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an motd script which reads lines from eno's oblique strategies
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Abandon normal instruments [1st ed.] | |
Accept advice [1st ed.] | |
Accretion [1st ed.] | |
A line has two sides [1st ed.] | |
Allow an easement (an easement is the abandonment of a stricture) [1st ed.] | |
Are there sections? Consider transitions [1st ed.] | |
Ask people to work against their better judgement [1st ed.] | |
Ask your body [1st ed.] | |
Assemble some of the instruments in a group and treat the group [1st ed.] | |
Balance the consistency principle with the inconsistency principle [1st ed.] | |
Be dirty [1st ed.] | |
Breathe more deeply [1st ed.] | |
Bridges -build -burn [1st ed.] | |
Cascades [1st ed.] | |
Change instrument roles [1st ed.] | |
Change nothing and continue with immaculate consistency [1st ed.] | |
Children's voices -speaking -singing [1st ed.] | |
Cluster analysis [1st ed.] | |
Consider different fading systems [1st ed.] | |
Consult other sources -promising -unpromising [1st ed.] | |
Convert a melodic element into a rhythmic element [1st ed.] | |
Courage! [1st ed.] | |
Cut a vital connection [1st ed.] | |
Decorate, decorate [1st ed.] | |
Define an area as 'safe' and use it as an anchor [1st ed.] | |
Destroy -nothing -the most important thing [1st ed.] | |
Discard an axiom [1st ed.] | |
Disconnect from desire [1st ed.] | |
Discover the recipes you are using and abandon them [1st ed.] | |
Distorting time [1st ed.] | |
Do nothing for as long as possible [1st ed.] | |
Don't be afraid of things because they're easy to do [1st ed.] | |
Don't be frightened of cliches [1st ed.] | |
Don't be frightened to display your talents [1st ed.] | |
Don't break the silence [1st ed.] | |
Don't stress one thing more than another [1st ed.] | |
Do something boring [1st ed.] | |
Do the washing up [1st ed.] | |
Do the words need changing? [1st ed.] | |
Do we need holes? [1st ed.] | |
Emphasise differences [1st ed.] | |
Emphasise repetitions [1st ed.] | |
Emphasise the flaws [1st ed.] | |
Faced with a choice, do both (given by Dieter Rot) [1st ed.] | |
Feedback recordings into an acoustic situation [1st ed.] | |
Fill every beat with something [1st ed.] | |
Get your neck massaged [1st ed.] | |
Ghost echoes [1st ed.] | |
Give the game away [1st ed.] | |
Give way to your worst impulse [1st ed.] | |
Go slowly all the way round the outside [1st ed.] | |
Honor thy error as a hidden intention [1st ed.] | |
How would you have done it? [1st ed.] | |
Humanise something free of error [1st ed.] | |
Imagine the music as a moving chain or caterpillar [1st ed.] | |
Imagine the music as a set of disconnected events [1st ed.] | |
Infinitesimal gradations [1st ed.] | |
Intentions -credibility of -nobility of -humility of [1st ed.] | |
Into the impossible [1st ed.] | |
Is it finished? [1st ed.] | |
Is there something missing? [1st ed.] | |
Is the tuning appropriate? [1st ed.] | |
Just carry on [1st ed.] | |
Left channel, right channel, centre channel [1st ed.] | |
Listen in total darkness, or in a very large room, very quietly [1st ed.] | |
Listen to the quiet voice [1st ed.] | |
Look at a very small object, look at its centre [1st ed.] | |
Look at the order in which you do things [1st ed.] | |
Look closely at the most embarrassing details and amplify them [1st ed.] | |
Lowest common denominator check -single beat -single note -single riff [1st ed.] | |
Make a blank valuable by putting it in an exquisite frame [1st ed.] | |
Make an exhaustive list of everything you might do and do the last thing on the list [1st ed.] | |
Make a sudden, destructive unpredictable action; incorporate [1st ed.] | |
Mechanicalise something idiosyncratic [1st ed.] | |
Mute and continue [1st ed.] | |
