From nothing to more than nothing
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README.org
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README.org
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* Oblique strategies
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#+CAPTION: Oblique Strategies deck, PO Box, The Barbican, London, UK. Cory Doctorow
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[[strategies/9041086636_498b3a0741_k.jpg]]
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"In 1975, Peter Schmidt and Brian Eno created the original pack of Oblique Strategies cards, through thinking about approaches to their own work as artist and musician. The Oblique Strategies constitute a set of over 100 cards, each of which is a suggestion of a course of action or thinking to assist in creative situations. These famous cards have been used by many artists and creative people all over the world since their initial publication." https://www.enoshop.co.uk/product/oblique-strategies.html
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* Acute tactics
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"Each card contains a phrase or cryptic remark which can be used to break a deadlock or dilemma situation. Some are specific to music composition; others are more general." http://en.wikipedia.org/wiki/Oblique_Strategies
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"Throughout the world people have realized a universality among these word combinations: they speak to the mind, to the heart and to the gut. Whatever obstacles a person may find in their life, meditating on one of these strategies can help a person focus towards their goal. These oblique strategies never provide answers, but they give a person impetus to look somewhere they hadn't thought of looking before. It's like having someone look over your shoulder and point out something you overlooked." https://h2g2.com/entry/A635528
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Oblique strategies can be installed via [[https://melpa.org][MELPA]] (or manually from [[https://github.com/zzkt/oblique-strategies][github]])
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#+BEGIN_SRC emacs-lisp
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(use-package oblique
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:config (setq oblique-edition "strategies/oblique-strategies-condensed.txt"))
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#+END_SRC
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A cryptic remark can be produced when needed using =M-x oblique-strategy= or more programatically if required e.g. =(alert (oblique-strategy) :title "Obliquely...")= it's also possible to insert an Oblique Strategy with =insert-oblique-strategy=
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* Oblique sources
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"The purpose of this document is to provide a listing of the complete contents of all three versions of the Oblique Strategies. While my interest in doing so is scholarly, readers may be interested in constructing their own "meta-set" of all three editions of the decks, or in looking at what is added or deleted." http://music.hyperreal.org/artists/brian_eno/osfaq2.html
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"I do this with hesitation. The following list is unarguably copyrighted by Brian Eno himself, and will no doubt be removed from this guide entry by some uninspired lawyer. The intent of this document is not to gain financially at the expense of anyone, but to spread the knowledge of this little known but really keen neato cool idea." https://h2g2.com/entry/A635528
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Several editions of the Oblique Strategies have be produced, published, explored and transcribed. *Edition 1 (1975), *Edition 2 (1978), *Edition 3 (1979)*, *Edition 4 (1996)* of Oblique Strategies © 1975, 1978, 1979, and 2002 Brian Eno and Peter Schmidt. An unofficial *Condensed Edition (2001)* "is a condensed version of all four of the original versions, and also includes examples from Brian Eno's own publically published diary, as well as a version made public by the Whole Earth Catalog." https://h2g2.com/entry/A635528
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To use a specific edition set the variable =oblique-edition= for example...
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using a file name...
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=(setq oblique-edition "strategies/oblique-strategies-edition-4.txt")=
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or customize (using the name of the edition)...
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=M-x customize-group RET oblique-strategies RET=
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* Further
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- [[https://www.enoshop.co.uk/product/oblique-strategies.html][Physical Non-Musical]] (Eno Shop)
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- [[http://music.hyperreal.org/artists/brian_eno/osfaq2.html][The More-Or-Less Complete and True History of the Oblique Strategies]] (1995)
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- notes from [[http://www.rtqe.net/ObliqueStrategies/index.html][Gregory Taylor]] (continued...) and [[https://github.com/ptigas/oblique-strategies][Panagiotis Tigas]] (2012)
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- [[http://www.heraclitusfragments.com/Fragments.html][The Fragments of Heraclitus]] (6th century BCE)
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102
oblique.el
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oblique.el
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;;; oblique.el --- Provide an oblique strategy
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;; Copyright FoAM 2011
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;;
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;; Author: nik gaffney <nik@fo.am>
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;; Created: 2011-11-11
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;; Version: 0.1
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;; Keywords: strategy, tactics, creativity
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;; URL: https://github.com/zzkt/oblique-strategies
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;; This file is not part of GNU Emacs.
