Oblique Strategies Cards Pdf
[blank white card] (Editions 1, 2,3, and 5) It is possible that this was present in Edition 4 aswell, but I don't know for certain.
A line has two sides. (Editions 1,2, 3, 4, and 5)
A very small object - Its centre. (Editions 2 and 5) Note:This appeared as 'Look at a very small object, look at its centre.' inEdition 1.
Abandon normal instruments. (Editions 1, 2, 3, and 5) This was modified as 'Abandon normalinstructions.' in Edition 4.
Accept advice. (Editions 1, 2, 3, 4,and 5)
Accretion. (Editions 1, 2, 3, and5) This was modified as 'Adding on.' in Edition 4.
Allow an easement (an easement is theabandonment of a stricture). (Editions 1, 2, 3, and 5) Similar to 'Remove a restriction.' from Edition 4.
Always first steps. (Editions 2, 3,4, and 5)
Always give yourself credit for havingmore than personality. (Editions 2 and 5)
Are there sections? Considertransitions. (Editions 1, 2, 3, and 5)
Ask people to work against their betterjudgment. (Editions 1, 2, 3, 4, and 5)
Ask your body. (Editions 1, 2, 3, 4,and 5)
Assemble some of the instruments in agroup and treat the group. (Editions 1 and 2) See relatedversion below..
Assemble some of the elements in a groupand treat the group. (Editions 3 and 5)
Balance the consistency principle with theinconsistency principle. (Editions 1, 2, 3, and 5)
Be dirty. (Editions 1, 2, 3, 4, and5)
Be extravagant. (Editions 2, 3, 4,and 5)
Be less critical more often. (Edition 3) Edition 4 simply says 'Be less critical.'
Breathe more deeply. (Editions 1, 2,3, 4, and 5)
Bridges - build - burn. (Editions 1,2, 3, 4, and 5)
Cascades. (Editions 1, 2, 3, and 5)
Change instrument roles. (Editions1, 2, 3, and 5)
Change nothing and continue withimmaculate consistency. (Editions 1, 2, 3, and 5) This is'Change nothing and continue consistently.' in Edition 4.
Children's voices - speaking -singing. (Editions 1 and 2) This was changed to 'Children -speaking - singing.' in Editions 3 and 5.
Cluster analysis. (Editions 1, 2, 3,and 5)
Consider different fading systems. (Editions 1, 2, 3, and 5) Again, worded differently in Edition 4as 'Consider transitions.'
Consult other sources - promising -unpromising. (Editions 1, 2, 3, and 5)
Convert a melodic element into a rhythmicelement. (Editions 1, 2, and 5)
Courage! (Editions 1, 2, 3, 4, and 5)
Cut a vital connection. (Editions 1,2, 3, 4, and 5)
Decorate, decorate. (Editions 1, 2,3, 4, and 5)
Define an area as `safe' and use it as ananchor. (Editions 1, 2, 3, and 5)
Destroy - nothing - the most importantthing. (Editions 1, 2, 3, 4, and 5)
Discard an axiom. (Editions 1, 2, 3,4, and 5)
Disciplined self- indulgence. (Editions 2, 3, 4, and 5)
Disconnect from desire. (Editions 1,2, 3, and 5) Or 'Abandon desire.' in Edition 4.
Discover the recipes you are using andabandon them. (Editions 1, 2, 3, and 5)
Discover your formulas and abandonthem. (Edition 4)
Distorting time. (Editions 1, 2, 3,and 5) Or 'Distort time.' in Edition 4.
Do nothing for as long as possible. (Editions 1, 2, 3, 4, and 5)
Do something boring. (Editions 1, 2,3, 4, and 5)
Do something sudden, destructive andunpredictable. (Edition 4)
Do the last thing first. (Edition 4)
Do the washing up. (Editions 1, 2,and 5)
Do the words need changing? (Editions 1, 2, 3, 4, and 5)
Do we need holes? (Editions 1, 2, 3,and 5)
Don't be afraid of things because they'reeasy to do. (Editions 1, 2, 3, and 5) Changed to 'Don'tavoid what is easy.' in Edition 4.
Don't be frightened of cliches. (Editions 1, 2, 3, and 5) Or simply 'Use cliches.' in Edition 4
Don't be frightened to display yourtalents. (Editions 1, 2, 3, and 5) 'Display your talent.'in Edition 4.
Don't break the silence. (Editions1, 2, 3, 4, and 5)
Don't stress one thing more thananother. (Editions 1, 2, 3, 4, and 5)
Emphasize differences. (Editions 1,2, 3, 4, and 5)
Emphasize repetitions. (Editions 1,2, 3, and 5)
Emphasize the flaws. (Editions 1, 2,3, 4, and 5)
Faced with a choice, do both (given byDieter Rot). (Editions 1, 2, 4, and 5)
Feed the recording back out of themedium. (Editions 2 and 5) This may be a restatement ofbelow..