Only one element of each kind [1st ed.] | |
(Organic) machinery [1st ed.] | |
Overtly resist change [1st ed.] | |
Put in earplugs [1st ed.] | |
Remember .those quiet evenings [1st ed.] | |
Remove ambiguities and convert to specifics [1st ed.] | |
Remove specifics and convert to ambiguities [1st ed.] | |
Repetition is a form of change [1st ed.] | |
Reverse [1st ed.] | |
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap) [1st ed.] | |
Shut the door and listen from outside [1st ed.] | |
Simple subtraction [1st ed.] | |
Spectrum analysis [1st ed.] | |
Take a break [1st ed.] | |
Take away the elements in order of apparent non-importance [1st ed.] | |
Tape your mouth (given by Ritva Saarikko) [1st ed.] | |
The inconsistency principle [1st ed.] | |
The tape is now the music [1st ed.] | |
Think of the radio [1st ed.] | |
Tidy up [1st ed.] | |
Trust in the you of now [1st ed.] | |
Turn it upside down [1st ed.] | |
Twist the spine [1st ed.] | |
Use an old idea [1st ed.] | |
Use an unacceptable colour [1st ed.] | |
Use fewer notes [1st ed.] | |
Use filters [1st ed.] | |
Use 'unqualified' people [1st ed.] | |
Water [1st ed.] | |
What are you really thinking about just now? Incorporate [1st ed.] | |
What is the reality of the situation? [1st ed.] | |
What mistakes did you make last time? [1st ed.] | |
What would your closest friend do? [1st ed.] | |
What wouldn't you do? [1st ed.] | |
Work at a different speed [1st ed.] | |
You are an engineer [1st ed.] | |
You can only make one dot at a time [1st ed.] | |
You don't have to be ashamed of using your own ideas [1st ed.] | |
[blank white card] [1st ed.] | |
Abandon normal instruments [2nd ed.] | |
Accept advice [2nd ed.] | |
Accretion [2nd ed.] | |
A line has two sides [2nd ed.] | |
Allow an easement (an easement is the abandonment of a stricture) [2nd ed.] | |
Always first steps [2nd ed.] | |
Always give yourself credit for having more than personality (given by Arto Lindsay) [2nd ed.] | |
Are there sections? Consider transitions [2nd ed.] | |
Ask people to work against their better judgement [2nd ed.] | |
Ask your body [2nd ed.] | |
Assemble some of the instruments in a group and treat the group [2nd ed.] | |
A very small object -Its centre [2nd ed.] | |
Balance the consistency principle with the inconsistency principle [2nd ed.] | |
Be dirty [2nd ed.] | |
Be extravagant [2nd ed.] | |
Breathe more deeply [2nd ed.] | |
Bridges -build -burn [2nd ed.] | |
Cascades [2nd ed.] | |
Change instrument roles [2nd ed.] | |
Change nothing and continue with immaculate consistency [2nd ed.] | |
Children's voices -speaking -singing [2nd ed.] | |
Cluster analysis [2nd ed.] | |
Consider different fading systems [2nd ed.] | |
Consult other sources -promising -unpromising [2nd ed.] | |
Convert a melodic element into a rhythmic element [2nd ed.] | |
Courage! [2nd ed.] | |
Cut a vital connection [2nd ed.] | |
Decorate, decorate [2nd ed.] | |
Define an area as 'safe' and use it as an anchor [2nd ed.] | |
Destroy -nothing -the most important thing [2nd ed.] | |
Discard an axiom [2nd ed.] | |
Disciplined self-indulgence [2nd ed.] | |
Disconnect from desire [2nd ed.] | |
Discover the recipes you are using and abandon them [2nd ed.] | |
Distorting time [2nd ed.] | |
Do nothing for as long as possible [2nd ed.] | |
Don't be afraid of things because they're easy to do [2nd ed.] | |
Don't be frightened of cliches [2nd ed.] | |
Don't be frightened to display your talents [2nd ed.] | |
Don't break the silence [2nd ed.] | |
Don't stress *on* thing more than another (sic) [2nd ed.] | |
Do something boring [2nd ed.] | |
Do the washing up [2nd ed.] | |
Do the words need changing? [2nd ed.] | |
Do we need holes? [2nd ed.] | |
Emphasise differences [2nd ed.] | |
Emphasise repetitions [2nd ed.] | |
Emphasise the flaws [2nd ed.] | |
