la revancha de lo intuitivo,,,,,,brian eno,,,,,,1999,,,,,,excerpts

http://www.wired.com/wired/archive/7.01/eno.html



But now I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated.



In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.



Indeed, familiarity breeds content. When you use familiar tools, you draw upon a long cultural conversation - a whole shared history of usage - as your backdrop, as the canvas to juxtapose your work.