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All the Oblique Strategies (without redundancies)All the ObliqueStrategies (without redundancies)Thecomplete list of all five editions ofthe oblique strategies can be found on.Thefollowing isa list of all the strategies, including (parenthetically) whicheditions they appeared in. There are many strategies which arepresentin all or (just as often) all except Edition 4, which differs the mostof any of them. This listing makes for easier reading byeliminatingthe repeated strategies from one deck to the next.There arenearly 200 individual strategies across the five editions of the deckBrian Eno has released over the years. It's hard to give an exactcount, however, because of differences in the wording betweeneditions. Specifically, some strategies were rephrased fordifferent editions even though they state roughly the same intention.I didn't do as detailed as an analysis as I would have liked to, butthere are interesting things revealed about the history of the deck ifyou look closely enough. For example, Edition 1 has eight'orphaned' strategies. These are ones that appeared only in theedition and were then abandoned, most likely because they were toospecific to music, and the goal was that the strategies be applicableto a block in any creative endeavor.
There are other patternslike this, but I will leave them for you to discovered.The Strategies. (Editions 1, 2, 3, and 5)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? (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.
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(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 4Don'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.
Oblique Strategies Cards
(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? (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)Copyright2012Alexplorer. Strategies copyright 1975 to 2010 Brian Eno and PeteSchmidt.