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;; This program is free software; you can redistribute it and/or modify
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;; it under the terms of the GNU General Public License as published by
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;; the Free Software Foundation; either version 2, or (at your option)
|
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;; any later version.
|
||||
;;
|
||||
;; This program is distributed in the hope that it will be useful,
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;; but WITHOUT ANY WARRANTY; without even the implied warranty of
|
||||
;; MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
|
||||
;; GNU General Public License for more details.
|
||||
;;
|
||||
;; You should have received a copy of the GNU General Public License
|
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;; along with this program; if not, write to the Free Software
|
||||
;; Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
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;;; Commentary:
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;; "Oblique Strategies (subtitled over one hundred worthwhile dilemmas)
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;; is a set of published cards created by Brian Eno and Peter Schmidt
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;; first published in 1975, and is now in its fifth, open ended, edition.
|
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;; Each card contains a phrase or cryptic remark which can be used to break
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;; a deadlock or dilemma situation. Some are specific to music composition;
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;; others are more general."
|
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;; http://en.wikipedia.org/wiki/Oblique_Strategies
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;;
|
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;; "I do this with hesitation. The following list is unarguably copyrighted
|
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;; by Brian Eno himself, and will no doubt be removed from this guide entry
|
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;; by some uninspired lawyer. The intent of this document is not to gain
|
||||
;; financially at the expense of anyone, but to spread the knowledge of this
|
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;; little known but really keen neato cool idea."
|
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;; https://h2g2.com/entry/A635528
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;;
|
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;; "The purpose of this document is to provide a listing of the complete
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;; contents of all three versions of the Oblique Strategies. While my
|
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;; interest in doing so is scholarly, readers may be interested in
|
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;; constructing their own "meta-set" of all three editions of the decks,
|
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;; or in looking at what is added or deleted."
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;; http://music.hyperreal.org/artists/brian_eno/osfaq2.html
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;;
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;; Oblique Strategies © 1975, 1978, 1979, and 2002 Brian Eno and Peter Schmidt
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;;; Revision history:
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;;
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;; - 2011-11-11 - protoversion, collection, collation
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;; - 2019-12-12 - melpa emersion, stochastism
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;;; Code:
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(defgroup oblique-strategies nil
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"Once the search has begun, something will be found"
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:group 'stochastism)
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(defcustom oblique-edition "strategies/oblique-strategies-condensed.txt"
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"Which edition of the Oblique Strategies to draw from?"
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:group 'oblique-strategies
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:type '(choice
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(const :tag "Condensed Edition (2001)" :value "strategies/oblique-strategies-condensed.txt")
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(const :tag "Edition 4 (1996)" :value "strategies/oblique-strategies-edition-4.txt")
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(const :tag "Edition 3 (1979)" :value "strategies/oblique-strategies-edition-3.txt")
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(const :tag "Edition 2 (1978)" :value "strategies/oblique-strategies-edition-2.txt")
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(const :tag "Edition 1 (1975)" :value "strategies/oblique-strategies-edition-1.txt")))
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(defun read-lines (file)
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||||
"Read a file into a list of lines."
|
||||
(with-temp-buffer
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(insert-file-contents (expand-file-name
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file (file-name-directory load-file-name)))
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(split-string (buffer-string) "\n" t)))
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(defvar strategies (read-lines oblique-edition))
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(defun random-elt (list)
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(nth (random (length list)) list))
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;;;###autoload
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(defun oblique-strategy ()
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"An obique strategy."
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(interactive)
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(random-elt strategies))
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;;;###autoload
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(defun insert-oblique-strategy ()
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"Insert an obique strategy at point."
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(interactive)
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(insert (oblique-strategy)))
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(provide 'oblique)
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;;; oblique.el ends here
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BIN
strategies/9041086636_498b3a0741_k.jpg
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strategies/9041086636_498b3a0741_k.jpg
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strategies/oblique-strategies-condensed.txt
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strategies/oblique-strategies-condensed.txt
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(Organic) machinery
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A line has two sides
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A very small object -Its centre
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Abandon desire
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Abandon normal instructions
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Accept advice
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Accretion
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Adding on
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Allow an easement (an easement is the abandonment of a stricture)
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Always first steps
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Always give yourself credit for having more than personality
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Always the first steps
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Are there sections? Consider transitions
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Ask people to work against their better judgement
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Ask your body
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Assemble some of the elements in a group and treat the group
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Back up a few steps. What else could you have done?
