title: Emo

text: The Used, Thursday, Thrice and Hawthorne Heights, who all formed in the United States during the late 1990s and early 2000s and remained active throughout the 2000s, helped popularize screamo. Post-hardcore bands such as Refused and At the Drive-In paved the way for these bands. Screamo bands from the Canadian emo scene such as Silverstein and Alexisonfire also emerged at this time. By the mid-2000s, the saturation of the screamo scene caused many bands to expand beyond the genre and incorporate more-experimental elements. Non-screamo bands used the genre's characteristic guttural vocal style. Some screamo bands during this time period were inspired by genres like pop punk and heavy metal.


title: Emo

text: Jeff Mitchell of the "Iowa State Daily" wrote, "There is no set definition of what screamo sounds like but screaming over once deafeningly loud rocking noise and suddenly quiet, melodic guitar lines is a theme commonly affiliated with the genre."


title: Emo

text: Sass (also known as sassy screamo, sasscore, white belt hardcore, white belt, sassgrind or dancey screamo) is a style that emerged from the late-1990s and early-2000s screamo scene. The genre incorporates elements of post-punk, new wave, disco, electronic, dance-punk, grindcore, noise rock, metalcore, mathcore and beatdown hardcore. The genre is characterized by often incorporating overtly flamboyant mannerisms, erotic lyrical content, synthesizers, dance beats and a lisping vocal style. Sass bands include the Blood Brothers, An Albatross, The Number Twelve Looks Like You, the Plot to Blow Up the Eiffel Tower, Daughters's early music, Orchid's later music and SeeYouSpaceCowboy.


title: Emo

text: Emo pop (or emo pop punk) is a subgenre of emo known for its pop music influences, more concise songs and hook-filled choruses. AllMusic describes emo pop as blending "youthful angst" with "slick production" and mainstream appeal, using "high-pitched melodies, rhythmic guitars, and lyrics concerning adolescence, relationships, and heartbreak." "The Guardian" described emo pop as a cross between "saccharine boy-band pop" and emo.


title: Emo

text: Emo pop developed during the 1990s. Bands like Jawbreaker and Samiam are known for formulating the emo pop punk style. According to Nicole Keiper of CMJ New Music Monthly, Sense Field's "Building" (1996) pushed the band "into the emo-pop camp with the likes of the Get Up Kids and Jejune". As emo became commercially successful in the early 2000s, emo pop became popular with Jimmy Eat World's 2001 album "Bleed American" and the success of its single "The Middle". Jimmy Eat World, the Get Up Kids and the Promise Ring also are early emo pop bands. The emo pop style of Jimmy Eat World's album, "Clarity" influenced later emo. The emo band Braid's 1998 album "Frame & Canvas" has been described as emo pop by Blake Butler of AllMusic, who gave the Braid album four out of five stars and wrote that "Frame & Canvas" "proves to be one of Braid's best efforts". Emo pop became successful during the late 1990s, with its popularity increasing in the early 2000s. The Get Up Kids sold over 15,000 copies of their debut album, "Four Minute Mile" (1997), before signing with Vagrant Records. The label promoted them, sending them on tours to open for Green Day and Weezer. Their 1999 album, "Something to Write Home About", reached number 31 on "Billboard" Top Heatseekers chart. As of May 2, 2002, "Something to Write Home About" sold 134,000 copies in the United States, according to Nielsen SoundScan.


title: Emo

text: As emo pop coalesced, the Fueled by Ramen label became a center of the movement and signed Fall Out Boy, Panic! at the Disco, and Paramore (all of whom had been successful). Two regional scenes developed. The Florida scene was created by Fueled by Ramen; midwest emo-pop was promoted by Pete Wentz, whose Fall Out Boy rose to the forefront of the style during the mid-2000s. Cash Cash released "Take It to the Floor" (2008); according to AllMusic, it could be "the definitive statement of airheaded, glittery, and ... the transformation of emo from the expression of intensely felt, ripped-from-the-throat feelings played by bands directly influenced by post-punk and hardcore to mall-friendly Day-Glo pop played by kids who look about as authentic as the "punks" on an old episode of "Quincy" did back in the '70s was made pretty much complete". You Me at Six released their 2008 debut album, "Take Off Your Colours", described by AllMusic's Jon O'Brien as "follow[ing] the 'emo-pop for dummies' handbook word-for-word." The album was certified gold in the UK.


title: Emo

text: Emo rap is a genre that combines emo music with hip hop music. The genre began in the mid–late 2010s. Although emo rap typically uses regular instruments and sampling is often kept to a bare minimum, some artists sample 2000s pop punk and emo songs, a fusion first popularized by MC Lars in 2004. A lot of the sampling is due to the artists who inspired the genre, such as Underoath and Brand New, and is usually accompanied by original instruments. Prominent artists of emo hip hop include Lil Peep, XXXTentacion, and Nothing,Nowhere.


title: Emo

text: In the emo rap broke into the mainstream. Deceased rapper XXXTentacion's song "Sad!" peaked at number 1 on the "Billboard" Hot 100 on June 30, 2018. XXXTentacion also had other mainstream songs. His song "Moonlight" peaked at number 13 on the "Billboard" Hot 100 on July 7, 2018, his song "Changes" peaked at number 18 on the "Billboard" Hot 100 on June 30, 2018, and his song "Jocelyn Flores" peaked at number 19 on June 30, 2018. Emo rap musician Lil Uzi Vert's song "XO Tour Llif3" peaked at number 7 on the "Billboard" Hot 100 and the song was certified by the RIAA. Although emo rap experienced much mainstream popularity during the emo rap musicians Lil Peep and XXXTentacion both died in November 2017 and June 2018, respectively. In November 2017, Lil Peep died of a Fentanyl and Xanax overdose. In June 2018, XXXTentacion was shot and killed in Florida.


title: Emo

text: Emo as a subculture of people began in the mid-late 1990s. In the late 1990s and early 2000s, emo fashion was clean-cut and tended towards geek chic, with clothing items like thick-rimmed glasses resembling 1950s musician Buddy Holly, button-down shirts, t-shirts, sweater vests, tight jeans, converse shoes, and cardigans being common. In January 2002, the "Honolulu Advertiser" described emo people as "intentionally unshowy": "these guys often ride bicycles, keep diaries, write poetry and hang out at coffee shops. They prefer art films to Hollywood blockbusters and frequent independent music stores. They are usually shy and introspective." Some emo bands at the turn of the 21st century, such as The Promise Ring, adopted a geek chic look.


title: Emo

text: Althoguh originally more geek chic-influenced, emo fashion began to change to its more famous, goth-influenced look that appeared in the 2000s. A lot of the change came from the hardcore punk, screamo and metalcore bands in the mid-late 1990s and early 2000s. The first origins date back to the mid-1990s San Diego screamo scene. The scene's bands, such as Heroin, Antioch Arrow and Swing Kids, and participants in this scene were often called "spock rock", in reference to their black-dyed hair with straight fringes. As the vocalist of Swing Kids, Justin Pearson had choppy spikes protruding from the back of his head alongside straight fringes, which was a prototype for the emo haircut. After the 1998 release of the music video for "New Noise" by Swedish hardcore punk band Refused, straight, black hair with long, swooped bangs spread as a common fashion in hardcore punk. Refused adopted this haircut alongside black clothing and nail polish at a time when emo fashion was more geek chic-oriented. Metalcore band Eighteen Visions was the band that expanded the prototype of later emo fashion. As many hardcore bands in the 1990s had a hypermasculine image characterized by shaved heads, baseball caps and tattoos, Eighteen Visions wanted to rebel against this image. Inspired by the look of bands like Orgy and Unbroken, Eighteen Visions dressed in effeminate fashion, including skinny jeans, straightened hair, swooped bangs, black clothes and eyeliner. Emphasizing their fashion of their music, they were labeled "fashioncore". Fashioncore became a popular trend in hardcore and metalcore in the early 2000s, and other bands labeled as fashioncore included Avenged Sevenfold, Bleeding Through and Atreyu. Influenced by the members of Eighteen Visions, emos in the early 2000s became increasingly experimental with their hair, making use of layers, asymmetrical fringes and cutting hair using razorblades. Haircuts such as the Bob and the A-Line cut were also popular. Moreover, early-mid 2000s emo and pop punk bands like My Chemical Romance, AFI, and Good Charlotte wore black clothes and eyeliner. These bands were often inspired by other bands that adopted a goth look, such as the Misfits and The Cure.


title: Emo

text: Emo fashion in the mid-to-late 2000s included skinny jeans, tight T-shirts (usually short-sleeved, and often with the names of emo bands), studded belts, Converse sneakers, Vans and black wristbands. Thick, horn-rimmed glasses remained in style to an extent, and eye liner and black fingernails became common during the mid-2000s. The best-known facet of emo fashion is its hairstyle: flat, straight, usually jet-black hair with long bangs covering much of the face, which has been called a fad. Emo fashion has been confused with goth and scene fashion.


title: Emo

text: As emo became a subculture, people who dressed in emo fashion and associated themselves with its music were known as "emo kids" or "emos". My Chemical Romance, Hawthorne Heights, AFI, Dashboard Confessional, Taking Back Sunday, Good Charlotte, Brand New, From First to Last, Bullet for My Valentine, Story of the Year, Funeral for a Friend, Silverstein, Simple Plan, Aiden, Fall Out Boy, The Used, Finch, Panic! at the Disco, Paramore, The Red Jumpsuit Apparatus and The All-American Rejects all are bands that emos are known for listening to.


title: Emo

text: Emo has been associated with a stereotype of emotion, sensitivity, shyness, introversion or angst. More controversially, stereotypes surrounding the genre included depression, self-harm and suicide, in part stoked by depictions of emo fans as a "cult" by British tabloid "Daily Mail". Emos and goths were often distinguished by the stereotype that "emos hate themselves, while goths hate everyone." In 2020, "The Independent" wrote on such stereotypes, that "emo was singled out for the destructive behaviour of teenagers who’d found a home in a subculture that offered them community and a vehicle for self-expression."