Faced with a choice, do both (given by Dieter Rot) [2nd ed.] | |
Feed the recording back out of the medium [2nd ed.] | |
Fill every beat with something [2nd ed.] | |
Get your neck massaged [2nd ed.] | |
Ghost echoes [2nd ed.] | |
Give the game away [2nd ed.] | |
Give way to your worst impulse [2nd ed.] | |
Go outside. Shut the door. [2nd ed.] | |
Go slowly all the way round the outside [2nd ed.] | |
Honor thy error as a hidden intention [2nd ed.] | |
How would you have done it? [2nd ed.] | |
Humanise something free of error [2nd ed.] | |
Idiot glee (?) [2nd ed.] | |
Imagine the piece as a set of disconnected events [2nd ed.] | |
Infinitesimal gradations [2nd ed.] | |
Intentions -credibility of -nobility of -humility of [2nd ed.] | |
In total darkness, or in a very large room, very quietly [2nd ed.] | |
Into the impossible [2nd ed.] | |
Is it finished? [2nd ed.] | |
Is the tuning intonation correct? [2nd ed.] | |
Is there something missing? [2nd ed.] | |
It is quite possible (after all) [2nd ed.] | |
Just carry on [2nd ed.] | |
Left channel, right channel, centre channel [2nd ed.] | |
Listen to the quiet voice [2nd ed.] | |
Look at the order in which you do things [2nd ed.] | |
Look closely at the most embarrassing details and amplify them [2nd ed.] | |
Lost in useless territory [2nd ed.] | |
Lowest common denominator [2nd ed.] | |
Make a blank valuable by putting it in an exquisite frame [2nd ed.] | |
Make an exhaustive list of everything you might do and do the last thing on the list [2nd ed.] | |
Make a sudden, destructive unpredictable action; incorporate [2nd ed.] | |
Mechanicalise something idiosyncratic [2nd ed.] | |
Mute and continue [2nd ed.] | |
Not building a wall but making a brick [2nd ed.] | |
Only one element of each kind [2nd ed.] | |
(Organic) machinery [2nd ed.] | |
Overtly resist change [2nd ed.] | |
Put in earplugs [2nd ed.] | |
Question the heroic approach [2nd ed.] | |
Remember .those quiet evenings [2nd ed.] | |
Remove ambiguities and convert to specifics [2nd ed.] | |
Remove specifics and convert to ambiguities [2nd ed.] | |
Repetition is a form of change [2nd ed.] | |
Revaluation (a warm feeling) [2nd ed.] | |
Reverse [2nd ed.] | |
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap) [2nd ed.] | |
Simple subtraction [2nd ed.] | |
Simply a matter of work [2nd ed.] | |
Spectrum analysis [2nd ed.] | |
State the problem in words as simply as possible [2nd ed.] | |
Take a break [2nd ed.] | |
Take away the elements in order of apparent non-importance [2nd ed.] | |
Tape your mouth (given by Ritva Saarikko) [2nd ed.] | |
The inconsistency principle [2nd ed.] | |
The most important thing is the thing most easily forgotten [2nd ed.] | |
The tape is now the music [2nd ed.] | |
Think of the radio [2nd ed.] | |
Tidy up [2nd ed.] | |
Towards the insignificant [2nd ed.] | |
Trust in the you of now [2nd ed.] | |
Turn it upside down [2nd ed.] | |
Twist the spine [2nd ed.] | |
Use an old idea [2nd ed.] | |
Use an unacceptable colour [2nd ed.] | |
Use fewer notes [2nd ed.] | |
Use filters [2nd ed.] | |
Use 'unqualified' people [2nd ed.] | |
Water [2nd ed.] | |
What are the sections sections of? Imagine a caterpillar moving [2nd ed.] | |
What are you really thinking about just now? [2nd ed.] | |
What is the reality of the situation? [2nd ed.] | |
What mistakes did you make last time? [2nd ed.] | |
What would your closest friend do? [2nd ed.] | |
What wouldn't you do? [2nd ed.] | |
What would your closest friend do? [2nd ed.] | |
Work at a different speed [2nd ed.] | |
You are an engineer [2nd ed.] | |
You can only make one dot at a time [2nd ed.] | |
You don't have to be ashamed of using your own ideas [2nd ed.] | |
[blank white card] [2nd ed.] | |
Abandon normal instruments [3rd ed.] | |
Accept advice [3rd ed.] | |
Accretion [3rd ed.] | |