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Balance the consistency principle with the inconsistency principle
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Be dirty
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Be extravagant
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Be less critical more often
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Breathe more deeply
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Bridges -build -burn
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Call your mother and ask her what to do.
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Cascades
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Change ambiguities to specifics
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Change instrument roles
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Change nothing and continue with immaculate consistency
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Change specifics to ambiguities
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Children's voices -speaking -singing
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Cluster analysis
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Consider different fading systems
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Consider transitions
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Consult other sources -promising -unpromising
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Convert a melodic element into a rhythmic element
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Courage!
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Cut a vital connection
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Decorate, decorate
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Define an area as `safe' and use it as an anchor
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Describe the landscape in which this belongs. (9 August)
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Destroy nothing; Destroy the most important thing
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Discard an axiom
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Disciplined self-indulgence
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Disconnect from desire
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Discover the recipes you are using and abandon them
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Discover your formulas and abandon them
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Display your talent
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Distorting time
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Do nothing for as long as possible
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Do something boring
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Do something sudden, destructive and unpredictable
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Do the last thing first
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Do the washing up
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Do the words need changing?
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Do we need holes?
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Don't avoid what is easy
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Don't be afraid of things because they're easy to do
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Don't be frightened of cliches
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Don't be frightened to display your talents
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Don't break the silence
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Don't stress one thing more than another
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Emphasize differences
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Emphasize repetitions
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Emphasize the flaws
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Faced with a choice, do both
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Feed the recording back out of the medium
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Feedback recordings into an acoustic situation
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Fill every beat with something
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Find a safe part and use it as an anchor
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First work alone, then work in unusual pairs.
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From nothing to more than nothing
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Get your neck massaged
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Ghost echoes
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||||
Give the game away
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Give way to your worst impulse
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Go outside. Shut the door.
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Go slowly all the way round the outside
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Go to an extreme, move back to a more comfortable place
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How would someone else do it?
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How would you explain this to your parents?
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How would you have done it?
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Humanize something that is free of error.
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Idiot glee (?)
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Imagine the music as a moving chain or caterpillar
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Imagine the music as a series of disconnected events
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In total darkness, or in a very large room, very quietly
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Infinitesimal gradations
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Instead of changing the thing, change the world around it.
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||||
Intentions -credibility of -nobility of -humility of
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Into the impossible
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Is it finished?
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Is something missing?
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Is the intonation correct?
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Is the style right?
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Is the tuning appropriate?
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Is the tuning intonation correct?
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Is there something missing?
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It is quite possible (after all)
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It is simply a matter or work
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Just carry on
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Left channel, right channel, centre channel
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List the qualities it has. List those you'd like.
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Listen in total darkness, or in a very large room, very quietly
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Listen to the quiet voice
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Look at a very small object, look at its centre
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Look at the order in which you do things
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Look closely at the most embarrassing details and amplify.
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Lost in useless territory
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Lowest common denominator check -single beat -single note -single riff
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Magnify the most difficult details
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Make a blank valuable by putting it in an excquisite frame
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Make a sudden, destructive unpredictable action; incorporate
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Make an exhaustive list of everything you might do and do the last thing on the list
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Make it more sensual
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Make what's perfect more human
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Mechanize something idiosyncratic
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Move towards the unimportant
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Mute and continue
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Not building a wall but making a brick
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Once the search has begun, something will be found
|
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Only a part, not the whole
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||||
Only one element of each kind
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Overtly resist change
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||||
Pae White's non-blank graphic metacard
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Pay attention to distractions
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Picture of a man spotlighted
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Put in earplugs
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Question the heroic approach
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Remember those quiet evenings
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Remove a restriction
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Remove ambiguities and convert to specifics
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Remove specifics and convert to ambiguities
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Remove the middle, extend the edges
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Repetition is a form of change
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Retrace your steps
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Revaluation (a warm feeling)
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||||
Reverse
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Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
|
||||
Shut the door and listen from outside
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Simple subtraction
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Simply a matter of work
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Slow preparation, fast execution
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||||
Spectrum analysis
|
||||
State the problem in words as simply as possible
|
||||
Steal a solution.