title: Emo

text: In 2008, emo music was blamed for the suicide by hanging of British teenager Hannah Bond by the coroner at her inquest and her mother, Heather Bond, who suggested that the music and fandom glamorised suicide. They suggested Hannah's apparent obsession with My Chemical Romance was linked to her death. It was said at the inquest that she was part of an Internet "emo cult", and an image of an emo girl with bloody wrists was on her Bebo page. Hannah reportedly told her parents that her self-harm was an "emo initiation ceremony". Heather Bond criticised emo culture: "There are 'emo' websites that show pink teddies hanging themselves." The coroner's statements were featured in a series of articles in the "Daily" "Mail". After they were reported in "NME", fans of emo music contacted the magazine to deny that it promoted self-harm and suicide. My Chemical Romance reacted online: "We have recently learned of the suicide and tragic loss of Hannah Bond. We'd like to send our condolences to her family during this time of mourning. Our hearts and thoughts are with them". The band also posted that they "are and always have been vocally anti-violence and anti-suicide".


title: Emo

text: "The Guardian" later described the purported link and subsequent backlash against emo in the 2000s as a "moral panic", while "Kerrang!" compared it to historic controversies involving Judas Priest and Ozzy Osbourne, unduly demonising the subculture, and poorly examining mental health issues of young people.


title: Emo

text: Emo received a lot of backlash during the 2000s. Warped Tour founder Kevin Lyman said that there was a "real backlash" by bands on the tour against emo groups, but he dismissed the hostility as "juvenile". The backlash intensified, with anti-emo groups attacking teenagers in Mexico City, Querétaro, and Tijuana in 2008. Legislation was proposed in Russia's Duma regulating emo websites and banning emo attire in schools and government buildings, with the subculture perceived as a "dangerous teen trend" promoting anti-social behaviour, depression, social withdrawal and suicide. The BBC reported that in March 2012, Shia militias in Iraq shot or beat to death as many as 58 young Iraqi emos. Metalheads and punks often were known for hating emos and criticizing the emo subculture.


title: Emo

text: The term "emo" has been the subject of controversy amongst artists, critics, and fans alike. Some find the label to be loosely defined with the term at times being used to describe any music that expresses emotion. The mainstream success of emo and its related subculture caused the term to be conflated with other genres.


title: Emo

text: Many bands labeled as emo rejected the emo label. My Chemical Romance singer Gerard Way said in 2007 that emo is "a pile of shit":


title: Emo

text: Brendon Urie of Panic! at the Disco said : "It's ignorant! The stereotype is guys that are weak and have failing relationships write about how sad they are. If you listen to our songs, not one of them has that tone." Adam Lazzara of Taking Back Sunday said he always considered his band rock and roll instead of emo. Guitarist of the Get Up Kids, Jim Suptic, noted the differences between the 2000s mainstream acts when compared to the emo bands of the 1990s, saying, “The punk scene we came out of and the punk scene now are completely different. It's like glam rock now. We played the Bamboozle fests this year and we felt really out of place... If this is the world we helped create, then I apologise.” Vocalist of AFI, Davey Havok, described emo as “such a strange and meaningless word.” Early emo musicians also have rejected the label. Guy Picciotto, the vocalist of Rites of Spring, said he considers the emo label "retarded" and always considered Rites of Spring a punk rock band: "The reason I think it's so stupid is that - what, like the Bad Brains weren't emotional? What - they were robots or something? It just doesn't make any sense to me." Sunny Day Real Estate's members said they consider themselves simply a rock band, and said that back in the early days, the word "emocore" was an insult: "While I don't disrespect anyone for using the term emo-core, or rock, or anything, but back in the day, emo-core was just about the worst dis that you could throw on a band."


title: Emo

text: The term “mall emo” has been used to separate mainstream bands like Paramore, Hawthorne Heights, My Chemical Romance, Panic! at the Disco, and Fall Out Boy from the less commercially viable bands that proceeded and succeeded them. The term "mall emo" dates back to around 2002, when many emo fans did not like the change emo was going through at the time when the genre became mainstream.


title: Brian Eno

text: Brian Peter George St John le Baptiste de la Salle Eno (; born Brian Peter George Eno, 15 May 1948) is a British musician, composer, record producer and visual artist best known for his contributions to ambient music and work in rock, pop and electronica. A self-described "non-musician", Eno has helped introduce unconventional concepts and approaches to contemporary music. He has been described as one of popular music's most influential and innovative figures.


title: Brian Eno

text: Born in Suffolk, Eno studied painting and experimental music at the art school of Ipswich Civic College in the mid 1960s, and then at Winchester School of Art. He joined glam rock group Roxy Music as its synthesiser player in 1971, recording two albums with the group before departing in 1973. Eno then released a number of solo pop albums beginning with "Here Come the Warm Jets" (1974) and, also in the mid-1970s, began exploring a minimalist direction on influential recordings such as "Discreet Music" (1975) and "" (1978), coining the term "ambient music" with the latter.


title: Brian Eno

text: Alongside his solo work, Eno collaborated frequently with other musicians in the 1970s, including Robert Fripp, Harmonia, Cluster, Harold Budd, David Bowie, David Byrne and Judy Nylon. He also established himself as a sought-after producer, working on albums by John Cale, Jon Hassell, Laraaji, Talking Heads, Ultravox, and Devo, as well as the no wave compilation "No New York" (1978). In subsequent decades, Eno continued to record solo albums and produce for other artists, most prominently U2 and Coldplay, alongside work with artists such as Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, Karl Hyde, James, Kevin Shields, and Damon Albarn.


title: Brian Eno

text: Dating back to his time as a student, Eno has also worked in other media, including sound installations, film, and writing. In the mid-1970s, he co-developed Oblique Strategies, a deck of cards featuring aphorisms intended to spur creative thinking. From the 1970s onwards, Eno's installations have included the sails of the Sydney Opera House in 2009 and the Lovell Telescope at Jodrell Bank in 2016. An advocate of a range of humanitarian causes, Eno writes on a variety of subjects and is a founding member of the Long Now Foundation. In 2019, Eno was inducted into the Rock and Roll Hall of Fame as a member of Roxy Music.


title: Brian Eno

text: Brian Peter George Eno was born on 15 May 1948 in the village of Melton, Suffolk, the son of William Arnold Eno (1916–1988), a postal worker and clock and watch repairer, and Maria Alphonsine Eno ("née" Buslot; 1922–2005), a Belgian national. Eno is the eldest of their three children; he has a brother, Roger, and sister Arlette. They have a half-sister, Rita, from their mother's previous relationship. The surname Eno is derived from the French Huguenot surname Hennot.


title: Brian Eno

text: In 1959, Eno attended St Joseph's College in Ipswich, a Catholic grammar school of the De La Salle Brothers order. His confirmation name is derived from the school, taking the name Brian Peter George St. John le Baptiste de la Salle Eno. In 1964, after earning four O-levels, including one in art and maths, Eno had developed an interest in art and music and had no interest in a "conventional job". He enrolled at the Ipswich School of Art, taking on the newly established Groundcourse foundation art degree established by new media artist Roy Ascott. Here, one of Eno's teachers was artist Tom Phillips, who became a lifelong friend and encouraged his musical ability. Phillips recalled the pair doing "piano tennis" in which, after collecting pianos, the two stripped and aligned them in a hall and struck them with tennis balls. In 1966, Eno studied for a diploma in Fine Arts at the Winchester School of Art, from which he graduated in 1969. At Winchester Eno once attended a lecture by future Who guitarist Pete Townshend, also a former student of Ascott's; he cites this as the moment when he realised he could make music without formal training.


title: Brian Eno

text: Whilst at school, Eno used a tape recorder as a musical instrument and in 1964 he joined his first group, the Black Aces, a four-piece with Eno on drums that he formed with three friends he met at the youth club he visited in Melton. In late 1967, Eno pursued music once more, forming the Merchant Taylor's Simultaneous Cabinet, an avant-garde music, art, and performance trio with two Winchester undergraduates. This was followed by short stints in multiple avant-garde and college groups, including The Maxwell Demon and Dandelion and The War Damage which featured Eno as frontman who adapted a theatrical persona on stage and later played the guitar.


title: Brian Eno

text: In 1969, after separating from his wife, Eno moved to London where his professional music career began. He became involved with the Scratch Orchestra and the Portsmouth Sinfonia; Eno's first appearance on a commercially released recording is the Deutsche Grammophon edition of "The Great Learning" (1971) by Cornelius Cardew and the Scratch Orchestra which features Eno as one of the voices on the track "Paragraph 7". Another early recording was the soundtrack to "Berlin Horse" (1970), a nine-minute avant-garde art film by Malcolm Le Grice. At one point, Eno had to earn money as paste-up assistant for the advertisement section of a local paper for three months. He quit and became an electronics dealer by buying old speakers and making new cabinets for them before selling them to friends.


title: Brian Eno

text: In 1971, Eno co-formed the glam and art rock band Roxy Music. He had a chance meeting with saxophonist Andy Mackay at a train station, which led to him joining the band. Eno later said: "If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now". Eno played on their first two albums, "Roxy Music" (1972) and "For Your Pleasure" (1973), and is credited as "Eno" with playing the VCS 3 synthesiser, tape effects, backing vocals, and co-producer. Initially Eno did not appear on stage at their live shows, but operated the group's mixing desk at the centre of the concert venue where he had a microphone to sing backup vocals. After the group secured a record deal, Eno joined them on stage playing the synthesiser and became known for his flamboyant costumes and makeup, partly stealing the spotlight from lead singer Bryan Ferry. After touring "For Your Pleasure" ended in mid-1973, Eno quit the band. He cited disagreements with Ferry and the frontman's insistence on being in command of the group, which affected Eno's ability to incorporate his own ideas.


title: Brian Eno

text: Almost immediately after his exit from Roxy Music, Eno embarked on his solo career. He released four albums of electronically inflected art pop: "Here Come the Warm Jets" (1973), "Taking Tiger Mountain (By Strategy)" (1974), "Another Green World" (1975), and "Before and After Science" (1977). "Tiger Mountain" contains the "Third Uncle" which became one of Eno's best-known songs, owing in part to its later cover by Bauhaus and 801. Critic Dave Thompson writes that the song is "a near punk attack of riffing guitars and clattering percussion, 'Third Uncle' could, in other hands, be a heavy metal anthem, albeit one whose lyrical content would tongue-tie the most slavish air guitarist." During this period, Eno also played three dates with Phil Manzanera in 801, a supergroup that performed more or less reworked selections from albums by Eno, Manzanera, and Quiet Sun, as well as covers of The Beatles and The Kinks.


