Contents • • • • • • • Origin and history [ ] In 1970, created 'The Thoughts Behind the Thoughts', a box containing 55 sentences letterpress printed onto disused prints that accumulated in his studio, which is still in the possession of Eno. Eno, who had known Schmidt since the late 1960s, had been pursuing a similar project himself (which he had handwritten onto a number of bamboo cards and given the name 'Oblique Strategies' in 1974).

There was a significant overlap between the two projects, and so, in late 1974, Schmidt and Eno combined them into a single pack of cards and offered them for general sale. Teriyaki Boyz Delicious Japanese Zip Free Download Programs. The set went through three limited edition printings before Schmidt suddenly died in early 1980, after which the card decks became rather rare and expensive.

From Brains 2: Oblique Strategies is a concept developed by Brian Eno and Peter Schmidt to help artists overcome creative block through lateral thinking. It consists of a deck of cards, each one containing a vague or ambiguous phrase which can be used to solve a problem intuitively, by breaking. A tab replacement based on Oblique Strategies by Brian Eno and Peter Schmidt.

Sixteen years later software pioneer convinced Eno to let him create a fourth edition as a Christmas gifts for his friends (not for sale, although they occasionally come up at auction). Eno's decision to revisit the cards and his collaboration with Norton in revising them is described in detail in his 1996 book.

With public interest in the cards undiminished, in 2001 Eno once again produced a new set of Oblique Strategies cards. The number and content of the cards vary somewhat from edition to edition. In May 2013 a limited edition of 500 boxes, in burgundy rather than black, was issued. The entire story of Oblique Strategies, with the content of all the cards, exhaustive history and commentary, is documented in a website widely acknowledged as the authoritative source, put together by musician and educator Gregory Alan Taylor. The text of Schmidt's 'The Thoughts Behind the Thoughts' was published by Mindmade Books in 2012. Design and use [ ] Each card contains a phrase or cryptic remark which can be used to break a deadlock or dilemma situation.

Some are specific to music composition; others are more general. Examples include: • Use an old idea. • State the problem in words as clearly as possible. • Only one element of each kind. • What would your closest friend do? • What to increase?

What to reduce? • Are there sections? Consider transitions. • Try faking it!

• Honour thy error as a hidden intention. • Ask your body. • Work at a different speed. From the introduction to the 2001 edition: These cards evolved from separate observations of the principles underlying what we were doing. Sometimes they were recognised in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, sometimes they were formulated. They can be used as a pack, or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation.

In this case the card is trusted even if its appropriateness is quite unclear. Cultural impact [ ] Many references to Oblique Strategies exist in popular culture, notably in the film, in which a character offers passers-by cards from a deck. Strategies mentioned include 'Honor thy error as a hidden intention', 'Look closely at the most embarrassing details and amplify', 'Not building a wall; making a brick', 'Repetition is a form of change', and one which came to be seen as a summary of the film's ethos (though it was not part of the official set of Oblique Strategies), 'Withdrawing in disgust is not the same thing as apathy.' This line was quoted in the 1994 song ' by, who also mentioned Oblique Strategies in their 1998 song 'Diminished' from the album.

The Oblique Strategies are also referenced in comic 1018, 'Oblique Angles', of popular web comic. Other musicians inspired by Oblique Strategies include the British band, said to have used the cards when recording their 2008 -produced album and French band, who used the cards when recording their 2009 album.

German musician/composer has a similar navigation system, called Dave. In response to their song 'Brian Eno', from their album, has said they had a deck of Oblique Strategies in the studio, but they 'don't know if [they] used them correctly.' They were most famously used by Eno during the recording of 's (,, ). Stories suggest they were used during the recording of instrumentals on 'Heroes' such as ' and were used more extensively on Lodger (', ', 'Red Money'). They were used again on Bowie's 1995 album, which Eno was involved with as a writer, producer and musician. Carlos Alomar, who worked with Eno and Bowie on all these albums, was a fan on using the cards, later saying 'at the Center for Performing Arts at the Stevens Institute of Technology, where I teach, on the wall are Brian Eno’s Oblique Strategies cards.