Feedback recordings into an acousticsituation. (Edition 1)
Fill every beat with something. (Editions 1, 2, 3, and 5)
Find a safe part and use it as ananchor. (Edition 4)
From nothing to more than nothing. (Edition 3)
Get your neck massaged. (Editions 1,2, and 5)
Ghost echoes. (Editions 1, 2, 3, and4)
Give the game away. (Editions 1, 2,3, and 4) I can't be certain whether it was a typo or avariation, but this was replaced in Edition 5 with..
Give the name away. (Edition 5)
Give way to your worst impulse. (Editions 1, 2, 3, 4, and 5)
Go outside. Shut the door. (Editions 2, 3, 4, and 5) This was originally 'Shut the door andlisten from outside.' in Edition 1.
Go slowly all the way round theoutside. (Editions 1, 2, 3, and 5)
Go to an extreme, move back to a morecomfortable place. (Edition 3) Or in Edition 4: 'Go to anextreme, come part way back.'
Honor thy error as a hiddenintention. (Editions 1, 2, 3, and 5) Or 'Your mistake was ahidden intention.' in Edition 4.
How would someone else do it? (Edition 4)
How would you have done it? (Editions 1, 2, 3, 4, and 5)
Humanize something free of error. (Editions 1, 2, 3, and 5) Or 'Make what's perfect more human.' inEdition 4.
Idiot glee (?) (Editions 2, 3, and 5)
Imagine the music as a set of disconnectedevents. (Editions 1, 2, 3, and 5)
In total darkness, or in a very largeroom, very quietly. (Editions (Editions 2, 3, and 4)
Infinitesimal gradations. (Editions1, 2, 3, and 5)
Intentions - credibility of - nobility of- humility of. (Editions 1 and 2) This was changed to'Intentions - nobility of - humility of - credibility of.' in Editions3 and 5,
Into the impossible. (Editions 1, 2,3, and 5)
Is it finished? (Editions 1, 2, 3,4, and 5)
Is the intonation correct? (Editions2 and 3) This was more generalized to 'Is the informationcorrect?' in Edition 5.
Is the style right? (Edition 4)
Is the tuning appropriate? (Edition1)
Is there something missing. (Editions 1, 2, 3, and 5) This was 'Is something missing?' inEdition 4.
It is quite possible (after all). (Editions 2, 3, and 5)
It is simply a matter or work. (Edition 5) I believe this is a typo ('or' = 'of').
Just carry on. (Editions 1, 2, 3, 4,and 5)
Left channel, right channel, centerchannel. (Editions 1, 2, and 5)
Listen in total darkness, or in a verylarge room, very quietly. (Edition 1)
Listen to the quiet voice. (Editions1, 2, 3, 4, and 5)
Look at the order in which you dothings. (Editions 1, 2, 3, 4, and 5)
Look closely at the most embarrassingdetails & amplify them. (Editions 1, 2, 3, and 5)
Lost in useless territory. (Editions2, 3, and 5)
Lowest common denominator check - singlebeat - single note - single riff. (Edition 1) This wasshorted and generalized to 'Lowest common denominator.' in Editions 2,3, and 5.
Magnify the most difficult details. (Edition 5)
Make a blank valuable by putting it in anexquisite frame. (Editions 1, 2, 3, and 5)
Make a sudden, destructive unpredictableaction; incorporate. (Editions 1, 2, 3, and 5)
Make an exhaustive list of everything youmight do and do the last thing on the list. (Editions 1, 2, 3,and 5)
Make it more sensual. (Edition 4)
Mechanicalize somethingidiosyncratic. (Editions 1, 2, 3, and 5)
Mute and continue. (Editions 1, 2,3, and 5)
Not building a wall but making abrick. (Editions 2, 3, 4, and 5)
Once the search is in progress, somethingwill be found. (Edition 3) This was changed to 'Once thesearch has begun, something will be found.' in Edition 4.
Only a part, not the whole. (Editions 3 and 4)
Only one element of each kind. (Editions 1, 2, 3, 4, and 5)
Overtly resist change. (Editions 1,2, 3, and 5) Or 'Openly resist change.' in Edition 4.
Pae White's non-blank graphicmetacard. (Edition 4)
Put in earplugs. (Editions 1, 2, and5)
Question the heroic approach. (Editions 2, 3, and 5)
Question the heroic. (Edition 4)
Remember those quiet evenings. (Editions 1, 2, 3, and 5) Worded as 'Remember quiet evenings.' inEdition 4.