title: Brian Eno

text: In 1973, King Crimson founder and guitarist Robert Fripp collaborated with Eno and his tape delay system to make experimental, ambient, and drone music. The result was "(No Pussyfooting)" (1973), released as their duo name of Fripp & Eno. Fripp subsequently referred to the tape delay recording method as Frippertronics. The pair followed their debut with a second album "Evening Star" (1975), and completed a European tour. Eno produced the albums "The Portsmouth Sinfonia Plays the Popular Classics" (1974) and "Hallelujah! The Portsmouth Sinfonia Live at the Royal Albert Hall" (1974) by the Portsmouth Sinfonia, both of which feature Eno playing the clarinet. He also deployed the orchestra's dissonant string section on "Taking Tiger Mountain (By Strategy)". Eno went on to work with several performers in the orchestra on his Obscure label, including Gavin Bryars and Michael Nyman. Later in 1974, Eno and Kevin Ayers contributed music for the experimental/spoken word album "Lady June's Linguistic Leprosy" (1974) by poet June Campbell Cramer.


title: Brian Eno

text: Eno released a number of eclectic ambient electronic and acoustic albums. He coined the term "ambient music", which is designed to modify the listener's perception of the surrounding environment. In the liner notes accompanying "", Eno wrote: "Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular, it must be as ignorable as it is interesting."


title: Brian Eno

text: In January 1975 Eno was hit by a taxi while crossing the street and spent several weeks recuperating at home. His girlfriend brought him an old record of harp music, which he lay down to listen to. He realized that he had set the amplifier to a very low volume, and one channel of the stereo was not working, but he lacked the energy to get up and correct it. "This presented what was for me a new way of hearing music – as part of the ambience of the environment just as the colour of the light and sound of the rain were parts of the ambience."


title: Brian Eno

text: Eno's first work of ambient music was "Discreet Music" (1975), again created with an elaborate tape-delay methodology which he diagrammed on the back cover of the LP; it is considered the landmark album of the genre. This was followed by his "Ambient" series: "Music for Airports (Ambient 1)", "The Plateaux of Mirror (Ambient 2)" featuring Harold Budd on keyboard, "Day of Radiance (Ambient 3)" with American composer Laraaji playing zither and hammered dulcimer, and "On Land (Ambient 4)").


title: Brian Eno

text: Eno provided a film score for Herbert Vesely's "Egon Schiele – Exzess und Bestrafung" (1980), also known as "Egon Schiele – Excess and Punishment". The ambient-style score was an unusual choice for an historical piece, but it worked effectively with the film's themes of sexual obsession and death.


title: Brian Eno

text: Before Eno made "On Land," Robert Quine played him Miles Davis' "He Loved Him Madly" (1974). Eno stated in the liner notes for "On Land," "Teo Macero's revolutionary production on that piece seemed to me to have the 'spacious' quality I was after, and like Federico Fellini's 1973 film "Amarcord", it too became a touchstone to which I returned frequently."


title: Brian Eno

text: In 1980 to 1981, during which time Eno travelled to Ghana for a festival of West African music, he was collaborating with David Byrne of Talking Heads. Their album "My Life in the Bush of Ghosts", was built around radio broadcasts Eno collected whilst living in the United States, along with sampled music recordings from around the world transposed over music predominantly inspired by African and Middle Eastern rhythms.


title: Brian Eno

text: In 1983, Eno collaborated with his brother, Roger Eno, and Daniel Lanois on the album "" that had been commissioned by Al Reinert for his film "For All Mankind" (1989). Tracks from the album were subsequently used in several other films, including "Trainspotting".


title: Brian Eno

text: In September 1992, Eno released "Nerve Net", an album utilising heavily syncopated rhythms with contributions from several former collaborators including Fripp, Benmont Tench, Robert Quine and John Paul Jones. This album was a last-minute substitution for "My Squelchy Life", which contained more pop oriented material, with Eno on vocals. Several tracks from "My Squelchy Life" later appeared on 1993's retrospective box set "Eno Box II: Vocals," and the entire album was eventually released in 2014 as part of an expanded re-release of "Nerve Net." Eno also released "The Shutov Assembly" in 1992, recorded between 1985 and 1990. This album embraces atonality and abandons most conventional concepts of modes, scales and pitch. Emancipated from the constant attraction towards the tonic that underpins the Western tonal tradition, the gradually shifting music originally eschewed any conventional instrumentation, save for treated keyboards.


title: Brian Eno

text: During the 1990s, Eno worked increasingly with self-generating musical systems, the results of which he called generative music. This allows the listener to hear music that slowly unfolds in almost infinite non-repeating combinations of sound. In one instance of generative music, Eno calculated that it would take almost 10,000 years to hear the entire possibilities of one individual piece. Eno achieves this through the blending of several independent musical tracks of varying length. Each track features different musical elements and in some cases, silence. When each individual track concludes, it starts again re-configuring differently with the other tracks. He has presented this music in his own art and sound installations and those in collaboration with other artists, including "I Dormienti (The Sleepers)", "," "Music for Civic Recovery Centre," "The Quiet Room," and "Music for Prague."


title: Brian Eno

text: In 1993, Eno worked with the Manchester rock band James to produce two albums, "Laid" and "Wah Wah". "Laid" was met with notable critical and commercial success both in the UK and the United States after its release in 1993. "Wah Wah", in comparison, received a more lukewarm response after its release in 1994.


title: Brian Eno

text: One of Eno's better-known collaborations was with the members of U2, Luciano Pavarotti and several other artists in a group called Passengers. They produced the 1995 album "Original Soundtracks 1," which reached No. 76 on the US "Billboard" charts and No. 12 in the UK Albums Chart. It featured a single, "Miss Sarajevo", which reached number 6 in the UK Singles Chart. This collaboration is chronicled in Eno's book "A Year with Swollen Appendices," a diary published in 1996.


title: Brian Eno

text: Eno returned in June 2005 with "Another Day on Earth", his first major album since "Wrong Way Up" (with John Cale) to prominently feature vocals (a trend he continued with "Everything That Happens Will Happen Today"). The album differs from his 1970s solo work due to the impact of technological advances on musical production, evident in its semi-electronic production.


title: Brian Eno

text: In early 2006, Eno collaborated with David Byrne again, for the reissue of "My Life in the Bush of Ghosts" in celebration of the influential album's 25th anniversary. Eight previously unreleased tracks recorded during the initial sessions in 1980/81, were added to the album.


title: Brian Eno

text: An unusual interactive marketing strategy was employed for its re-release, the album's promotional website features the ability for anyone to officially and legally download the multi-tracks of two songs from the album, "A Secret Life" and "Help Me Somebody". This allowed listeners to remix and upload new mixes of these tracks to the website for others to listen and rate them.


title: Brian Eno

text: In late 2006, Eno released "77 Million Paintings", a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice. The second edition of "77 Million Paintings" featuring improved morphing and a further two layers of sound was released on 14 January 2008. In June 2007, when commissioned in the Yerba Buena Center for the Arts, San Francisco, California, Annabeth Robinson (AngryBeth Shortbread) recreated "77 Million Paintings" in Second Life.


title: Brian Eno

text: The Nokia 8800 Sirocco Edition mobile phone, released in late 2006, features exclusive ringtones and sounds composed by Eno. Although he was previously uninterested in composing ringtones due to the limited sound palette of monophonic ringtones, phones at this point primarily used audio files. Between 8 January 2007 and 12 February 2007, ten units of Nokia 8800 Sirocco Brian Eno Signature Edition mobile phones, individually numbered and engraved with Eno's signature, were auctioned off. All proceeds went to two charities chosen by Eno: the Keiskamma AIDS treatment program and the World Land Trust.


title: Brian Eno

text: In 2007, Eno's music was featured in a movie adaption of Irvine Welsh's best-selling collection "". He also appeared playing keyboards in "Voila", Belinda Carlisle's solo album sung entirely in French.


title: Brian Eno

text: Also in 2007, Eno contributed a composition titled "Grafton Street" to Dido's third album, "Safe Trip Home", released in November 2008.


title: Brian Eno

text: In 2008, he released "Everything That Happens Will Happen Today" with David Byrne, designed the sound for the video game "Spore" and wrote a chapter to "Sound Unbound: Sampling Digital Music and Culture", edited by Paul D. Miller (a.k.a. DJ Spooky).


title: Brian Eno

text: In June 2009, Eno curated the Luminous Festival at Sydney Opera House, culminating in his first live appearance in many years. "Pure Scenius" consisted of three live improvised performances on the same day, featuring Eno, Australian improvisation trio The Necks, Karl Hyde from Underworld, electronic artist Jon Hopkins and guitarist Leo Abrahams.


title: Brian Eno

text: Eno scored the music for Peter Jackson's film adaptation of "The Lovely Bones", released in December 2009.


title: Brian Eno

text: Eno released another solo album on Warp in late 2010. "Small Craft on a Milk Sea", made in association with long-time collaborators Leo Abrahams and Jon Hopkins, was released on 2 November in the United States and 15 November in the UK. The album included five compositions that were adaptions of those tracks that Eno wrote for "The Lovely Bones."


title: Brian Eno

text: Eno worked with French–Algerian Raï singer Rachid Taha on Taha's "Tékitoi" (2004) and "Zoom" (2013) albums, contributing percussion, bass, brass and vocals. Eno also performed with Taha at the Stop the War Coalition concert in London in 2005.


title: Brian Eno

text: In April 2014, Eno sang on, co-wrote, and co-produced Damon Albarn's "Heavy Seas of Love", from his solo debut album Everyday Robots.


title: Brian Eno

text: In May 2014, Eno and Underworld's Karl Hyde released "Someday World", featuring various guest musicians: from Coldplay's Will Champion and Roxy Music's Andy Mackay to newer names such as 22-year-old Fred Gibson, who helped produce the record with Eno. Within weeks of that release, a second full-length album was announced titled "High Life". This was released on 30 June 2014.


title: Brian Eno

text: In January 2016, a new Eno ambient soundscape was premiered as part of Michael Benson's planetary photography exhibition "Otherworlds" in the Jerwood Gallery of London's Natural History Museum. In a statement Eno commented on the unnamed half-hour piece:


title: Brian Eno

text: "The Ship", an album with music from Eno's installation of the same name was released on 29 April 2016 on Warp.


title: Brian Eno

text: In September 2016, the Portuguese synthpop band The Gift, released a single entitled "Love Without Violins". As well as singing on the track, Eno co-wrote and produced it. The single was released on the band's own record label La Folie Records on 30 September.


