all the way round the outside. Oblique Strategies © , , Brian Eno/Peter Schmidt. PDF file created by Matthew Davidson wm-greece.info . 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. Abandon normal instruments. Accept advice. Accretion. A line has two sides. Allow an easement (an easement is the abandonment of a stricture). Are there.
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File:Eno Brian Schmidt Peter Oblique wm-greece.info wm-greece.info (file size: KB, MIME type . The Oblique Strategies are a deck of cards. Up until , they were quite easy to describe. They measured about /4" x /4". They came in a small black. “Stop thinking about art works as objects, and start thinking about them as triggers for experiences,” ambient music pioneer Brian Eno wrote in.
It was one of the many cases during the friendship that he [Peter Schmidt] and I where we arrived at a working position at almost exactly the same time and almost in exactly the same words.
There were times when we hadn't seen each other for a few months at a time sometimes, and upon remeeting or exchanging letters, we would find that we were in the same intellectual position - which was quite different from the one we'd been in prior to that.
The Oblique Strategies evolved from me being in a number of working situations when the panic of the situation - particularly in studios - tended to make me quickly forget that there were others ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach. If you're in a panic, you tend to take the head-on approach because it seems to be the one that's going to yield the best results Of course, that often isn't the case - it's just the most obvious and - apparently - reliable method.
The first Oblique Strategy said "Honour thy error as a hidden intention. I think it was "Was it really a mistake? Well, I collected about fifteen or twenty of these and then I put them onto cards.
At the same time, Peter had been keeping a little book of messages to himself as regards painting, and he'd kept those in a notebook.
We were both very surprised to find the other not only using a similar system but also many of the messages being absolutely overlapping, you know So subsequently we decided to try to work out a way of making that available to other people, which we did; we published them as a pack of cards, and they're now used by quite a lot of different people, I think. An introduction to the Oblique Strategies can be found in the deck itself.
This is how each of the first three decks labels and describes itself: These cards evolved from our separate observations on the principles underlying what we were doing.
Sometimes they were recognized in retrospect intellect catching up with intuition , sometimes they were identified as they were happening, sometimes they were formulated.
The appeal of the Oblique Strategies is that they are useful not just to artists and musicians, but to anyone adventurous enough to seek unexpected insights when dealing with uncertain outcomes.
Together with an artist named Peter Schmidt, Eno created a deck of cards that could be consulted whenever a mental obstacle is encountered. Each card features a direct instruction for how to proceed.
Breakthrough ideas often begin as mistakes. By treating the mistaken result as your desired outcome, you could make a discovery you would never consciously have arrived at. Would anyone want it?
Entrepreneurs have to have vision, but sometimes that vision can be myopic. Will anyone want this product or service?
The bare bones of Google Glass contain some very cool, futuristic ideas, but perhaps no one at Google took the time to consider whether anyone would want it.
Be dirty. Maybe rather than focusing on launching your company with the finished version of your offering, you should consider launching with an MVP minimum viable product to allow you to continuously improve and iterate via customer feedback. Not building a wall but making a brick.