|
||||
Take a break
|
||||
Take away as much mystery as possible. What is left?
|
||||
Take away the elements in order of apparent non-importance
|
||||
Take away the important parts
|
||||
Tape your mouth
|
||||
The inconsistency principle
|
||||
The most important thing is the thing most easily forgotten
|
||||
The tape is now the music
|
||||
Think - inside the work -outside the work
|
||||
Think of the radio
|
||||
Tidy up
|
||||
Towards the insignificant
|
||||
Trust in the you of now
|
||||
Try faking it
|
||||
Turn it upside down
|
||||
Twist the spine
|
||||
Use "unqualified" people.
|
||||
Use an old idea
|
||||
Use an unacceptable color
|
||||
Use cliches
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||||
Use fewer notes
|
||||
Use filters
|
||||
Use something nearby as a model
|
||||
Use your own ideas
|
||||
Voice your suspicions
|
||||
Water
|
||||
What are the sections sections of? Imagine a caterpillar moving
|
||||
What context would look right?
|
||||
What do you do? Now, what do you do best?
|
||||
What else is this like?
|
||||
What is the reality of the situation?
|
||||
What is the simplest solution?
|
||||
What mistakes did you make last time?
|
||||
What most recently impressed you? How is it similar? What can you learn from it? What could you take from it?
|
||||
What to increase? What to reduce? What to maintain?
|
||||
What were the branch points in the evolution of this entity
|
||||
What were you really thinking about just now? Incorporate
|
||||
What would make this really successful?
|
||||
What would your closest friend do?
|
||||
What wouldn't you do?
|
||||
When is it for? Who is it for?
|
||||
Where is the edge?
|
||||
Which parts can be grouped?
|
||||
Who would make this really successful?
|
||||
Work at a different speed
|
||||
Would anyone want it?
|
||||
You are an engineer
|
||||
You can only make one dot at a time
|
||||
You don't have to be ashamed of using your own ideas
|
||||
Your mistake was a hidden intention
|
113
strategies/oblique-strategies-edition-1.txt
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113
strategies/oblique-strategies-edition-1.txt
Normal file
|
@ -0,0 +1,113 @@
|
|||
Abandon normal instruments
|
||||
Accept advice
|
||||
Accretion
|
||||
A line has two sides
|
||||
Allow an easement (an easement is the abandonment of a stricture)
|
||||
Are there sections? Consider transitions
|
||||
Ask people to work against their better judgement
|
||||
Ask your body
|
||||
Assemble some of the instruments in a group and treat the group
|
||||
Balance the consistency principle with the inconsistency principle
|
||||
Be dirty
|
||||
Breathe more deeply
|
||||
Bridges -build -burn
|
||||
Cascades
|
||||
Change instrument roles
|
||||
Change nothing and continue with immaculate consistency
|
||||
Children's voices -speaking -singing
|
||||
Cluster analysis
|
||||
Consider different fading systems
|
||||
Consult other sources -promising -unpromising
|
||||
Convert a melodic element into a rhythmic element
|
||||
Courage!
|
||||
Cut a vital connection
|
||||
Decorate, decorate
|
||||
Define an area as 'safe' and use it as an anchor
|
||||
Destroy -nothing -the most important thing
|
||||
Discard an axiom
|
||||
Disconnect from desire
|
||||
Discover the recipes you are using and abandon them
|
||||
Distorting time
|
||||
Do nothing for as long as possible
|
||||
Don't be afraid of things because they're easy to do
|
||||
Don't be frightened of cliches
|
||||
Don't be frightened to display your talents
|
||||
Don't break the silence
|
||||
Don't stress one thing more than another
|
||||
Do something boring
|
||||
Do the washing up
|
||||
Do the words need changing?
|
||||
Do we need holes?
|
||||
Emphasise differences
|
||||
Emphasise repetitions
|
||||
Emphasise the flaws
|
||||
Faced with a choice, do both (given by Dieter Rot)
|
||||
Feedback recordings into an acoustic situation
|
||||
Fill every beat with something
|
||||
Get your neck massaged
|
||||
Ghost echoes
|
||||
Give the game away
|
||||
Give way to your worst impulse
|
||||
Go slowly all the way round the outside
|
||||
Honor thy error as a hidden intention
|
||||
How would you have done it?
