196 lines
6.3 KiB
Plaintext
196 lines
6.3 KiB
Plaintext
(Organic) machinery
|
|
A line has two sides
|
|
A very small object -Its centre
|
|
Abandon desire
|
|
Abandon normal instructions
|
|
Accept advice
|
|
Accretion
|
|
Adding on
|
|
Allow an easement (an easement is the abandonment of a stricture)
|
|
Always first steps
|
|
Always give yourself credit for having more than personality
|
|
Always the 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
|
|
Back up a few steps. What else could you have done?
|
|
Balance the consistency principle with the inconsistency principle
|
|
Be dirty
|
|
Be extravagant
|
|
Be less critical more often
|
|
Breathe more deeply
|
|
Bridges -build -burn
|
|
Call your mother and ask her what to do.
|
|
Cascades
|
|
Change ambiguities to specifics
|
|
Change instrument roles
|
|
Change nothing and continue with immaculate consistency
|
|
Change specifics to ambiguities
|
|
Children's voices -speaking -singing
|
|
Cluster analysis
|
|
Consider different fading systems
|
|
Consider transitions
|
|
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
|
|
Describe the landscape in which this belongs. (9 August)
|
|
Destroy nothing; Destroy the most important thing
|
|
Discard an axiom
|
|
Disciplined self-indulgence
|
|
Disconnect from desire
|
|
Discover the recipes you are using and abandon them
|
|
Discover your formulas and abandon them
|
|
Display your talent
|
|
Distorting time
|
|
Do nothing for as long as possible
|
|
Do something boring
|
|
Do something sudden, destructive and unpredictable
|
|
Do the last thing first
|
|
Do the washing up
|
|
Do the words need changing?
|
|
Do we need holes?
|
|
Don't avoid what is easy
|
|
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
|
|
Emphasize differences
|
|
Emphasize repetitions
|
|
Emphasize the flaws
|
|
Faced with a choice, do both
|
|
Feed the recording back out of the medium
|
|
Feedback recordings into an acoustic situation
|
|
Fill every beat with something
|
|
Find a safe part and use it as an anchor
|
|
First work alone, then work in unusual pairs.
|
|
From nothing to more than nothing
|
|
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
|
|
Go to an extreme, move back to a more comfortable place
|
|
How would someone else do it?
|
|
How would you explain this to your parents?
|
|
How would you have done it?
|
|
Humanize something that is free of error.
|
|
Idiot glee (?)
|
|
Imagine the music as a moving chain or caterpillar
|
|
Imagine the music as a series of disconnected events
|
|
In total darkness, or in a very large room, very quietly
|
|
Infinitesimal gradations
|
|
Instead of changing the thing, change the world around it.
|
|
Intentions -credibility of -nobility of -humility of
|
|
Into the impossible
|
|
Is it finished?
|
|
Is something missing?
|
|
Is the intonation correct?
|
|
Is the style right?
|
|
Is the tuning appropriate?
|
|
Is the tuning intonation correct?
|
|
Is there something missing?
|
|
It is quite possible (after all)
|
|
It is simply a matter or work
|
|
Just carry on
|
|
Left channel, right channel, centre channel
|
|
List the qualities it has. List those you'd like.
|
|
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.
|
|
Lost in useless territory
|
|
Lowest common denominator check -single beat -single note -single riff
|
|
Magnify the most difficult details
|
|
Make a blank valuable by putting it in an excquisite frame
|
|
Make a sudden, destructive unpredictable action; incorporate
|
|
Make an exhaustive list of everything you might do and do the last thing on the list
|
|
Make it more sensual
|
|
Make what's perfect more human
|
|
Mechanize something idiosyncratic
|
|
Move towards the unimportant
|
|
Mute and continue
|
|
Not building a wall but making a brick
|
|
Once the search has begun, something will be found
|
|
Only a part, not the whole
|
|
Only one element of each kind
|
|
Overtly resist change
|
|
Pae White's non-blank graphic metacard
|
|
Pay attention to distractions
|
|
Picture of a man spotlighted
|
|
Put in earplugs
|
|
Question the heroic approach
|
|
Remember those quiet evenings
|
|
Remove a restriction
|
|
Remove ambiguities and convert to specifics
|
|
Remove specifics and convert to ambiguities
|
|
Remove the middle, extend the edges
|
|
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)
|
|
Shut the door and listen from outside
|
|
Simple subtraction
|
|
Simply a matter of work
|
|
Slow preparation, fast execution
|
|
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
|
|
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
|