title: Brian Eno

text: Eno's Reflection, an album of ambient, generative music, was released on Warp Records on 1 January. 2017. It was nominated for a Grammy Award for 2018's 60th Grammy awards ceremony.


title: Brian Eno

text: In April 2018, Eno released "The Weight Of History / Only Once Away My Son", a collaborative double A-side with Kevin Shields, for Record Store Day.


title: Brian Eno

text: In 2019, Eno participated in DAU, an immersive art and cultural installation in Paris by Russian film director Ilya Khrzhanovsky evoking life under Soviet authoritarian rule. Eno contributed six auditory ambiances.


title: Brian Eno

text: In March 2020, Eno and his brother, Roger Eno, released their collaborative album "Mixing Colours". In October 2022, he released a mostly voice-based album called "Foreverandevernomore".


title: Brian Eno

text: Eno provided original music for Ben Lawrence's 2021 documentary "Ithaka" about John Shipton's battle to save his son, Julian Assange.


title: Brian Eno

text: From the beginning of his solo career in 1973, Eno was in demand as a record producer. The first album with Eno credited as producer was "Lucky Leif and the Longships" by Robert Calvert. Eno's lengthy string of producer credits includes albums for Talking Heads, U2, Devo, Ultravox and James. He also produced part of the 1993 album "When I Was a Boy" by Jane Siberry. He won the best producer award at the 1994 and 1996 BRIT Awards.


title: Brian Eno

text: Eno describes himself as a "non-musician", using the term "treatments" to describe his modification of the sound of musical instruments, and to separate his role from that of the traditional instrumentalist. His skill in using the studio as a compositional tool led in part to his career as a producer. His methods were recognised at the time (mid-1970s) as unique, so much so that on Genesis's "The Lamb Lies Down on Broadway", he is credited with 'Enossification'; on Robert Wyatt's "Ruth Is Stranger Than Richard" with a "Direct inject anti-jazz raygun" and on John Cale's Island albums as simply being "Eno".


title: Brian Eno

text: Eno has contributed to recordings by artists as varied as Nico, Robert Calvert, Genesis, David Bowie, and Zvuki Mu, in various capacities such as use of his studio/synthesiser/electronic treatments, vocals, guitar, bass guitar, and as just being 'Eno'. In 1984, he (amongst others) composed and performed the "Prophecy Theme" for the David Lynch film "Dune"; the rest of the soundtrack was composed and performed by the group Toto. Eno produced performance artist Laurie Anderson's "Bright Red" album, and also composed for it. The work is avant-garde spoken word with haunting and magnifying sounds. Eno played on David Byrne's musical score for "The Catherine Wheel", a project commissioned by Twyla Tharp to accompany her Broadway dance project of the same name.


title: Brian Eno

text: He worked with Bowie as a writer and musician on Bowie's influential 1977–79 'Berlin Trilogy' of albums, "Low, "Heroes"" and "Lodger", on Bowie's later album "Outside", and on the song "I'm Afraid of Americans". Recorded in France and Germany, the spacey effects on "Low" were largely created by Eno, who played a portable EMS Synthi A synthesiser. Producer Tony Visconti used an Eventide Harmonizer to alter the sound of the drums, claiming that the audio processor "f–s with the fabric of time." After Bowie died in early 2016, Eno said that he and Bowie had been talking about taking "Outside", the last album they'd worked on together, "somewhere new", and expressed regret that they wouldn't be able to pursue the project.


title: Brian Eno

text: Eno co-produced "The Unforgettable Fire" (1984), "The Joshua Tree" (1987), "Achtung Baby" (1991), and "All That You Can't Leave Behind" (2000) for U2 with his frequent collaborator Daniel Lanois, and produced 1993's "Zooropa" with Mark "Flood" Ellis. In 1995, U2 and Eno joined forces to create the album "Original Soundtracks 1" under the group name Passengers; songs from which included "Your Blue Room" and "Miss Sarajevo". Even though films are listed and described for each song, all but three are bogus. Eno also produced "Laid" (1993), "Wah Wah" (1994) "Millionaires" (1999) and "Pleased to Meet You" (2001) for James, performing as an extra musician on all four. He is credited for "frequent interference and occasional co-production" on their 1997 album "Whiplash".


title: Brian Eno

text: Eno played on the 1986 album "Measure for Measure" by Australian band Icehouse. He remixed two tracks for Depeche Mode, "I Feel You" and "In Your Room", both single releases from the album "Songs of Faith and Devotion" in 1993. In 1995, Eno provided one of several remixes of "Protection" by Massive Attack (originally from their "Protection" album) for release as a single.


title: Brian Eno

text: In 2007, he produced the fourth studio album by Coldplay, "Viva la Vida or Death and All His Friends", released in 2008. Also in 2008, he worked with Grace Jones on her album "Hurricane", credited for "production consultation" and as a member of the band, playing keyboards, treatments and background vocals. He worked on the twelfth studio album by U2, again with Lanois, titled "No Line on the Horizon". It was recorded in Morocco, the South of France and Dublin and released in Europe on 27 February 2009.


title: Brian Eno

text: In 2011, Eno and Coldplay reunited and Eno contributed "enoxification" and additional composition on Coldplay's fifth studio album "Mylo Xyloto", released on 24 October of that year.


title: Brian Eno

text: In 1994, Microsoft designers Mark Malamud and Erik Gavriluk approached Eno to compose music for the Windows 95 project. The result was the six-second start-up music-sound of the Windows 95 operating system, "The Microsoft Sound". In an interview with Joel Selvin in the "San Francisco Chronicle" he said


title: Brian Eno

text: Eno shed further light on the composition of the sound on the BBC Radio 4 show "The Museum of Curiosity", admitting that he created it using a Macintosh computer, stating "I wrote it on a Mac. I've never used a PC in my life; I don't like them."


title: Brian Eno

text: Eno has spoken of an early and ongoing interest in exploring light in a similar way to his work with sound. He started experimenting with the medium of video in 1978. Eno describes the first video camera he received, which would initially become his main tool for creating ambient video and light installations:


title: Brian Eno

text: "One afternoon while I was working in the studio with Talking Heads, the roadie from Foreigner, working in an adjacent studio, came in and asked whether anyone wanted to buy some video equipment. I'd never really thought much about video, and found most 'video art' completely unmemorable, but the prospect of actually owning a video camera was, at that time, quite exotic."


title: Brian Eno

text: The Panasonic industrial camera Eno received had significant design flaws preventing the camera from sitting upright without the assistance of a tripod. This led to his works being filmed in vertical format, requiring the television set to be flipped on its side to view it in the proper orientation. The pieces Eno produced with this method, such as "Mistaken Memories of Mediaeval Manhattan" (1980) and "Thursday Afternoon" (1984) (accompanied by the album of the same title), were labelled as 'Video Paintings.' He explained the genre title in the music magazine NME:


title: Brian Eno

text: "I was delighted to find this other way of using video because at last here's video which draws from another source, which is painting ... I call them 'video paintings' because if you say to people 'I make videos', they think of Sting's new rock video or some really boring, grimy 'Video Art'. It's just a way of saying, 'I make videos that don't move very fast."


title: Brian Eno

text: These works presented Eno with the opportunity to expand his ambient aesthetic into a visual form, manipulating the medium of video to produce something not present in the normal television experience. His video works were shown around the world in exhibitions in New York and Tokyo, as well as released on the compilation 14 Video Paintings in 2005.


title: Brian Eno

text: Eno continued his video experimentation through the 80s, 90s and 2000s, leading to further experimentation with the television as a malleable light source and informing his generative works such as 77 Million Paintings in 2006.


title: Brian Eno

text: Eno gives the example of wind chimes. He says that these systems and the creation of them have been a focus of his since he was a student: "I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders."


title: Brian Eno

text: Initially Eno began to experiment with tape loops to create generative music systems. With the advent of CDs he developed systems to make music of indeterminate duration using several discs of material that he'd specifically recorded so that they would work together musically when driven by random playback.


title: Brian Eno

text: In 1995, he began working with the company Intermorphic to create generative music through utilising programmed algorithms. The collaboration with Intermorphic led Eno to release "Generative Music 1" - which requires Intermorphic's "Koan Player" software for PC. The Koan software made it possible for generative music to be experienced in the domestic environment for the first time.


title: Brian Eno

text: In 1996, Eno collaborated in developing the SSEYO Koan generative music software system (by Pete Cole and Tim Cole of Intermorphic) that he used in composing "Generative Music 1"—only playable on the Koan generative music system. Further music releases using Koan software include: "Wander" (2001) and "Dark Symphony" (2007)—both include works by Eno, and those of other artists (including SSEYO's Tim Cole).


title: Brian Eno

text: Eno started to release excerpts of results from his 'generative music' systems as early as 1975 with the album "Discreet Music". Then again in 1978 with "Music for Airports":


title: Brian Eno

text: The list below consists of albums, soundtracks and downloadable files that contain excerpts from some of Eno's generative music explorations:


title: Brian Eno

text: Several of the released excerpts (listed above) originated as, or are derivative of, soundtracks Eno created for art installations. Most notably "The Shutov Assembly" (view breakdown of Album's sources), "Contra 1.2" thru to "Compact Forest Proposal", "Lux", "CAM", and "The Ship".


title: Brian Eno

text: Eno has created installations combining artworks and sound that have shown across the world since 1979, beginning with 2 Fifth Avenue and White Fence, in the Kitchen Centre, New York, NY. Typically Eno's installations feature light as a medium explored in multi-screen configurations, and music that is created to blur the boundaries between itself and its surroundings:


title: Brian Eno

text: "There is a sharp distinction between "music" and "noise", just as there is a distinction between the musician and the audience. I like blurring those distinctions – I like to work with all the complex sounds on the way out to the horizon, to pure noise, like the hum of London." With each installation Eno's music and artworks interrogate the visitors' perception of space and time within a seductive, immersive environment.


title: Brian Eno

text: Since his experiments with sound as an art student using reel to reel tape recorders, - and in art employing the medium of light, Eno has utilised breakthroughs in technology to develop 'processes rather than final objects', processes that in themselves have to "jolt your senses," have "got to be seductive." Once set in motion these processes produce potentially un-ending and continuous, non-repeating music and artworks that Eno, though the artist, could not have imagined; and with them he creates the slowly unfolding immersive environments of his installations.