And when my students get a mental block, I immediately direct them to that wall.' Editions and variations [ ] Edition Year No. Cards Edition of Notes Original 1975 113 500 Individually numbered, and signed by Eno and Schmidt Second 1978 128 1,000 Available through Eno's record label at the time, Opal Records Third 1979 123 1,000 Advertised for sale in the Newsletter and elsewhere French 1979 128 unknown Alain D'Hooghe translator; produced in association with an exhibition 'More Than Nothing' by Schmidt & Eno at the in, February 1980 Japanese n.a.

Although much-rumored to exist, no conclusive evidence has surfaced to confirm one was ever produced Fourth 1996 100 4,000 Produced by the family (with the blessing of Brian Eno) as Christmas gifts for his friends and colleagues (i.e. Not for commercial sale). Unlike other editions, the cards feature translations into the five other most common languages (Mandarin Chinese, Hindi, Spanish, Russian and Arabic), include artwork (by ) on the cards, and come in a molded white plastic container.

A handful of the cards are by new contributors (, Ritva Saarikko,, and ). Fifth 2001 113 + 2 informational unlimited Currently still on sale Sixth 2013 106 + 2 informational 500 Limited Edition in Burgundy Case version 1995 unknown n.a. By Cetacean Enterprises for software version 2013 unknown n.a.

Includes all five versions of Oblique Strategies version 2010 110 n.a. Open-source plugin by David Wicks for the Processing creative coding environment. See also [ ] • • • • • • References [ ]. Retrieved 2013-09-20. • (July 7, 2014)... Retrieved 5 January 2018.

Retrieved 2013-03-14. • Emr, John (2010-03-09).. Retrieved 2013-09-20. Retrieved 2013-09-20. The Criterion Collection. Retrieved 2013-09-20.

Questionable Content. Rock Cellar Magazine. 11 February 2016. Retrieved 11 February 2016. Retrieved 2013-09-20.

Retrieved 2014-09-29. Retrieved 2013-09-20. • personal collection •. Retrieved 2013-09-20. Retrieved 2013-09-20.

Retrieved 2013-09-20. Retrieved 2013-09-20. Retrieved 2013-09-20. Retrieved 2013-09-20. Retrieved 2013-09-20. Retrieved 2013-09-20. Retrieved 2013-09-20.

• • External links [ ] • • • on 's BBC6 Radio show, November 8, 2010.

Simon Jarvis, Dionysus Crucified: Choral Lyric for Two Soloists and Messenger ([Cambridge, England]: Grasp Press, 2011. Graphic Arts Collection GAX 2013- in processOCLC lists Dionysus Crucified as: Book poetry 12 unnumbered pages; 34 x 34 cm. A cataloguer has listed the subtitle as Choral Lyric for Two Soloists and Messenger and the epigraph as You cannot walk down two roads at once, even in fairyland. The reverse might also be valid. Written in 2011 by Prof.

Simon Jarvis, Gorley Putt Professor of Poetry and Poetics at Cambridge University, this cunning book of visual and aural poetry moves in long lines across the pages in various directions with few signposts. Happily, a recording of Dionysus Crucified, read by Jarvis and Justin Katko at the Centre for Creative Collaboration in King’s Cross London, was made in 2011 and can still be accessed. This is definitely a book to be seen as well as heard.

Unidentified Artist, Vue d’un superbe feux d’artifice a Vienne [A View of Superb Fireworks in Vienna], 1780. Engraving with hand coloring. Graphic Arts Collection GA 1995.00005Princeton’s Graphic Arts Collection has a large group of Vues d’optique (optical views) along with the viewing devices used to look at them. A special sub-set are the transparency views or hold-to-light prints. Rather than simply being designed with exaggerated perspective, these are made to be seen in peep shows, boxes with a top lid so that the light could be directed from the front or the back, offering a daytime view and a nighttime view.