Remove ambiguities and convert tospecifics. (Editions 1, 2, 3, and 5) This is 'Changeambiguities to specifics.' in Edition 4. Similarly..
Remove specifics and convert toambiguities. (Editions 1, 2, 3, and 5) This is 'Changespecifics to ambiguities.' in Edition 4.
Repetition is a form of change. (Editions 1, 2, 3, 4, and 5)
Retrace your steps. (Editions 3 and4)
Revaluation (a warm feeling). (Editions 2 and 3) Again, possibly a typo, but this was'Reevaluation (a warm feeling).' in Edition 5.
Reverse. (Editions 1, 2, 3, 4, and 5)
Short circuit (example: a man eating peaswith the idea that they will improve his virility shovels them straightinto his lap). (Editions 1, 2, 3, and 5)
Simple subtraction. (Editions 1, 2,3, 4, and 5)
Simply a matter of work. (Editions2, 3, and 5)
Slow preparation, fast execution. (Edition 4)
Spectrum analysis. (Editions 1, 2,and 5)
State the problem in words as clearly aspossible. (Editions 2, 3, and 5) Alternatively, 'State theproblem as clearly as possible.' in Edition 4.
Take a break. (Editions 1, 2, 3, 4,and 5)
Take away the elements in order ofapparent non-importance. (Editions 1, 2, 3, and 5) Thisruns contrary the strategy below..
Take away the important parts. (Edition 4)
Tape your mouth. (given by RitvaSaarikko) (Editions 1, 2, and 5)
The inconsistency principle. (Editions 1, 2, 3, 4, and 5)
The most important thing is the thing mosteasily forgotten. (Editions 2, 3, and 5) Worded as 'Themost easily forgotten thing is the most important.' in Edition 4.
The tape is now the music. (Editions1, 2, 3, and 5)
Think - inside the work - outside thework. (Edition 4)
Think of the radio. (Editions 1, 2,3, and 5)
Tidy up. (Editions 1, 2, 3, 4, and 5)
Towards the insignificant. (Editions2, 3, and 5) This was 'Move towards the unimportant.' in Edition4.
Trust in the you of now. (Editions1, 2, 3, and 5)
Try faking it. (from Stewart Brand) (Edition 4)
Turn it upside down. (Editions 1, 2,3, 4, and 5)
Twist the spine. (Editions 1, 2, and5)
Use an old idea. (Editions 1, 2, 3,4, and 5)
Use an unacceptable color. (Editions1, 2, 3, and 5)
Use fewer notes. (Editions 1, 2, 3,and 5)
Use filters. (Editions 1, 2, 3, 4,and 5)
Use something nearby as a model. (Edition 4)
Use 'unqualified' people. (Editions1, 2, 3, 4, and 5)
Voice your suspicions. (Edition 4)
Water. (Editions 1, 2, 3, 4, and 5)
What are the sections sections of? Imagine a caterpillar moving. (Editions 2, 3, and 5) Originally 'Imagine the music as a moving chain or caterpillar.' inEdition 1.
What are you really thinking about justnow? Incorporate. (Edition 1) Shortened to 'What are youreally thinking about just now?' in Editions 2, 3, and 5.
What context would look right? (Edition 4)
What is the reality of thesituation? (Editions 1, 2, 3, and 5)
What is the simplest solution? (Edition 4)
What mistakes did you make lasttime? (Editions 1, 2, 3, 4, and 5)
What to increase? What to reduce? What tomaintain? (Edition 4)
What were you really thinking about justnow? (Edition 4)
What would your closest friend do? (Editions 1, 2, 3, 4, and 5)
What wouldn't you do? (Editions 1,2, 3, 4, and 5)
When is it for? (Edition 4)
Where is the edge? (Edition 4)
Which parts can be grouped? (Edition4)
Work at a different speed. (Editions1, 2, 3, 4, and 5)
Would anybody want it? (Edition3) Almost the same in Edition 4: 'Would anyone want it?'
You are an engineer. (Editions 1, 2,3, and 5)
You can only make one dot at a time. (Editions 1, 2, 3, and 5)
You don't have to be ashamed of using yourown ideas. (Editions 1, 2, 3, and 5)
- Oblique Strategies Cards Pdf
- Brian Eno Oblique Strategies Cards Pdf Download
- Oblique Strategies Cards Pdf
Oblique Strategies (subtitled Over One Hundred Worthwhile Dilemmas) is a deck of 7×9 cm printed cards in a black container box. Created by Brian Eno and. Oblique strategies: Over one hundred worthwhile dilemmas [Brian Eno] on *FREE* shipping on qualifying offers. Fifth edition “Stop thinking about art works as objects, and start thinking about them as triggers for experiences,” ambient music pioneer Brian Eno wrote in.