title: Brian Eno

text: David A. Ross writes in the programme notes to Matrix 44 in 1981: "In a series of painterly video installations first shown in 1979, Eno explored the notion of environmental ambiance. Eno proposes a use for music and video that is antithetical to behavior control-oriented "Muzak" in that it induces and invites the viewer to enter a meditative, detached state, rather than serve as an operant conditioner for work-force efficiency. His underlying strategy is to create works which provide natural levels of variety and redundancy which bring attention to, rather than mimic, essential characteristics of the natural environment. Eno echoes Matisse's stated desire that his art serve as an armchair for the weary businessman."


title: Brian Eno

text: Early installations benefitted from breakthroughs in video technology that inspired Eno to use the TV screen as a monitor and enabled him to experiment with the opposite of the fast-moving narratives typical of TV to create evolving images with an almost imperceptible rate of change. "2 Fifth Avenue", ("a linear four-screen installation with music from Music For Airports") resulted from Eno shooting "the view from his apartment window: without ... intervention," recording "what was in front of the camera for an unspecified period of time ... In a simple but crude form of experimental post production, the colour controls of the monitors on which the work was shown were adjusted to wash out the picture, producing a high-contrast black and white image in which colour appeared only in the darkest areas. ... Eno manipulated colour as though painting, observing: 'video for me is a way of configuring light, just as painting is a way of configuring paint.'"


title: Brian Eno

text: From the outset, Eno's video works, were "more in the sphere of paintings than of cinema". The author and artist John Coulthart called Mistaken Memories of Medieval Manhattan (1980–81), which incorporated music from , "The first ambient film." He explains: "Eno filmed several static views of New York and its drifting cloudscape from his thirteenth-floor apartment in 1980–81. The low-grade equipment ... give[s] the images a hazy, impressionistic quality. Lack of a tripod meant filming with the camera lying on its side so the tape had to be re-viewed with a television monitor also turned on its side." And turning the TV on its side, says David A. Ross, "recontextualize[d] the television set, and ... subliminally shift[ed] the way the video image represents recognizable realities ... Natural phenomena like rain look quite different in this orientation; less familiar but curiously more real."


title: Brian Eno

text: Thursday Afternoon was a return to using figurative form, for Eno had by now begun "to think that I could use my TVs as light sources rather than as image sources. ... TV was actually the most controllable light source that had ever been invented – because you could precisely specify the movement and behaviour of several million points of coloured light on a surface. The fact that this prodigious possibility had almost exclusively been used to reproduce figurative images in the service of narratives pointed to evolution of the medium from the theatre and cinema. What I thought was that this machine, which pumped out highly controllable light, was actually the first synthesiser, and that its use as an imager-retailer represented a subset of its possible range."


title: Brian Eno

text: Turning the TV on its back, Eno played video colour fields of differing lengths of time that would slowly re-combine in different configurations. Placing ziggurats (3 dimensional constructions) of different lengths and sizes on top of the screens that defined each separate colour field, these served to project the internal light source upward. "The light from it was tangible as though caught in a cloud of vapour. Its slowly changing hues and striking colour collisions were addictive. We sat watching for ages, transfixed by this totally new experience of light as a physical presence."


title: Brian Eno

text: Calling these light sculptures Crystals (first shown in Boston in 1983), Eno further developed them for the Pictures of Venice exhibition at Gabriella Cardazzo's Cavallino Gallery (Venice,1985). Placing plexiglass on top of the structures he found that these further diffused the light so the shapes outlined through this surface appeared to be described differently in the slowly changing fields of light.


title: Brian Eno

text: By positioning sound sources in different places and different heights in the exhibition room Eno intended that the music would be something listened to from the inside rather than the outside. For the I Dormienti show in 1999 that featured sculptures of sleeping figures by Mimmo Paladino in the middle of the circular room, Eno placed speakers in each of the 12 tunnels running from it.


title: Brian Eno

text: Envisioning the speakers themselves as instruments, led to Eno's 'speaker flowers' becoming a feature of many installations, including at the Museo dell' Ara Pacis (Rome, 2008), again with Mimmo Paladino and 'Speaker Flowers and Lightboxes' at Castello Svevo in Trani (Italy 2017). Re-imagining the speaker as a flower with a voice that could be heard as it moved in the breeze, he made 'bunches' of them, "sculptural objects [that] ... consist of tiny chassis speakers attached to tall metal stands that sway in response to the sound they emit." The first version of these were shown at the Stedelijk Museum in Amsterdam(1984).


title: Brian Eno

text: Since "On Land" (1982), Eno has sought to blur the boundaries between music and non-music and incorporates environmental sounds into his work. He treats synthesised and recorded sounds for specific effects.


title: Brian Eno

text: In the antithesis of 20th century shock art, Eno's works create environments that are: "Envisioned as extensions of everyday life while offering a refuge from its stresses." Creating a space to reflect was a stated aim in Eno's Quiet Club series of installations that have shown across the world, and include Music for Civic Recovery Centre at the David Toop curated Sonic Boom festival at the Hayward Gallery in 2000.


title: Brian Eno

text: The Quiet Club series (1986-2001) grew from Eno's site-specific installations that included the Place series (1985-1989). These also featured light sculptures and audio with the addition of conventional materials, such as "tree trunks, fish bowls, ladders, rocks". Eno used these in unconventional ways to create new and unexpected experiences and modes of engagements, offering an extension of and refuge from, everyday life.


title: Brian Eno

text: The continually flowing non-repeating music and art of Eno's installations militate against habituation to the work and maintain the visitors' engagement with it. "One of the things I enjoy about my shows is...lots of people sitting quietly watching something that has no story, few recognisable images and changes very slowly. It's somewhere between the experience of painting, cinema, music and meditation...I dispute the assumption that everyone's attention span is getting shorter: I find people are begging for experiences that are longer and slower, less "dramatic" and more sensual." Tanya Zimbardo writing on New Urban Spaces Series 4. "Compact Forest Proposal" for SF MOMA (2001) confirms: "During the first presentation of this work, as part of the exhibition 010101: Art in Technological Times at SFMOMA in 2001, visitors often spent considerable time in this dreamlike space."


title: Brian Eno

text: In Eno's work, both art and music are released from their normal constraints. The music set up to randomly reconfigure is modal and abstract rather than tonal, and so the listener is freed from expectations set up by Western tonal harmonic conventions. The artworks in their continual slowly shifting combinations of colour (and in the case of 77 Million Paintings image re-configurations) themselves offer a continually engaging immersive experience through their unfolding fields of light.


title: Brian Eno

text: Developments in computer technology meant that the experience of Eno's unending non-repeatable generative art and music was no longer only possible in the public spaces of his exhibitions. With software developer and programmer Jake Dowie, Eno created a generative art/music installation "77 Million Paintings" for the domestic environment. Developed for both PC and Mac, the process is explained by Nick Robertson in the accompanying booklet. "One way to approach this idea is to imagine that you have a large box full of painted components and you are allowed to blindly take out between one and four of these at any time and overlay them to make a complete painting. The selection of the elements and their duration in the painting is variable and arbitrarily determined…"


title: Brian Eno

text: Most (nearly all) of the visual 'elements' were hand-painted by Eno onto glass slides, creating an organic heart to the work. Some of the slides had formed his earlier "Natural Selections" exhibition projected onto the windows of the Triennale in Milan. (1990). This exhibition marked the beginning of Eno's site specific installations that re-defined spaces on a large scale.


title: Brian Eno

text: For the Triennale exhibition, Eno with Rolf Engel and Roland Blum at Atelier Markgraph, used new technology by Dataton that could be programmed to control the fade up and out times of the light sources. But, unlike the software developed for "77 Million", this was clumsy and limited the practical realisation of Eno's vision.


title: Brian Eno

text: With the computer programmed to randomly select a combination of up to four images of different durations, the on screen painting continually reconfigures as each image slowly dissolves whilst another appears. The painting will be different for every viewer in every situation, uniquely defining each moment. Eno likens his role in creating this piece to one of a gardener planting seeds. And like a gardener he watches to see how they grow, waiting to see if further intervention is necessary. In the liner notes Nick Robertson explains: "Every user will buy exactly the same pack of 'seeds' but they will all grow in different ways and into distinct paintings, the vast majority of which, the artist himself has not even seen. …The original in art is no longer solely bound up in the physical object, but rather in the way the piece lives and grows."


title: Brian Eno

text: Although designed for the domestic environment, "77 Million Paintings" has been (and continues to be) exhibited in multi-screen installations across the world. It has also been projected onto architectural structures, including the sails of the Sydney Opera House (2009), Carioca Aqueduct (the Arcos di Lapa) Brazil (2012) and the giant Lovell Telescope at the Jodrell Bank Observatory (2016). During an exhibition at Fabrica Brighton, (2010) the orthopaedic surgeon Robin Turner noticed the calming effect the work had on the visitors. Turner asked Eno to provide a version for the Montefiore hospital in Hove. Since then "77 Million" and Eno's latest "Light Boxes" have been commissioned for use in hospitals.


title: Brian Eno

text: In 2013, Eno created two permanent light and sound installations at Montefiore Hospital in Hove, East Sussex, England. In the hospital's reception area "77 Million Paintings for Montefiore" consists of eight plasma monitors mounted on the wall in a diagonally radiating flower-like pattern. They display an evolving collage of coloured patterns and shapes whilst Eno's generative ambient music plays discreetly in the background. The other aptly named "Quiet Room for Montefiore" (available for patients, visitors and staff) is a space set apart for meditative reflection. It is a moderately sized room with three large panels displaying dissolves of subtle colours in patterns that are reminiscent of Mondrian paintings. The environment brings Eno's ambient music into focus and facilitates the visitors' cognitive drift, freeing them to contemplate or relax.


title: Brian Eno

text: Eno composed most of the music for the Electronic Arts video game "Spore" (2008), assisted by his long-term collaborator, the musician and programmer Peter Chilvers. Much of the music is generative and responsive to the player's position within the game.


title: Brian Eno

text: Inspired by possibilities presented to Eno and Chilvers whilst working together on the generative soundtrack for the video game "Spore" (2008), the two began to release generative music in the Apple App format. They set up the website generativemusic.com and created generative music applications for the iPhone, iPod Touch, and iPad:


title: Brian Eno

text: In 2009, Chilvers and Sandra O'Neill also created an App entitled "Air" (released through generativemusic.com as well)—based on concepts developed by Eno in his "Ambient 1: Music for Airports" album.


