Msced - <a href="http://www.piecemakerdesign.com/?p=2483">15</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=2392">14</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=2304">13</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=2236">12</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=2115">11</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=2042">10</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=2042">09</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=1959">08</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=1959">07</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=1842">06</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=1893">05</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

"By the mid 1970s I'd started to imagine a different kind of music that I wanted to hear. This music really grew out of three separate threads of interest. One of them is African music - I was listening to a lot - particularly Fela Kuti the Nigerian bandleader. The second was the Velvet Underground and the scene that constituted. The third was composers like Steve Reich and Terry Riley. What I think interested me about all those sorts of music was that they flattened out the shape of the music, the hierarchical structure of the music was flatter. So the pop music I had been listening to mostly had a voice sitting at the top then some rhythm instruments, and then some drums. And the focus of the music, the shape of the music was very pyramidal. What I found I was preferring to listen to was music where that pyramid was squashed down, where no particular instrument was featured as the lead instrument and instead you had a network of interactions between lots of different sounds. In my own work this manifested in an emphasis on making what would have been called the background more interesting, and what would have been called the foreground, less and less central, thus sinking foreground elements into the background. The other thing that I was interested in was in losing the obvious boundaries of music, I wanted to make something that didn't sound like it had edges, sonic edges, or that it had a beginning and an end. I wanted to make something that belonged to a big space and you as the listener could hear some of that but not necessarily all of it, and I wanted to make something that felt like it had always been going on and would always be going on and you just happened to catch a part of it."

- From Brian Eno's <a href="http://www.longnow.org/seminars/02003/nov/14/the-long-now/" target="_blank">"Long Now"</a> seminar, given in San Francisco, November 14th, 2003 as a part of the Long Now Foundation.

Msced - <a href="http://www.piecemakerdesign.com/?p=1828">04</a>

Piecemaker Design | <a href="http://www.piecemakerdesign.com/">John Whitlock</a>

Msced - <a href="http://www.piecemakerdesign.com/?p=1828">03</a>

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first steps.