracks were available worldwide — an increase of nearly 38 million songs in one year, or 106,000 new uploads per day. At first glance, this growth suggests creativity and diversity, but the data tells a far less optimistic story.

Nearly half of all tracks (120.5 million) received fewer than ten streams in 2025. Overall, 73% of songs had fewer than 100 listens, and 88% failed to reach 1,000 streams annually. In practice, almost nine out of ten tracks have no real economic impact in the streaming ecosystem.

Listening is also highly concentrated. Just 0.2% of tracks accounted for almost half of all global streams, confirming that streaming strongly favors a tiny elite of songs and artists. While major record labels represent only a small share of releases, revenue remains heavily skewed toward a limited number of hits.

The report warns that this imbalance may worsen as AI-generated music accelerates the flood of new releases. As the number of tracks continues to grow faster than audience attention, the industry faces a critical question: can hundreds of millions of songs be fairly compensated when listening remains focused on a tiny minority?

Ultimately, the music market appears trapped in excessive growth, raising concerns not only about artist remuneration but also about the cultural value of music itself.

(summary of a post by Radio FG: link  )