|
||||
Humanise something free of error
|
||||
Imagine the music as a moving chain or caterpillar
|
||||
Imagine the music as a set of disconnected events
|
||||
Infinitesimal gradations
|
||||
Intentions -credibility of -nobility of -humility of
|
||||
Into the impossible
|
||||
Is it finished?
|
||||
Is there something missing?
|
||||
Is the tuning appropriate?
|
||||
Just carry on
|
||||
Left channel, right channel, centre channel
|
||||
Listen in total darkness, or in a very large room, very quietly
|
||||
Listen to the quiet voice
|
||||
Look at a very small object, look at its centre
|
||||
Look at the order in which you do things
|
||||
Look closely at the most embarrassing details and amplify them
|
||||
Lowest common denominator check -single beat -single note -single riff
|
||||
Make a blank valuable by putting it in an exquisite frame
|
||||
Make an exhaustive list of everything you might do and do the last thing on the list
|
||||
Make a sudden, destructive unpredictable action; incorporate
|
||||
Mechanicalise something idiosyncratic
|
||||
Mute and continue
|
||||
Only one element of each kind
|
||||
(Organic) machinery
|
||||
Overtly resist change
|
||||
Put in earplugs
|
||||
Remember .those quiet evenings
|
||||
Remove ambiguities and convert to specifics
|
||||
Remove specifics and convert to ambiguities
|
||||
Repetition is a form of change
|
||||
Reverse
|
||||
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
|
||||
Shut the door and listen from outside
|
||||
Simple subtraction
|
||||
Spectrum analysis
|
||||
Take a break
|
||||
Take away the elements in order of apparent non-importance
|
||||
Tape your mouth (given by Ritva Saarikko)
|
||||
The inconsistency principle
|
||||
The tape is now the music
|
||||
Think of the radio
|
||||
Tidy up
|
||||
Trust in the you of now
|
||||
Turn it upside down
|
||||
Twist the spine
|
||||
Use an old idea
|
||||
Use an unacceptable colour
|
||||
Use fewer notes
|
||||
Use filters
|
||||
Use 'unqualified' people
|
||||
Water
|
||||
What are you really thinking about just now? Incorporate
|
||||
What is the reality of the situation?
|
||||
What mistakes did you make last time?
|
||||
What would your closest friend do?
|
||||
What wouldn't you do?
|
||||
Work at a different speed
|
||||
You are an engineer
|
||||
You can only make one dot at a time
|
||||
You don't have to be ashamed of using your own ideas
|
128
strategies/oblique-strategies-edition-2.txt
Normal file
128
strategies/oblique-strategies-edition-2.txt
Normal file
|
@ -0,0 +1,128 @@
|
|||
Abandon normal instruments
|
||||
Accept advice
|
||||
Accretion
|
||||
A line has two sides
|
||||
Allow an easement (an easement is the abandonment of a stricture)
|
||||
Always first steps
|
||||
Always give yourself credit for having more than personality (given by Arto Lindsay)
|
||||
Are there sections? Consider transitions
|
||||
Ask people to work against their better judgement
|
||||
Ask your body
|
||||
Assemble some of the instruments in a group and treat the group
|
||||
A very small object -Its centre
|
||||
Balance the consistency principle with the inconsistency principle
|
||||
Be dirty
|
||||
Be extravagant
|
||||
Breathe more deeply
|
||||
Bridges -build -burn
|
||||
Cascades
|
||||
Change instrument roles
|
||||
Change nothing and continue with immaculate consistency
|
||||
Children's voices -speaking -singing
|
||||
Cluster analysis
|
||||
Consider different fading systems
|
||||
Consult other sources -promising -unpromising
|
||||
Convert a melodic element into a rhythmic element
|
||||
Courage!
