This essay explores Brian Eno's influential role in the evolution of electronic and experimental music through the lens of Gilles Deleuze and Félix Guattari's philosophical concepts. Focusing on Eno's pioneering work in generative music, which evolves unpredictably over time, the essay applies Deleuze's ideas of rhizomatic structures, assemblage and the virtual/actual to analyse how Eno bridges technological innovation with human emotion and environmental context. By situating Eno within the broader discourse of Deleuzian philosophy, the essay illuminates the transformative impact of generative processes on contemporary sonic studies. It argues that Eno's approach has not only reshaped musical practices but also inspired a new generation of artists like Oneohtrix Point Never and Holly Herndon, who continue to explore the intersection of technology and abstract musical forms. Through this exploration, the essay underscores the relevance of Deleuze's theories in understanding the dynamic relationship between creativity and technology in music.
