![]() ![]() _Santa Monica, CA : Peter Norton Family, 1996 multiple boxed edition offset-printed loose leaves die-cut color 4 x 15.7 x 12.8 cm. ![]() Published as the 1996 Peter Norton Family Christmas Project. Each card represents not just a suggestion, but also a constraint. #Oblique strategies for sale series#Oblique Strategies are a series of cards, each with a random suggestion to apply to whatever project you are working on. Also, with this edition in addition to English, texts are translated into Mandarin, Hindi, Spanish, Russian and Arbic by Berlitz Translations Services. The two published their first deck in 1975, marketing it as presenting any artist with over one hundred worthwhile dilemmas to work with. ![]() They were framed in the form of one hundred worthwhile dilemmas, evocative phrases, each suggesting a way to approach a problem in a new light and published in the form of a deck of cards, so that they could be shuffled, drawn, dealt in patterns to facilitate their use in a variety of ways." This new variation was re-envisioned with graphic, and a Corian container, designed by Pae White. Oblique Strategies was created by British musician Brian Eno and his artist friend Peter Schmidt (1931-1980) as a tool for addressing difficulties in the creative process. it is a limited edition artwork.=Oblique Strategies : One Hundred Worthwhile Dilemmas, Fourth Again Revised and More Universal EditionBrian Eno, Peter Schmidt, Pae White "When a creative problem can't be solved directly, solutions may be found by approaching the task from an unusual direction by using Oblique Strategies. Asking what are the wider political, ethical, and philosophical correlates of this incommensurability, LateModernism and the Avant-Garde British Novel reads experimental literature in this light, as suffused with anxiety about its adequacy in the light of its status as necessarily imitative and derivative, and therefore redolent of the forms of not-knowing and uncertainty that mark late modernism more generally. These concepts-error, indeterminacy, uncertainty, accident-all bear a relation to that which evades or resists interpretation and meaning. The experimental novel cultivates an interest in methods of representation that are oblique: attempting to conjure the world at an angle,or in the rear-view mirror by ellipsis or evasion. These novels are interested in the fleeting and the fugitive, in discontinuity and shock. This volume takes some of the claims made about experimental fiction-that it is unreadable, nonlinear, elliptical, errant, plotless-and reimagines these descriptors as historically inscribed tendencies that express the period's investment in the idea of the accidental. Charting these engagements, it shows how they have significance not just for our understanding of these decades but for the broader movement of the novel through the century. Late Modernism and the Avant-Garde British Novel reassesses the experimentalism versus realism debates of the period, and finds a body of work engaged with, rather than merelyantagonistic towards, the literary culture it sought to renovate. Johnson, and Ann Quin worked against the dominance, as they saw it, of the realist novel of the literary mainstream. In the decades following the immediately postwar period in Britain, a loose grouping of experimental writers that included Alan Burns, Christine Brooke-Rose, B. ![]()
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