|
||||
Cut a vital connection
|
||||
Decorate, decorate
|
||||
Define an area as 'safe' and use it as an anchor
|
||||
Destroy -nothing -the most important thing
|
||||
Discard an axiom
|
||||
Disciplined self-indulgence
|
||||
Disconnect from desire
|
||||
Discover the recipes you are using and abandon them
|
||||
Distorting time
|
||||
Do nothing for as long as possible
|
||||
Don't be afraid of things because they're easy to do
|
||||
Don't be frightened of cliches
|
||||
Don't be frightened to display your talents
|
||||
Don't break the silence
|
||||
Don't stress *on* thing more than another (sic)
|
||||
Do something boring
|
||||
Do the washing up
|
||||
Do the words need changing?
|
||||
Do we need holes?
|
||||
Emphasise differences
|
||||
Emphasise repetitions
|
||||
Emphasise the flaws
|
||||
Faced with a choice, do both (given by Dieter Rot)
|
||||
Feed the recording back out of the medium
|
||||
Fill every beat with something
|
||||
Get your neck massaged
|
||||
Ghost echoes
|
||||
Give the game away
|
||||
Give way to your worst impulse
|
||||
Go outside. Shut the door.
|
||||
Go slowly all the way round the outside
|
||||
Honor thy error as a hidden intention
|
||||
How would you have done it?
|
||||
Humanise something free of error
|
||||
Idiot glee (?)
|
||||
Imagine the piece as a set of disconnected events
|
||||
Infinitesimal gradations
|
||||
Intentions -credibility of -nobility of -humility of
|
||||
In total darkness, or in a very large room, very quietly
|
||||
Into the impossible
|
||||
Is it finished?
|
||||
Is the tuning intonation correct?
|
||||
Is there something missing?
|
||||
It is quite possible (after all)
|
||||
Just carry on
|
||||
Left channel, right channel, centre channel
|
||||
Listen to the quiet voice
|
||||
Look at the order in which you do things
|
||||
Look closely at the most embarrassing details and amplify them
|
||||
Lost in useless territory
|
||||
Lowest common denominator
|
||||
Make a blank valuable by putting it in an exquisite frame
|
||||
Make an exhaustive list of everything you might do and do the last thing on the list
|
||||
Make a sudden, destructive unpredictable action; incorporate
|
||||
Mechanicalise something idiosyncratic
|
||||
Mute and continue
|
||||
Not building a wall but making a brick
|
||||
Only one element of each kind
|
||||
(Organic) machinery
|
||||
Overtly resist change
|
||||
Put in earplugs
|
||||
Question the heroic approach
|
||||
Remember .those quiet evenings
|
||||
Remove ambiguities and convert to specifics
|
||||
Remove specifics and convert to ambiguities
|
||||
Repetition is a form of change
|
||||
Revaluation (a warm feeling)
|
||||
Reverse
|
||||
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
|
||||
Simple subtraction
|
||||
Simply a matter of work
|
||||
Spectrum analysis
|
||||
State the problem in words as simply as possible
|
||||
Take a break
|
||||
Take away the elements in order of apparent non-importance
|
||||
Tape your mouth (given by Ritva Saarikko)
|
||||
The inconsistency principle
|
||||
The most important thing is the thing most easily forgotten
|
||||
The tape is now the music
|
||||
Think of the radio
|
||||
Tidy up
|
||||
Towards the insignificant
|
||||
Trust in the you of now
|
||||
Turn it upside down
|
||||
Twist the spine
|
||||
Use an old idea
|
||||
Use an unacceptable colour
|
||||
Use fewer notes
|
||||
Use filters
|
||||
Use 'unqualified' people
|
||||
Water
|
||||
What are the sections sections of? Imagine a caterpillar moving
|
||||
What are you really thinking about just now?
|
||||
What is the reality of the situation?
|
||||
What mistakes did you make last time?
|
||||
What would your closest friend do?
|
||||
What wouldn't you do?
|
||||
What would your closest friend do?