title: Brian Eno

text: The generative version of "Reflection" is the fourth iOS App created by Brian Eno and Peter Chilvers: of generativemusic.com. Unlike other Apps they released "Reflection" provides no real options other than Play/Pause – later, in its initial update, Airplay and Sleep Timer options were added. As Apple had started increasing prices for Apps sold in UK, they lowered its price. For those who'd bought the app at a higher price, Eno and Chilvers provided links to a free download of a four track album called 'Sisters' (each track with a 15:14 duration). The following appears on the app's Apple iTunes page:


title: Brian Eno

text: The version of "Reflection" available on the fixed formats (CD, Vinyl and download File) consists of two (joined) excerpts from the "Reflection" app. This was revealed in Brian's interview with Philip Sherburne:


title: Brian Eno

text: Eno's "light boxes" utilise advances in LED technology that has enabled him to re-imagine his ziggurat light paintings - and early light boxes as featured in "Kite Stories" (1999) - for the domestic environment. The light boxes feature slowly changing combinations of colour fields that draw attention differently to the shapes outlined by delineating structures within. As the paintings slowly evolve each passing moment is defined differently, drawing the viewer's focus into the present moment. The writer and cultural essayist Michael Bracewell writes that the viewer "is also encouraged to engage with a generative sensor/aesthetic experience that reflects the ever-changing moods and randomness of life itself". He likens Eno's art to "Matisse or Rothko at their most enfolding."


title: Brian Eno

text: First shown commercially at the Paul Stolper Gallery in London (forming the "Light Music" exhibition in 2016 that included lenticular paintings by Eno), light boxes have been shown across the world. They remain in permanent display in both private and public spaces. Recognised for their therapeutic contemplative benefits, Eno's light paintings have been commissioned for specially dedicated places of reflection including in Chelsea and Westminster hospital, the Montefiore Hospital in Hove and a three and a half metre lightbox for the sanctuary room in the Macmillan Horizon Centre in Brighton.


title: Brian Eno

text: Eno started the Obscure Records label in Britain in 1975 to release works by lesser-known composers. The first group of three releases included his own composition, "Discreet Music", and the now-famous "The Sinking of the Titanic" (1969) and "Jesus' Blood Never Failed Me Yet" (1971) by Gavin Bryars. The second side of "Discreet Music" consisted of several versions of German baroque composer Johann Pachelbel's "Canon", the composition which Eno had previously chosen to precede Roxy Music's appearances on stage and to which he applied various algorithmic transformations, rendering it almost unrecognisable. Side one consisted of a tape loop system for generating music from relatively sparse input. These tapes had previously been used as backgrounds in some of his collaborations with Robert Fripp, most notably on "Evening Star". Ten albums were released on Obscure, including works by John Adams, Michael Nyman, and John Cage.


title: Brian Eno

text: In 1995, Eno travelled with Edinburgh University's Professor Nigel Osborne to Bosnia in the aftermath of the Bosnian War, to work with war-traumatised children, many of whom had been orphaned in the conflict. Osborne and Eno led music therapy projects run by War Child in Mostar, at the Pavarotti centre, Bosnia 1995.


title: Brian Eno

text: Eno appeared as Father Brian Eno at the "It's Great Being a Priest!" convention, in "Going to America", the final episode of the television sitcom "Father Ted", which originally aired on 1 May 1998 on Channel 4.


title: Brian Eno

text: In March 2008, Eno collaborated with the Italian artist Mimmo Paladino on a show of the latter's works with Eno's soundscapes at Ara Pacis in Rome, and in 2011, he joined Stephen Deazley and Edinburgh University music lecturer Martin Parker in an "Icebreaker" concert at Glasgow City Halls, heralded as a "long-awaited clash".


title: Brian Eno

text: In 2016, Eno was added to Edinburgh University's roll of honour and in 2017, he delivered the Andrew Carnegie Lecture at the university.


title: Brian Eno

text: Eno continues to be active in other artistic fields. His sound installations have been exhibited in many prestigious venues around the world, including the Walker Art Center, Minneapolis; Contemporary Arts Museum Houston; New Museum of Contemporary Art, New York; Vancouver Art Gallery, Stedelijk Museum, Amsterdam, Centre Pompidou, Paris, Institute of Contemporary Arts, London, Baltic Art Centre, Gateshead, and the Sydney, São Paulo, Josep Tarradellas Barcelona–El Prat Airport, and Venice Biennials.


title: Brian Eno

text: In 2020-2021 Eno is working with a group of developers on audio-video conferencing software and service that addresses issues of corporate video conferencing software (like Zoom) when used for other purposes.


title: Brian Eno

text: Asteroid 81948 Eno, discovered by Marc Buie at Cerro Tololo in 2000, was named in his honor. The official was published by the Minor Planet Center on 18 May 2019 ().


title: Brian Eno

text: In 2019, he was awarded Starmus Festival's Stephen Hawking Medal for Science Communication for Music & Arts.


title: Brian Eno

text: Eno is frequently referred to as one of popular music's most influential artists. Producer and film composer Jon Brion has said: "I think he's the most influential artist since the Beatles." Critic Jason Ankeny at "AllMusic" argues that Eno "forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence." Eno has spread his techniques and theories primarily through his production; his distinctive style informed a number of projects in which he has been involved, including Bowie's "Berlin Trilogy" (helping to popularize minimalism) and the albums he produced for Talking Heads (incorporating, on Eno's advice, African music and polyrhythms), Devo, and other groups. Eno's first collaboration with David Byrne, 1981's "My Life in the Bush of Ghosts", utilised sampling techniques and broke ground by incorporating world music into popular Western music forms. Eno and Peter Schmidt's Oblique Strategies have been used by many bands, and Eno's production style has proven influential in several general respects: "his recording techniques have helped change the way that modern musicians;– particularly electronic musicians;– view the studio. No longer is it just a passive medium through which they communicate their ideas but itself a new instrument with seemingly endless possibilities." According to "Vinyl Me, Please" writer Jack Riedy, Eno's peak as an artist coincided with the album era – a period in popular music during which the album surpassed the single as the dominant recorded-music format – "and Eno took full advantage of the format to pursue all his musical ideas on wax."


title: Brian Eno

text: Whilst inspired by the ideas of minimalist composers including John Cage, Terry Riley and Erik Satie, Eno coined the term ambient music to describe his own work and defined the term. The Ambient Music Guide states that he has brought from "relative obscurity into the popular consciousness" fundamental ideas about ambient music, including "the idea of modern music as subtle atmosphere, as chill-out, as impressionistic, as something that creates space for quiet reflection or relaxation." His groundbreaking work in electronic music has been said to have brought widespread attention to and innovations in the role of electronic technology in recording. Pink Floyd keyboardist Rick Wright said he "often eulogised" Eno's abilities.


title: Brian Eno

text: Eno's "unconventional studio predilections", in common with those of Peter Gabriel, were an influence on the recording of "In the Air Tonight", the single which launched the solo career of Eno's former drummer Phil Collins. Collins said he "learned a lot" from working with Eno. Both Half Man Half Biscuit (in the song "Eno Collaboration" on the EP of the same name) and MGMT have written songs about Eno. LCD Soundsystem has frequently cited Eno as a key influence. The Icelandic singer Björk also credited Eno as a major influence.


title: Brian Eno

text: Mora sti Fotia (Babies on Fire), one of the most influential Greek rock bands, was named after Eno's song "Baby's on Fire" from the 1973 album "Here Come the Warm Jets".


title: Brian Eno

text: In 2011, Belgian academics from the Royal Museum for Central Africa named a species of Afrotropical spider "Pseudocorinna brianeno" in his honour.


title: Brian Eno

text: In September 2016, asked by the website Just Six Degrees to name a currently influential artist, Eno cited the conceptual, video and installation artist Jeremy Deller as a source of current inspiration: "Deller's work is often technically very ambitious, involving organising large groups of volunteers and helpers, but he himself is almost invisible in the end result. I'm inspired by this quietly subversive way of being an artist, setting up situations and then letting them play out. To me it's a form of social generative art where the 'generators' are people and their experiences, and where the role of the artist is to create a context within which they collide and create."


title: Brian Eno

text: Eno has married twice. In March 1967, at the age of 18, Eno married Sarah Grenville. The couple had a daughter, Hannah Louise (b. 1967), before their divorce. In 1988, Eno married his then-manager Anthea Norman-Taylor. They have two daughters, Irial Violet (b. 1990) and Darla Joy (b. 1991).


title: Brian Eno

text: In an interview with Michael Bonner, published in the May 2020 issue of "Uncut", Eno referred to Ray Hearn as his current manager, and also referred to his girlfriend.


title: Brian Eno

text: Eno has referred to himself as "kind of an evangelical atheist" but has also professed an interest in religion. In 1996, Eno and others started the Long Now Foundation to educate the public about the very long-term future of society and to encourage long-term thinking in the exploration of enduring solutions to global issues. In 2005, through the Long Now foundation's Long Bets, he won a $500 bet by challenging someone who predicted a Democrat would be president of the United States in 2005.


title: Brian Eno

text: In 1991, Eno appeared on BBC Radio 4's "Desert Island Discs". His chosen book was "Contingency, Irony, and Solidarity" by Richard Rorty and his luxury item was a radio telescope.


title: Brian Eno

text: In 2017, Eno signed an open letter as a member of the Labour Party and has stated that voting for the Liberal Democrats is "voting Tory without admitting it". In August 2015, he endorsed Jeremy Corbyn's campaign in the Labour Party leadership election. He said at a rally in Camden Town Hall: "I don't think electability really is the most important thing. What's important is that someone changes the conversation and moves us off this small-minded agenda." He later wrote in "The Guardian": "He's [Corbyn] been doing this with courage and integrity and with very little publicity. This already distinguishes him from at least half the people in Westminster, whose strongest motivation seems to have been to get elected, whatever it takes."


