From a 2011 interview of Brian Eno by author David Mitchell.
But really, the idea arose out of the new possibilities of the medium of recording. I listened with interest to the work of producers like Phil Spector and Joe Meek and George Martin because I realized that they were doing things with music that could be described as sound painting. For me, trained as a painter, this was exciting: Music was being made like paintings were made, adding and subtracting, manipulating colors, built up over a period of time rather than performed in one sitting. Separated from performance, recorded sound had become a malleable material, like paint or clay. And the results of this process were pointing toward a type of music that was less linear and more immersive: music you lived inside.
Later in the interview Davit Mitchell says this:
A friend describes Rothko as “how blind people might see radiators.”
Here is another passage I love:
I like your observation about how recording fixes the ephemeral, like insects in amber. It makes me think of how the printed word is frozen speech, or perhaps pickled thought.