Most of our prints are late 18th-century European and have added color or colored paper on the back to enhance the scene. Below is a shot of the fireworks from the back: Here is another example. We have a whole series of street views from the City of Scheveningen. I’m sorry the registration is poor.

Unidentified Artist, View of the City of Scheveningen, 1780. Engraving with hand coloring. Graphic Arts Collection GA 1995-00012a Thomas Rowlandson incorporated magic lanterns into a number of his prints and drawings but this is the only one I know of that is a transformation print. Engraved by H. Merke (active ca. 1820) after a design by Thomas Rowlandson (1756 or 1757- 1827), A Magic Lantern, January 20, 1799.

Published by Rudolph Ackermann. Mezzotint with transparencies and added color. Gift of Dickson Q. Brown, Class of 1895.

Graphic Arts collection GC 138. The wonderful Dick Balzer’s website has more. Unidentified photographer, Luther Widen with his portable typewriter, 1928. The First National Poetry Exhibition began in the summer of 1927 under the directorship of Lew Ney (Luther E. Widen, 1886-1963) and his soon to be wife Ruth Willis Thompson. For one dime, anyone from New York to San Antonio to Toledo could submit a poem. Each Thursday there was a Poets’ Soiree where many of the poems were read and, much like Facebook, people would “like” particular poems by initialing them.

Poems were submitted by photographer Aaron Siskind (1903-1991), Charles Henri Ford (1919-2001), Maxwell Bodenheim (1892-1954), and Louis Ginsberg (1885-1976, father of Allen Ginsberg), along with 6,000 others. Kahl, who managed opera singers, came to each Thursday night soiree and read her poems. Lew Ney was so taken with the rhymes that he offered to design, print, and publish a small volume, illustrated with linocuts by another local Dean Dowell. On March 1, 1928, Circus was released at the price of $1.75, with all profits going back into the Poetry Exhibition. James Gillray (1757-1815), End of the Irish Farce of Catholic Emancipation, May 17, 1805.

Etching with hand color. Graphic Arts Collection GAX 2013- in process Dorothy George points out that the Irish petition for Catholic Emancipation was introduced in the House of Lords by Grenville on 10 May 1805 and in the House of Commons by Fox on 13 May 1805. Motions for a Committee to consider it were defeated in the Lords by 178 to 49, and in the Commons by 336 to 124. The all-powerful sword and crown indicates the opposition of George III, making the petition a farce since it was brought forward in the knowledge that it would not be accepted. Verses from Paradise Lost etched below: And now St Peter at heav’n’s wicket seems To wait them with his keys, & now at foot Of heav’ns ascent they lift their feet: – when lo!

A violent cross-wind from either coast Blows them transverse, ten thousand leagues awry Into the devious Air: then might ye see Cowls, hoods, & habits, with their wearers, tost, And flutter’d into rags; then Reliques, Beads, Indulgences, Dispenses, Pardons, Bulls, The sport of winds! – All these whirl’d up aloft Fly o’er ye backside of the world far off Into a Limbo large, & broad, since call’d The Paradise of Fools! Correctly quoted, except ‘whirl’d up’ for ‘upwhirled’.] The British Museum has posted an extended description of each element in this complicated burlesque of Milton’s lines here. Richard Jones (1767-1840), Angler in Eton Playing Fields on the Thames, ca.

Oil on canvas. GC164 Kienbusch Angling Collection. Gift of Carl Otto Kretzschmar von Kienbusch, Class of 1906.

Born in Reading, the sporting painter Richard Jones was sought after for his depiction of horses, dogs, and fish. Yet, very little is known about the artist’s life besides a small list of paintings and exhibitions from the early 1800s.