title: Brian Eno

text: In 2006, Eno was one of more than 100 artists and writers who signed an open letter calling for an international boycott of Israeli political and cultural institutions. and in January 2009 he spoke out against Israel's military action on the Gaza Strip by writing an opinion for "CounterPunch" and participating in a large-scale protest in London. In 2014, Eno again protested publicly against what he called a "one-sided exercise in ethnic cleansing" and a "war [with] no moral justification," in reference to the 2014 military operation of Israel into Gaza. He was also a co-signatory, along with Archbishop Desmond Tutu, Noam Chomsky, Alice Walker and others, to a letter published in "The Guardian" that labelled the conflict as an "inhumane and illegal act of military aggression" and called for "a comprehensive and legally binding military embargo on Israel, similar to that imposed on South Africa during apartheid."


title: Brian Eno

text: In 2013, Eno became a patron of Videre Est Credere (Latin for "to see is to believe"), a UK human rights charity. Videre describes itself as "give[ing] local activists the equipment, training and support needed to safely capture compelling video evidence of human rights violations. This captured footage is verified, analysed and then distributed to those who can create change." He participates alongside movie producers Uri Fruchtmann and Terry Gilliam – along with executive director of Greenpeace UK John Sauven.


title: Brian Eno

text: Eno was appointed President of Stop the War Coalition in 2017. He has had a long involvement with the organisation since it was set up in 2001.


title: Brian Eno

text: He is also a trustee of the environmental law firm ClientEarth, Somerset House, and the Institute for Innovation and Public Purpose, set up by Mariana Mazzucato.


title: Brian Eno

text: Eno opposes United Kingdom's withdrawal from the European Union. Following the June 2016 referendum result when the British public voted to leave, Eno was among a group of British musicians who signed a letter to the Prime Minister Theresa May calling for a second referendum.


title: Brian Eno

text: In November 2019, along with other public figures, Eno signed a letter supporting Labour Party leader Jeremy Corbyn describing him as "a beacon of hope in the struggle against emergent far-right nationalism, xenophobia and racism in much of the democratic world" and endorsed him for in the 2019 UK general election. In December 2019, along with 42 other leading cultural figures, he signed a letter endorsing the Labour Party under Corbyn's leadership in the 2019 general election. The letter stated that "Labour's election manifesto under Jeremy Corbyn's leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few."


title: Brian Eno

text: Brian Eno is an early and prominent member of Democracy in Europe Movement 2025 (DiEM25) where he contributes, issues statements, and takes part in media events and discussions.


title: Antisocial personality disorder

text: Antisocial personality disorder (ASPD or infrequently APD) is a personality disorder characterized by a long-term pattern of disregard of, or violation of, the rights of others as well as a difficulty sustaining long-term relationships. Lack of empathy is often apparent, as well as a history of rule-breaking that can sometimes include law-breaking, a tendency towards substance abuse, and impulsive and aggressive behavior. Antisocial behaviors often have their onset before the age of 8, and in nearly 80% of ASPD cases, the subject will develop their first symptoms by age 11. The prevalence of ASPD peaks in people age 24 to 44 years old, and often decreases in people age 45 to 64 years. In the United States, the rate of antisocial personality disorder in the general population is estimated between 0.5 and 3.5 percent. In a study, a random sampling of 320 newly incarcerated offenders found ASPD was present in over 35 percent of those surveyed.


title: Antisocial personality disorder

text: Personality disorders are a class of mental disorders characterized by enduring and inflexible maladaptive patterns of behavior, cognition, and inner experience, exhibited across many contexts and deviating from those accepted by any culture. These patterns develop by early adulthood, and are associated with significant distress or impairment. Criteria for diagnosing personality disorders are listed in the fifth chapter of the "International Classification of Diseases" (ICD) and in the American Psychiatric Association's "Diagnostic and Statistical Manual of Mental Disorders" (DSM).


title: Antisocial personality disorder

text: The equivalent concept of dissocial personality disorder (DPD) is defined in the "International Statistical Classification of Diseases and Related Health Problems" (ICD); the primary theoretical distinction between the two is that antisocial personality disorder focuses on observable behaviours, while dissocial personality disorder focuses on affective deficits. Otherwise, both manuals provide similar criteria for diagnosing the disorder. Both have also stated that their diagnoses have been referred to, or include what is referred to, as psychopathy or sociopathy. However, some researchers have drawn distinctions between the concepts of antisocial personality disorder and psychopathy, with many researchers arguing that psychopathy is a disorder that overlaps with but is distinguishable from ASPD.


title: Antisocial personality disorder

text: ASPD is one of the personality disorders most likely to be associated with addiction. This is due to their tendency towards impulsive and reckless decision making, which puts them at risk of developing a substance abuse disorder, prepulse inhibition deficiencies, misuse of oral administrations, drug overdoses, blood-borne diseases, shorter periods of abstinence, drug use at earlier ages, aggressive behavior, impulsivity, frequent illegal drug use, drug injections, and difficult interpersonal relationships. Substance abuse problems are far more common amongst people with ASPD who live in rural environments rather than urban ones. There are also gender differences between men and women in regard to substance abuse. Men who abuse substances are far more likely to have ASPD than women, who are more likely to have a mood disorder. The relationship between substance abuse and ASPD can be affected by other personality disorders. For example, one of the previously mentioned studies found that 27.6% of participants who had ASPD and alcohol abuse had more than one personality disorder. Heroin, methamphetamine, opiates, alcohol, nicotine, cannabis, polydrugs, cocaine, and crack cocaine are some prevalent drugs amongst people with ASPD. Alongside substance abuse, patients with ASPD are more likely to develop a gambling addiction.


title: Antisocial personality disorder

text: Antisocial personality disorder has been associated with higher levels of impulsivity, suicidality, and irresponsible behavior. Usually resulting in heightened levels of aggressive behavior, domestic violence, illegal drug use, pervasive anger, and violent crimes. This behavior usually has negative effects on their education, relationships, or job. Alongside this, risky sexual behavior such as having multiple sexual partners, seeing prostitutes, inconsistently using condoms, trading sex for drugs, and frequent anal sex is also common. Their impulsive behavior will usually jeopardize their own safety and the safety of others.


title: Antisocial personality disorder

text: The violent and impulsive behavior present in ASPD has been correlated with chronic boredom. Other studies have found that people with ASPD tend to describe emotions with ambivalence, and experience emotions such as happiness and fear less clearly than others. They may also experience negative emotions such as anger and frustration more frequently and clearly than other emotions. People with ASPD can have difficulty mentalizing, or understanding the mental state of others. They also may display a perfectly intact theory of mind, or the ability to attribute a mental state to oneself and others, but an impaired ability to understand how another individual may be affected by an aggressive action. These factors possibly contribute to their aggressive and criminal behavior as well as their empathy deficits. Despite this they may be adept at social cognition, or the ability to process and store information about other people, which can contribute to an increased ability to manipulate others.


title: Antisocial personality disorder

text: People with ASPD tend to experience more convictions, spend more time in jail, and are more likely to be charged with almost any crime. However, assault and other violent crimes are the most common charges. This disorder is also prominent among prisoner populations. Alongside other conduct problems, many people with ASPD had conduct disorder in youth, a disorder characterized by a pervasive pattern of violent, criminal, defiant, and anti-social behavior. Fire-setting and the destruction of others property is also a behavior commonly associated with ASPD and impulsivity. Fire starters with ASPD tend to have a history of robbery, harassment, threatening, blackmail, and difficulty fulfilling promises.


title: Antisocial personality disorder

text: People with ASPD may experience a limited capacity for empathy and can be more interested in benefiting themselves regardless of the expense it has on others. They may have no regard for morals, social norms, and the rights and feelings of others. People with Antisocial personality disorder may have difficulties in sustaining and maintaining relationships, and some have difficulty entering them. Interpersonal relationships often revolve around the exploitation and abuse of others. People with ASPD may display arrogance, think lowly and negatively of others, and have limited remorse for their harmful actions and have a callous attitude towards those they have harmed. Although behaviors vary in degree, individuals with this personality disorder will typically have limited compunction in exploiting others in harmful ways for their own gain or pleasure, and frequently manipulate and deceive other people. While some do so through a façade of superficial charm, others do so through intimidation and violence. It is possible that people with ASPD may have intact cognitive empathy, but with a deficient theory of mind. Studies have found that people with ASPD have difficulty understanding other's emotions and mental states. It also may be possible that people with ASPD do not lack empathy but are less inclined to use it.


title: Antisocial personality disorder

text: When combined with alcoholism, people may show frontal function deficits on neuropsychological tests greater than those associated with each condition. Alcohol use disorder is likely caused by lack of impulse and behavioral control exhibited by antisocial personality disorder patients. The rates of ASPD tends to register around 40–50% in male alcohol and opiate addicts. However, it is important to remember this is not a causal relationship, but rather a plausible consequence of cognitive deficits as a result of ASPD.


title: Antisocial personality disorder

text: Personality disorders are seen to be caused by a combination and interaction of genetic and environmental influences. Genetically, it is the intrinsic temperamental tendencies as determined by their genetically influenced physiology, and environmentally, it is the social and cultural experiences of a person in childhood and adolescence encompassing their family dynamics, peer influences, and social values. People with an antisocial or alcoholic parent are considered to be at higher risk. Fire-setting, and cruelty to animals during childhood are also linked to the development of antisocial personality. The condition is more common in males than in females, and among incarcerated populations.


title: Antisocial personality disorder

text: Research into genetic associations in antisocial personality disorder suggests that ASPD has some or even a strong genetic basis. Prevalence of ASPD is higher in people related to someone with the disorder. Twin studies, which are designed to discern between genetic and environmental effects, have reported significant genetic influences on antisocial behavior and conduct disorder.


title: Antisocial personality disorder

text: In the specific genes that may be involved, one gene that has seen particular interest in its correlation with antisocial behavior is the gene that encodes for monoamine oxidase A (MAO-A), an enzyme that breaks down monoamine neurotransmitters such as serotonin and norepinephrine. Various studies examining the genes' relationship to behavior have suggested that variants of the gene that results in less MAO-A being produced, such as the 2R and 3R alleles of the promoter region, have associations with aggressive behavior in men. The association is also influenced by negative experience in early life, with children possessing a low-activity variant (MAOA-L) who experience such maltreatment being more likely to develop antisocial behavior than those with the high-activity variant (MAOA-H). Even when environmental interactions (e.g. emotional abuse) are controlled for, a small association between MAOA-L and aggressive and antisocial behavior remains.