Brian eno cards oblique strategies pdf Posted on October 18, 2020 by admin Oblique Strategies is a card-based method for promoting creativity jointly created by Brian Eno and Peter Schmidt, first published in Physically, it takes the. Unforgotten Treasure oblique strategies cards pdf? This is one such one for me. The decklists at MTGX have something for kids ages 1-5: 'Monoblack Tokens' (3.0/5) vs. 'Waketopad Zoo' 'Mana Wastes' vs. 'Chrono Trigger' oblique strategies cards pdf? - Download, upload or use PDF versions in this publication.
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Advertised for sale in the EG Newsletter [13] and elsewhere [14]. Five facts and things The blurb accompanying the edition says: Loading comments… Trouble loading? They are not final, as new ideas will present themselves, and others will become self-evident. Someday World High Life. Get the best cultural and educational resources on the web curated for you in a daily email.
Collaborative albums by artist. Show 25 25 50 All. Vlc player mac 64 bit download chip. Why are they classic? My random card for the day is “Do nothing for as long as possible”, which given my weary mental state seems almost spookily appropriate – and all to tempting straregies heed.
References to Oblique Strategies exist in popular culture, notably in the film Slacker[6] in which a character offers passers-by cards from a deck.
Oblique Strategies Cards Pdf
Pop and btian features. The Pavilion of Dreams Ambient 2: Who better to administer that jolt than pop’s most original thinker, Professor Brian Eno? Retrieved 5 January Physically, it takes the form of a deck 7-bycentimetre 2. Order by newest oldest recommendations. Possible Musics Dream Theory in Malaya: Comments 0 Be the first to comment. Processing programming language version. The Plateaux of Mirror The Pearl.
Oblique Strategies
It also began as thoroughly a physical experience, invented by producer-artist-ambient musician Brian Eno and painter Peter Schmidt, who first came up with them in the pre-digital days of Eno, who had known Schmidt since the late s, had been obliaue a similar project himself which he had handwritten onto a number of bamboo cards and given the name “Oblique Strategies” in Corbis Waking up this morning with a strange hangover I’d had nothing to drink the enl eveningI decided that I needed to be jolted into full conciousness.
And when my students obliique a mental block, I immediately direct them to that wall. Eno’s decision to revisit the cards and his collaboration with Norton in revising them is described in detail in his book A Year with Swollen Appendices.
Back then, writes Dangerous Minds’ Martin Schneiderthe concept for Eno and Schmidt’s “set of cards with elliptical imperatives designed to spark in the user creative connections unobtainable through regular modes of work” emerged as a form of “radical ohlique with roots in Eastern philosophy. Brian was trying to add beauty to our music. Strategiex Hashcash needs javascript to work, but your browser has javascript disabled.
Includes all five versions of Oblique Strategies [25].
Oblique Strategies
Threads collapsed expanded unthreaded. This page was last edited on 1 Octoberat InPeter Schmidt created “The Thoughts Behind the Thoughts”, [4] a box containing 55 sentences letterpress printed onto disused prints that accumulated in his studio, which is still in the possession obliqque Eno. Bluestacks for mac os x 10 11.
The Oblique Strategies are also referenced in comic”Oblique Angles”, [7] of popular web comic Questionable Content. But it seems that the very first set of Oblique Strategies, featured obliquw Schneider’s post, is unavailable at any price. Music for Onmyo-Ji Drawn from Life. Your comment will be queued in Akismet!
The most famous of Brian Eno’s dadaist mind games with music production. Oblique Strategies subtitled Over One Hundred Worthwhile Dilemmas is a card-based method for promoting creativity jointly created by Brian Eno and Peter Schmidtfirst published in When working with Coldplay, Eno would give each member of the band a random card and ask them to interpret its instruction musically as the band jammed, without letting the other members know what their card says.
Music for Airports Music for Films Ambient 4: For a while, a small cult of Eno followers started up their own internet-based Acute Strategies system, where anyone could submit their own strategies, providing they followed lots of geeky rules about avoiding jargon and inside jokes and urging a familiarity with the I Ching and other oracular sources.
Individually numbered, and signed by Eno and Schmidt [10].
Eno, of course, is btian installation artist, diarist, musician, record producer, lecturer, voracious reader and founding member of Roxy Music. Don’t get Devo started on Oblique Strategies. He also happens to be the co-creator along with artist Peter Schmidt of Oblique Strategiesa set of cards first he first published in By using this site, you agree to the Terms of Use and Privacy Policy. Produced by the Peter Norton family with the blessing of Brian Eno as Christmas gifts for his friends and colleagues i.
Brian Eno Oblique Strategies Cards Pdf Download
Depends who you ask. These cards evolved from separate observations of the principles underlying what we were doing.