|
||||
Work at a different speed
|
||||
You are an engineer
|
||||
You can only make one dot at a time
|
||||
You don't have to be ashamed of using your own ideas
|
122
strategies/oblique-strategies-edition-3.txt
Normal file
122
strategies/oblique-strategies-edition-3.txt
Normal file
|
@ -0,0 +1,122 @@
|
|||
Abandon normal instruments
|
||||
Accept advice
|
||||
Accretion
|
||||
A line has two sides
|
||||
Allow an easement (an easement is the abandonment of a stricture)
|
||||
Always first steps
|
||||
Are there sections? Consider transitions
|
||||
Ask people to work against their better judgement
|
||||
Ask your body
|
||||
Assemble some of the elements in a group and treat the group
|
||||
Balance the consistency principle with the inconsistency principle
|
||||
Be dirty
|
||||
Be extravagant
|
||||
Be less critical more often
|
||||
Breathe more deeply
|
||||
Bridges -build -burn
|
||||
Cascades
|
||||
Change instrument roles
|
||||
Change nothing and continue with immaculate consistency
|
||||
Children -speaking -singing
|
||||
Cluster analysis
|
||||
Consider different fading systems
|
||||
Consult other sources -promising -unpromising
|
||||
Courage!
|
||||
Cut a vital connection
|
||||
Decorate, decorate
|
||||
Define an area as 'safe' and use it as an anchor
|
||||
Destroy -nothing -the most important thing
|
||||
Discard an axiom
|
||||
Disciplined self-indulgence
|
||||
Disconnect from desire
|
||||
Discover the recipes you are using and abandon them
|
||||
Distorting time
|
||||
Do nothing for as long as possible
|
||||
Don't be afraid of things because they're easy to do
|
||||
Don't be frightened of cliches
|
||||
Don't be frightened to display your talents
|
||||
Don't break the silence
|
||||
Don't stress one thing more than another
|
||||
Do something boring
|
||||
Do the words need changing?
|
||||
Do we need holes?
|
||||
Emphasise differences
|
||||
Emphasise repetitions
|
||||
Emphasise the flaws
|
||||
Fill every beat with something
|
||||
From nothing to more than nothing
|
||||
Ghost echoes
|
||||
Give the game away
|
||||
Give way to your worst impulse
|
||||
Go outside. Shut the door.
|
||||
Go slowly all the way round the outside
|
||||
Go to an extreme, move back to a more comfortable place
|
||||
Honor thy error as a hidden intention
|
||||
How would you have done it?
|
||||
Humanise something free of error
|
||||
Idiot glee (?)
|
||||
Imagine the piece as a set of disconnected events
|
||||
Infinitesimal gradations
|
||||
Intentions -nobility of -humility of -credibility of
|
||||
In total darkness, or in a very large room, very quietly
|
||||
Into the impossible
|
||||
Is it finished?
|
||||
Is the intonation correct?
|
||||
Is there something missing?
|
||||
It is quite possible (after all)
|
||||
Just carry on
|
||||
Listen to the quiet voice
|
||||
Look at the order in which you do things
|
||||
Look closely at the most embarrassing details and amplify them
|
||||
Lost in useless territory
|
||||
Lowest common denominator
|
||||
Make a blank valuable by putting it in an exquisite frame
|
||||
Make an exhaustive list of everything you might do and do the last thing on the list
|
||||
Make a sudden, destructive unpredictable action; incorporate
|
||||
Mechanicalise something idiosyncratic
|
||||
Mute and continue
|
||||
Not building a wall but making a brick
|
||||
Once the search is in progress, something will be found
|
||||
Only a part, not the whole
|
||||
Only one element of each kind
|
||||
(Organic) machinery
|
||||
Overtly resist change
|
||||
Question the heroic approach
|
||||
Remember .those quiet evenings
|
||||
Remove ambiguities and convert to specifics
|
||||
Remove specifics and convert to ambiguities
|
||||
Repetition is a form of change
|
||||
Retrace your steps
|
||||
Revaluation (a warm feeling)
|
||||
Reverse
|
||||
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
|
||||
Simple subtraction
|
||||
Simply a matter of work
|
||||
State the problem in words as clearly as possible
|
||||
Take a break
|
||||
Take away the elements in order of apparent non-importance
|
||||
The inconsistency principle
|
||||
The most important thing is the thing most easily forgotten
|
||||
The tape is now the music
|
||||
Think of the radio
|
||||
Tidy up
|
||||
Towards the insignificant
|
||||
Trust in the you of now
|
||||
Turn it upside down
|
||||
Use an old idea
|
||||
Use an unacceptable colour
|
||||
Use fewer notes
|
||||
Use filters
|
||||
Use 'unqualified' people
|
||||
Water
|
||||
What are the sections sections of? Imagine a caterpillar moving
|
||||
What are you really thinking about just now?