title: Antisocial personality disorder

text: The gene that encodes for the serotonin transporter (SCL6A4), a gene that is heavily researched for its associations with other mental disorders, is another gene of interest in antisocial behavior and personality traits. Genetic associations studies have suggested that the short "S" allele is associated with impulsive antisocial behavior and ASPD in the inmate population. However, research into psychopathy find that the long "L" allele is associated with the Factor 1 traits of psychopathy, which describes its core affective (e.g. lack of empathy, fearlessness) and interpersonal (e.g. grandiosity, manipulativeness) personality disturbances. This is suggestive of two different forms, one associated more with impulsive behavior and emotional dysregulation, and the other with predatory aggression and affective disturbance, of the disorder.


title: Antisocial personality disorder

text: Various other gene candidates for ASPD have been identified by a genome-wide association study published in 2016. Several of these gene candidates are shared with attention-deficit hyperactivity disorder, with which ASPD is comorbid. Furthermore, the study found that those who carry four mutations on chromosome 6 are 50 percent more likely to develop antisocial personality disorder than those who do not.


title: Antisocial personality disorder

text: Traumatic events can lead to a disruption of the standard development of the central nervous system, which can generate a release of hormones that can change normal patterns of development.


title: Antisocial personality disorder

text: Aggressiveness and impulsivity are among the possible symptoms of ASPD. Testosterone is a hormone that plays an important role in aggressiveness in the brain. For instance, criminals who have committed violent crimes tend to have higher levels of testosterone than the average person. The effect of testosterone is counteracted by cortisol which facilitates the cognitive control of impulsive tendencies.


title: Antisocial personality disorder

text: One of the neurotransmitters that has been discussed in individuals with ASPD is serotonin, also known as 5HT. A meta-analysis of 20 studies found significantly lower 5-HIAA levels (indicating lower serotonin levels), especially in those who are younger than 30 years of age.


title: Antisocial personality disorder

text: While it has been shown that lower levels of serotonin may be associated with ASPD, there has also been evidence that decreased serotonin function is highly correlated with impulsiveness and aggression across a number of different experimental paradigms. Impulsivity is not only linked with irregularities in 5HT metabolism, but may be the most essential psychopathological aspect linked with such dysfunction. Correspondingly, the DSM classifies "impulsivity or failure to plan ahead" and "irritability and aggressiveness" as two of seven sub-criteria in category A of the diagnostic criteria of ASPD.


title: Antisocial personality disorder

text: Some studies have found a relationship between monoamine oxidase A and antisocial behavior, including conduct disorder and symptoms of adult ASPD, in maltreated children.


title: Antisocial personality disorder

text: Antisocial behavior may be related to head trauma. Antisocial behavior is associated with decreased grey matter in the right lentiform nucleus, left insula, and frontopolar cortex. Increased volumes have been observed in the right fusiform gyrus, inferior parietal cortex, right cingulate gyrus, and post central cortex.


title: Antisocial personality disorder

text: Intellectual and cognitive ability is often found to be impaired or reduced in the ASPD population. Contrary to stereotypes in popular culture of the "psychopathic genius", antisocial personality disorder is associated with both reduced overall intelligence and specific reductions in individual aspects of cognitive ability. These deficits also occur in general-population samples of people with antisocial traits and in children with the precursors to antisocial personality disorder.


title: Antisocial personality disorder

text: People that exhibit antisocial behavior tend to demonstrate decreased activity in the prefrontal cortex. The association is more apparent in functional neuroimaging as opposed to structural neuroimaging. The prefrontal cortex is involved in many executive functions, including behavior inhibitions, planning ahead, determining consequences of action, and differentiating between right and wrong. However, some investigators have questioned whether the reduced volume in prefrontal regions is associated with antisocial personality disorder, or whether they result from co-morbid disorders, such as substance use disorder or childhood maltreatment. Moreover, it remains an open question whether the relationship is causal, i.e., whether the anatomical abnormality causes the psychological and behavioral abnormality, or vice versa.


title: Antisocial personality disorder

text: Cavum septi pellucidi (CSP) is a marker for limbic neural maldevelopment, and its presence has been loosely associated with certain mental disorders, such as schizophrenia and post-traumatic stress disorder. One study found that those with CSP had significantly higher levels of antisocial personality, psychopathy, arrests and convictions compared with controls.


title: Antisocial personality disorder

text: Many studies suggest that the social and home environment has contributed to the development of antisocial behavior. The parents of these children have been shown to display antisocial behavior, which could be adopted by their children. A lack of parental stimulation and affection during early development leads to high levels of cortisol with the absence of balancing hormones such as oxytocin which disrupts and overloads the child's stress response systems, which is thought to lead to underdevelopment of the child's brain that deals with emotion, empathy and ability to connect to other humans on an emotional level. According to Dr. Bruce Perry in his book "The Boy Who Was Raised as a Dog," "the [infant's developing] brain needs patterned, repetitive stimuli to develop properly. Spastic, unpredictable relief from fear, loneliness, discomfort, and hunger keeps a baby's stress system on high alert. An environment of intermittent care punctuated by total abandonment may be the worst of all worlds for a child."


title: Antisocial personality disorder

text: ASPD is highly correlated with emotional and physical abuse in childhood. Physical neglect has a significant correlation to ASPD. The way a child bonds with the parents in early life is important. Poor parental bonding due to abuse puts children at greater risk for developing antisocial personality disorder. There is a significant correlation with paternal overprotection and people who develop ASPD.


title: Antisocial personality disorder

text: The sociocultural perspective of clinical psychology views disorders as influenced by cultural aspects; since cultural norms differ significantly, mental disorders such as ASPD are viewed differently. Robert D. Hare has suggested that the rise in ASPD that has been reported in the United States may be linked to changes in cultural mores, the latter serving to validate the behavioral tendencies of many individuals with ASPD. While the rise reported may be in part merely a byproduct of the widening use (and abuse) of diagnostic techniques, given Eric Berne's division between individuals with active and latent ASPD – the latter keeping themselves in check by attachment to an external source of control like the law, traditional standards, or religion – it has been suggested that the erosion of collective standards may indeed serve to release the individual with latent ASPD from their previously prosocial behavior.


title: Antisocial personality disorder

text: There is also a continuous debate as to the extent to which the legal system should be involved in the identification and admittance of patients with preliminary symptoms of ASPD. Controversial clinical psychiatrist Pierre-Édouard Carbonneau suggested that the problem with legal forced admittance is the rate of failure when diagnosing ASPD. He contends that the possibility of diagnosing and coercing a patient into prescribing medication to someone without ASPD, but is diagnosed with ASPD, could be potentially disastrous. But the possibility of not diagnosing ASPD and seeing a patient go untreated because of a lack of sufficient evidence of cultural or environmental influences is something a psychiatrist must ignore; and in his words, "play it safe".


title: Antisocial personality disorder

text: While antisocial personality disorder is a mental disorder diagnosed in adulthood, it has its precedent in childhood. The DSM-5's criteria for ASPD require that the individual have conduct problems evident by the age of 15. Persistent antisocial behavior, as well as a lack of regard for others in childhood and adolescence, is known as conduct disorder and is the precursor of ASPD. About 25–40% of youths with conduct disorder will be diagnosed with ASPD in adulthood.


title: Antisocial personality disorder

text: Conduct disorder (CD) is a disorder diagnosed in childhood that parallels the characteristics found in ASPD and is characterized by a repetitive and persistent pattern of behavior in which the basic rights of others or major age-appropriate norms are violated. Children with the disorder often display impulsive and aggressive behavior, may be callous and deceitful, and may repeatedly engage in petty crime such as stealing or vandalism or get into fights with other children and adults. This behavior is typically persistent and may be difficult to deter with threat or punishment. Attention deficit hyperactivity disorder (ADHD) is common in this population, and children with the disorder may also engage in substance use. CD is differentiated from oppositional defiant disorder (ODD) in that children with ODD do not commit aggressive or antisocial acts against other people, animals, and property, though many children diagnosed with ODD are subsequently re-diagnosed with CD.


title: Antisocial personality disorder

text: Two developmental courses for CD have been identified based on the age at which the symptoms become present. The first is known as the "childhood-onset type" and occurs when conduct disorder symptoms are present before the age of 10 years. This course is often linked to a more persistent life course and more pervasive behaviors, and children in this group express greater levels of ADHD symptoms, neuropsychological deficits, more academic problems, increased family dysfunction, and higher likelihood of aggression and violence. The second is known as the "adolescent-onset type" and occurs when conduct disorder develops after the age of 10 years. Compared to the childhood-onset type, less impairment in various cognitive and emotional functions are present, and the adolescent-onset variety may remit by adulthood. In addition to this differentiation, the DSM-5 provides a specifier for a callous and unemotional interpersonal style, which reflects characteristics seen in psychopathy and are believed to be a childhood precursor to this disorder. Compared to the adolescent-onset subtype, the childhood-onset subtype, especially if callous and unemotional traits are present, tends to have a worse treatment outcome.


title: Antisocial personality disorder

text: The main text of fifth edition of the "Diagnostic and Statistical Manual of Mental Disorders" (DSM-5) defines antisocial personality disorder as being characterized by at least three of the following traits:


title: Antisocial personality disorder

text: In order to be diagnosed with antisocial personality disorder under the DSM-5, one must be at least 18 years old, show evidence of onset of conduct disorder before age 15, and antisocial behavior cannot be explained by schizophrenia or bipolar disorder.


title: Antisocial personality disorder

text: In response to criticisms of the extant (Section II/DSM-IV) criteria for personality disorders, including their discordance with current models in the scientific literature, high comorbidity rate, overuse of some categories and underuse of others, and overwhelming use of the personality disorder-not otherwise specified (PD-NOS) diagnosis, the DSM-5 Workgroup on personality disorders devised a dimensional model, wherein categoric personality diagnoses reflect extreme variations of normal personality traits.


title: Antisocial personality disorder

text: In response to criticisms of the extant Section II/DSM-IV criteria for ASPD, namely its failure to capture the interpersonal and affective features of psychopathy, new criteria were proposed.


title: Antisocial personality disorder

text: In addition to the new criteria, the individual must be at least 18 years old, the traits must cause dysfunction or distress, and should not be better explained by another mental disorder, the pathophysiological effects of a substance, or a person's cultural or social background. Also included as a "with psychopathic traits" specifier modelled after the Fearless Dominance scale of the Psychopathic Personality Inventory, defined by low Anxiousness and Withdrawal and high Attention-Seeking. Researchers have also proposed the inclusion of Grandiosity and Restricted Affectivity to better capture psychopathy.