Thomas Oberender: One consistent aspect of your work is the shift from an object-based understanding of art to a more process-oriented interest in art. And this shift changes a lot: it affects both production methods and presentation styles and alters our understanding of what the artwork actually is. It opens the experience of art a lot more towards the agency of the audience. Works of art are no longer regarded as finished products, but rather situations in a constant state of flux. Everything began, I would say, with your education at Ipswich Art School. What kind of art school was it that you attended in the late 60s?

Brian Eno: I had a very lucky choice of art school. In fact, I originally chose another school, because the well-known art school in my part of England was in a town called Colchester. But my parents didn’t have any money and I couldn’t get a grant from the local education committee to go to Colchester. So, I rather reluctantly ended up going to this other art school, called Ipswich Art School. I went there in 1964 and I was there for two years. It was a very small college and it...