Our Angler dates from a similar period as The Anglers at the Brooklyn Museum: Fishing is more expensive than ever for Eton gentlemen, young and old, according to Angling News (March 15, 2011). In an article entitled, “Eton College hands over fishing rights to new group,” we learn that “Eton College has handed over the fishing rights to a four-mile stretch of river between Romney Island at Windsor and Dorney Rowing Lake to a syndicate that will charge £100 a year.” “The college had let local angling clubs have the rights in the past. Eton Fisheries–a group consisting of Newbury-based chartered surveyor Patrick Todd and two colleagues–are now in charge.

Todd said that he had met representatives from all the fishing clubs and that reaction had been mixed. He said that although there would be an £100 annual charge, keen fishermen or women would also be able to obtain a day licence for just £6 and that he had no intention of pricing ordinary people out.”. Need some paper?

Why go to Office Depot when you can make it yourself? That’s what our good friend Allen Scheuch, Class of 1976, did. Two years after he graduated from Princeton University, Scheuch decided to learn to make paper. The class he attended followed Dard Hunter’s book, Papermaking: the History and Technique of an Ancient Craft (New York: Knopf, 1943). Graphic Arts Collection (GAX) TS1090.H816 1943.

A 24 x 32 inch paper mould was fashioned from varnished mahogany, with a bronze screen, simple brass (kitchen cabinet) handles, an inlaid brass rod on one side for reinforcement, and an “S” (for Scheuch) in a circle for the watermark. 100% linen rag was torn and beaten into a milk-like soup. For each sheet, Scheuch dipped the mould into the mixture and let the water drain. The top “deckle” finished the sides of the paper before the damp sheet was transferred to a felt where it would dry.

“I used one or two pieces but that was all!” Scheuch told me. “I liked the texture and the deckle but could never bring myself to use it casually – it meant too much to me! – and never ended up using it in a special project. So this will be its special project – as a teaching aide in Princeton’s Graphic Arts Department; I can’t imagine a finer one!” Even better, this winter Scheuch’s mould and some of his paper will find their way into the Princeton University Art Museum as an educational element for the upcoming extravaganza: 500 Years of Italian Master Drawings from the Princeton University Art Museum, opening January 25, 2014. Our sincere thanks to Mr. In 1923, when Frances Steloff (1887-1989), owner of the Gotham Book Mart, moved her bookstore to West Forty-Seventh Street, it was her friend Lew Ney (Luther Widen, 1886-1963) who gave up his Fourth of July weekend to carry the books and shelves to the new shop. Esper Retirement Edition Flac there. When Steloff needed a brochure or keepsake printed, it was her friend Lew Ney who hand-set the type, dampened the paper, and printed the edition for her.

And so, when Christopher Morley (1890-1957) wrote the verse, “Rubaiyat of Account Overdue,” in response to the many unpaid bills at the Gotham Book Mart, it was Lew Ney who editioned the poem for Steloff. Lew Ney designed two separate formats: a narrow broadside that would go in an envelope with each overdue notice and a four page keepsake as a reward to those who paid their bills. He printed 350 of each, using his famous Inkunabula type. Morley signed them all and as they went out, Steloff added the date and her signature. “That not only brought good results,” wrote Steloff, “but also a problem—our prompt paying customers then felt it was more rewarding to be delinquent.” [Special Gotham Book Mart issue of Journal of Modern Literature 4, no.4 April 1975): 792]As soon as he finished Steloff’s project, Lew Ney was on to his next jobs, using the same Inkunabula type to set Robert Penn Warren’s Thirty-Six Poems; Williams Carlos William’s An Early Martyr and Other Poems; and Wallace Stevens’ Ideas of Order, among other project that year. Christopher Morley (1890-1957), Rubaiyat of Account Overdue (New York: Gotham Book Mart, 1935). Copy 29 of 350.

Rare Books (Ex) 3866.5.3785.1935 Christopher Morley ( 1890-1957), Rubaiyat of Account Overdue ([New York: Gotham Book Mart, 1935]). (Ex) Oversize 3866.5.3785q.