| id | lang | string |
|---|
| 101 | 3084 | &About Oblique Strategies |
| 102 | 3084 | Remove specifics and convert to ambiguities. |
| 103 | 3084 | Don't be frightened of cliches. |
| 104 | 3084 | What is the reality of the situation? |
| 105 | 3084 | Are there sections?
Consider transitions. |
| 106 | 3084 | Turn it upside down. |
| 107 | 3084 | Think of the radio. |
| 108 | 3084 | Allow an easement (an easement is the abandonment of a stricture). |
| 109 | 3084 | Simple subtraction. |
| 110 | 3084 | Be dirty. |
| 111 | 3084 | Go slowly all the way round the outside. |
| 112 | 3084 | A line has two sides. |
| 113 | 3084 | Make an exhaustive list of everything you might do and do the last thing on the list. |
| 114 | 3084 | Into the impossible. |
| 115 | 3084 | Towards the insignificant. |
| 116 | 3084 | Ask people to work against their better judgement. |
| 117 | 3084 | Take away the elements in order of apparent non-importance. |
| 118 | 3084 | Infinitesimal gradations. |
| 119 | 3084 | Change instrument roles. |
| 120 | 3084 | Disconnect from desire. |
| 121 | 3084 | Emphasize repetitions. |
| 122 | 3084 | Faced with a choice, do both
(given by Dieter Rot). |
| 123 | 3084 | Children
-speaking -singing. |
| 124 | 3084 | Lost in useless territory. |
| 125 | 3084 | A very small object.
Its center. |
| 126 | 3084 | Dont be afraid of things because they're easy to do. |
| 127 | 3084 | Dont be frightened to display your talents. |
| 128 | 3084 | Breathe more deeply. |
| 129 | 3084 | Honor thy error as a hidden intention. |
| 130 | 3084 | What are the sections sections of? |
| 131 | 3084 | Imagine a caterpillar moving. |
| 132 | 3084 | Only one element of each kind. |
| 133 | 3084 | Is there something missing? |
| 134 | 3084 | Use 'unqualified' people. |
| 135 | 3084 | How would you have done it? |
| 136 | 3084 | Emphasize differences. |
| 137 | 3084 | Do nothing for as long as possible. |
| 138 | 3084 | Bridges
-build -burn. |
| 139 | 3084 | Always give yourself credit for having more than personality
(given by Arto Lindsay). |
| 140 | 3084 | You don't have to be ashamed of using your own ideas. |
| 141 | 3084 | Tidy up. |
| 142 | 3084 | Do the words need changing? |
| 143 | 3084 | Ask your body. |
| 144 | 3084 | Tape your mouth
(given by Ritva Saarikko). |
| 145 | 3084 | Water. |
| 146 | 3084 | Simply a matter of work. |
| 147 | 3084 | Make a sudden, destructive unpredictable action; incorporate. |
| 148 | 3084 | Consult other sources
-promising -unpromising. |
| 149 | 3084 | Use an unacceptable color. |
| 150 | 3084 | Humanize something free of error. |
| 151 | 3084 | Use filters. |
| 152 | 3084 | Fill every beat with something. |
| 153 | 3084 | Discard an axiom. |
| 154 | 3084 | Not building a wall but making a brick. |
| 155 | 3084 | What wouldn't you do? |
| 156 | 3084 | Lowest common denominator. |
| 157 | 3084 | Decorate, decorate. |
| 158 | 3084 | Balance the consistency principle with the inconsistency principle. |
| 159 | 3084 | Get your neck massaged. |
| 160 | 3084 | Listen to the quiet voice. |
| 161 | 3084 | Do the washing up. |
| 162 | 3084 | Is it finished? |
| 163 | 3084 | Put in earplugs. |
| 164 | 3084 | Reevaluation (a warm feeling). |
| 165 | 3084 | Give the name away. |
| 166 | 3084 | Intentions
-nobility of -humility of
-credibility of. |
| 167 | 3084 | Abandon normal instruments. |
| 168 | 3084 | Use fewer notes. |
| 169 | 3084 | Repetition is a form of change. |
| 170 | 3084 | Give way to your worst impulse. |
| 171 | 3084 | Reverse. |
| 172 | 3084 | Trust in the you of now. |
| 173 | 3084 | Imagine the piece as a set of disconnected events. |
| 174 | 3084 | What would your closest friend do? |
| 175 | 3084 | Distorting time. |
| 176 | 3084 | Make a blank valuable by putting it in an exquisite frame. |
| 177 | 3084 | Feed the recording back out of the medium. |
| 178 | 3084 | Convert a melodic element into a rhythmic element. |
| 179 | 3084 | The most important thing is the thing most easily forgotten. |
| 180 | 3084 | [ ... ]. |
| 181 | 3084 | Ghost echoes. |
| 182 | 3084 | You can only make one dot at a time. |
| 183 | 3084 | Just carry on. |
| 184 | 3084 | (Organic) machinery. |
| 185 | 3084 | The inconsistency principle. |
| 186 | 3084 | Don't break the silence. |
| 187 | 3084 | Idiot glee (?). |
| 188 | 3084 | Discover the recipes you are using and abandon them. |
| 189 | 3084 | Cascades. |
| 190 | 3084 | Courage! |
| 191 | 3084 | Spectrum analysis. |
| 192 | 3084 | What mistakes did you make last time? |
| 193 | 3084 | Consider different fading systems. |
| 194 | 3084 | Mute and continue. |
| 195 | 3084 | Be extravagant. |
| 196 | 3084 | It is quite possible (after all). |
| 197 | 3084 | What are you really thinking about just now? |
| 198 | 3084 | Don't stress on thing more than another [sic]. |
| 199 | 3084 | State the problem in words as clearly as possible. |
| 200 | 3084 | You are an engineer. |
| 201 | 3084 | Remove ambiguities and convert to specifics. |
| 202 | 3084 | Look at the order in which you do things. |
| 203 | 3084 | Go outside. Shut the door. |
| 204 | 3084 | Disciplined self-indulgence. |
| 205 | 3084 | Do we need holes? |
| 206 | 3084 | Cluster analysis. |
| 207 | 3084 | Always first steps. |
| 208 | 3084 | Cut a vital connection. |
| 209 | 3084 | Do something boring. |
| 210 | 3084 | Define an area as 'safe' and use it as an anchor. |
| 211 | 3084 | Is the information correct? |
| 212 | 3084 | Overtly resist change. |
| 213 | 3084 | Question the heroic approach. |
| 214 | 3084 | Accept advice. |
| 215 | 3084 | Twist the spine. |
| 216 | 3084 | Work at a different speed. |
| 217 | 3084 | Look closely at the most embarrassing details and amplify them. |
| 218 | 3084 | Mechanicalize something idiosyncratic. |
| 219 | 3084 | Emphasize the flaws. |
| 220 | 3084 | Remember those quiet evenings. |
| 221 | 3084 | Take a break. |
| 222 | 3084 | Short circuit (example: a man eating peas with the idea that they will improve his virility shovels them straight into his lap). |
| 223 | 3084 | Left channel, right channel, center channel. |
| 224 | 3084 | Use an old idea. |
| 225 | 3084 | Destroy
-nothing
-the most important thing. |
| 226 | 3084 | Change nothing and continue with immaculate consistency. |
| 227 | 3084 | The tape is now the music. |