|
||||
What is the reality of the situation?
|
||||
What mistakes did you make last time?
|
||||
What wouldn't you do?
|
||||
What would your closest friend do?
|
||||
Work at a different speed
|
||||
Would anybody want it?
|
||||
You are an engineer
|
||||
You can only make one dot at a time
|
||||
You don't have to be ashamed of using your own ideas
|
100
strategies/oblique-strategies-edition-4.txt
Normal file
100
strategies/oblique-strategies-edition-4.txt
Normal file
|
@ -0,0 +1,100 @@
|
|||
Abandon desire
|
||||
Abandon normal instructions
|
||||
Accept advice
|
||||
Adding on
|
||||
A line has two sides
|
||||
Always the first steps
|
||||
Ask people to work against their better judgement
|
||||
Ask your body
|
||||
Be dirty
|
||||
Be extravagant
|
||||
Be less critical
|
||||
Breathe more deeply
|
||||
Bridges -build -burn
|
||||
Change ambiguities to specifics
|
||||
Change nothing and continue consistently
|
||||
Change specifics to ambiguities
|
||||
Consider transitions
|
||||
Courage!
|
||||
Cut a vital connection
|
||||
Decorate, decorate
|
||||
Destroy nothing; Destroy the most important thing
|
||||
Discard an axiom
|
||||
Disciplined self-indulgence
|
||||
Discover your formulas and abandon them
|
||||
Display your talent
|
||||
Distort time
|
||||
Do nothing for as long as possible
|
||||
Don't avoid what is easy
|
||||
Don't break the silence
|
||||
Don't stress one thing more than another
|
||||
Do something boring
|
||||
Do something sudden, destructive and unpredictable
|
||||
Do the last thing first
|
||||
Do the words need changing?
|
||||
Emphasize differences
|
||||
Emphasize the flaws
|
||||
Faced with a choice, do both (from Dieter Rot)
|
||||
Find a safe part and use it as an anchor
|
||||
Give the game away
|
||||
Give way to your worst impulse
|
||||
Go outside. Shut the door.
|
||||
Go to an extreme, come part way back
|
||||
How would someone else do it?
|
||||
How would you have done it?
|
||||
In total darkness, or in a very large room, very quietly
|
||||
Is it finished?
|
||||
Is something missing?
|
||||
Is the style right?
|
||||
It is simply a matter or work
|
||||
Just carry on
|
||||
Listen to the quiet voice
|
||||
Look at the order in which you do things
|
||||
Magnify the most difficult details
|
||||
Make it more sensual
|
||||
Make what's perfect more human
|
||||
Move towards the unimportant
|
||||
Not building a wall; making a brick
|
||||
Once the search has begun, something will be found
|
||||
Only a part, not the whole
|
||||
Only one element of each kind
|
||||
Openly resist change
|
||||
Pae White's non-blank graphic metacard
|
||||
Question the heroic
|
||||
Remember quiet evenings
|
||||
Remove a restriction
|
||||
Repetition is a form of change
|
||||
Retrace your steps
|
||||
Reverse
|
||||
Simple Subtraction
|
||||
Slow preparation, fast execution
|
||||
State the problem as clearly as possible
|
||||
Take a break
|
||||
Take away the important parts
|
||||
The inconsistency principle
|
||||
The most easily forgotten thing is the most important
|
||||
Think - inside the work -outside the work
|
||||
Tidy up
|
||||
Try faking it (from Stewart Brand)
|
||||
Turn it upside down
|
||||
Use an old idea
|
||||
Use cliches
|
||||
Use filters
|
||||
Use something nearby as a model
|
||||
Use 'unqualified' people
|
||||
Use your own ideas
|
||||
Voice your suspicions
|
||||
Water
|
||||
What context would look right?
|
||||
What is the simplest solution?
|
||||
What mistakes did you make last time?
|
||||
What to increase? What to reduce? What to maintain?
|
||||
What were you really thinking about just now?
|
||||
What wouldn't you do?
|
||||
What would your closest friend do?
|
||||
When is it for?
|
||||
Where is the edge?
|
||||
Which parts can be grouped?
|
||||
Work at a different speed
|
||||
Would anyone want it?
|
||||
Your mistake was a hidden intention
|
Loading…
Reference in a new issue