You should ask those questions for card decks too. Below are a few examples. Oblique Strategies (1975-)Brian Eno’s classic deck called Oblique strategies (Over One Hundred Worthwhile Dilemmas) containing around 100 thought strategies. It’s minimalistic take on cards became a reference point for others. Oblique Strategies Pdf. Oblique Strategies Card Text need to clarify which version this is and add as a sub pages under general OS info. Remove specifics and convert to ambiguities Don't be frightened of cliches What is the reality of the situation? DbExpress driver for Oracle 82 downloads; Raymond Azar Crime and Conviction 2 downloads.
[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 (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.
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Includes all five versions of Oblique Strategies [25]. They were used again on Bowie’s album Outsidewhich Eno was involved with as a writer, producer and musician. Well, it’s not going to be anything by Coldplay did Eno invent a deck just for them with instructions like “Make everything more pretty” or “Be a bit enp Open Culture editor Dan Obliquf scours the web for the best educational media.
Each card contains a phrase or cryptic epigram which can supposedly be used to break some existential deadlock.
He also happens to be the co-creator along with artist Peter Schmidt of Oblique Strategiesa set of cards first he first published in In a limited 6th edition of numbered sets were available but quickly sold out. Topics Brian Eno Hey, what’s that sound? Stories suggest they were used during the recording of instrumentals on “Heroes” such as ” Sense of Doubt ” and were used more extensively on Lodger ” Fantastic Voyage “, ” Boys Keep Swinging “, “Red Money”.
Oblique Strategies
Possible Musics Dream Theory in Malaya: 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. Fourth World Volume Two. Waking up this morning with a strange hangover I’d had nothing to drink the previous eveningI decided that I needed to be jolted into full conciousness.
Low “Heroes” Lodger Outside. With public interest in the cards undiminished, in Eno once again produced a new set of Oblique Strategies cards.
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 obliqye about avoiding jargon and inside jokes and urging a familiarity with the I Ching and other oracular sources.
Eno, who had known Schmidt since the late s, had been pursuing a similar project himself which he had handwritten onto a brina of bamboo cards and given the name “Oblique Strategies” in The Plateaux of Mirror The Pearl.
Your comment will be queued in Akismet! Written in Eno’s own hand, sometimes cursive and sometimes block, on cards with a wooden-looking texture and without the rounded corners that characterize the commercial version, these first Oblique Strategies include “Don’t be frightened to display your talents,” “If a thing can be said, it can be said simply,” and “Do we need holes?
Who better to administer that jolt than pop’s most original thinker, Professor Brian Eno?
Oblique Strategies – Wikipedia
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. Get the best cultural and educational resources on the web curated for you in a daily email. You hear a voice singing a single note over a drumbeat and you think Brian was trying to add beauty to our music. Loading comments… Trouble loading? Individually numbered, and signed by Eno and Schmidt [10].
Depends who you ask.
By using this site, you agree to the Terms of Use and Privacy Policy. In this case the card is trusted even if its appropriateness is quite unclear Despite Schmidt’s briaan inEno has continued to revise the Strategies, and the fifth edition of the cards was published this year, along with the inevitable iPhone app.
Brian Eno Oblique Strategies Cards Pdf Download
A few are specific to music composition; others are more general. Retrieved 5 January The Pavilion of Dreams Ambient 2: In this case the card is trusted even if its appropriateness is quite unclear. By Cetacean Enterprises [23] for Mac software [24]. Here’s an online Javascript version of the cards. On each card is printed an often quite abstract instructionwhich is invoked when an artist, producer or band has reached some form of creative impasse and requires external disruptive influence to suggest brlan ideas.
Music for Airports Music for Films Ambient 4: To support Open Culture’s continued operation, please consider making a donation. Oblique Strategies isn’t just handy for making Coldplay sound a bit like Queen or whatever, they can also be applied to cringeworthy creative branding and cooking.