A line has two sides [3rd ed.] | |
Allow an easement (an easement is the abandonment of a stricture) [3rd ed.] | |
Always first steps [3rd ed.] | |
Are there sections? Consider transitions [3rd ed.] | |
Ask people to work against their better judgement [3rd ed.] | |
Ask your body [3rd ed.] | |
Assemble some of the elements in a group and treat the group [3rd ed.] | |
Balance the consistency principle with the inconsistency principle [3rd ed.] | |
Be dirty [3rd ed.] | |
Be extravagant [3rd ed.] | |
Be less critical more often [3rd ed.] | |
Breathe more deeply [3rd ed.] | |
Bridges -build -burn [3rd ed.] | |
Cascades [3rd ed.] | |
Change instrument roles [3rd ed.] | |
Change nothing and continue with immaculate consistency [3rd ed.] | |
Children -speaking -singing [3rd ed.] | |
Cluster analysis [3rd ed.] | |
Consider different fading systems [3rd ed.] | |
Consult other sources -promising -unpromising [3rd ed.] | |
Courage! [3rd ed.] | |
Cut a vital connection [3rd ed.] | |
Decorate, decorate [3rd ed.] | |
Define an area as 'safe' and use it as an anchor [3rd ed.] | |
Destroy -nothing -the most important thing [3rd ed.] | |
Discard an axiom [3rd ed.] | |
Disciplined self-indulgence [3rd ed.] | |
Disconnect from desire [3rd ed.] | |
Discover the recipes you are using and abandon them [3rd ed.] | |
Distorting time [3rd ed.] | |
Do nothing for as long as possible [3rd ed.] | |
Don't be afraid of things because they're easy to do [3rd ed.] | |
Don't be frightened of cliches [3rd ed.] | |
Don't be frightened to display your talents [3rd ed.] | |
Don't break the silence [3rd ed.] | |
Don't stress one thing more than another [3rd ed.] | |
Do something boring [3rd ed.] | |
Do the words need changing? [3rd ed.] | |
Do we need holes? [3rd ed.] | |
Emphasise differences [3rd ed.] | |
Emphasise repetitions [3rd ed.] | |
Emphasise the flaws [3rd ed.] | |
Fill every beat with something [3rd ed.] | |
From nothing to more than nothing [3rd ed.] | |
Ghost echoes [3rd ed.] | |
Give the game away [3rd ed.] | |
Give way to your worst impulse [3rd ed.] | |
Go outside. Shut the door. [3rd ed.] | |
Go slowly all the way round the outside [3rd ed.] | |
Go to an extreme, move back to a more comfortable place [3rd ed.] | |
Honor thy error as a hidden intention [3rd ed.] | |
How would you have done it? [3rd ed.] | |
Humanise something free of error [3rd ed.] | |
Idiot glee (?) [3rd ed.] | |
Imagine the piece as a set of disconnected events [3rd ed.] | |
Infinitesimal gradations [3rd ed.] | |
Intentions -nobility of -humility of -credibility of [3rd ed.] | |
In total darkness, or in a very large room, very quietly [3rd ed.] | |
Into the impossible [3rd ed.] | |
Is it finished? [3rd ed.] | |
Is the intonation correct? [3rd ed.] | |
Is there something missing? [3rd ed.] | |
It is quite possible (after all) [3rd ed.] | |
Just carry on [3rd ed.] | |
Listen to the quiet voice [3rd ed.] | |
Look at the order in which you do things [3rd ed.] | |
Look closely at the most embarrassing details and amplify them [3rd ed.] | |
Lost in useless territory [3rd ed.] | |
Lowest common denominator [3rd ed.] | |
Make a blank valuable by putting it in an exquisite frame [3rd ed.] | |
Make an exhaustive list of everything you might do and do the last thing on the list [3rd ed.] | |
Make a sudden, destructive unpredictable action; incorporate [3rd ed.] | |
Mechanicalise something idiosyncratic [3rd ed.] | |
Mute and continue [3rd ed.] | |
Not building a wall but making a brick [3rd ed.] | |
Once the search is in progress, something will be found [3rd ed.] | |
Only a part, not the whole [3rd ed.] | |
Only one element of each kind [3rd ed.] | |
(Organic) machinery [3rd ed.] | |
Overtly resist change [3rd ed.] | |
Question the heroic approach [3rd ed.] | |
Remember .those quiet evenings [3rd ed.] | |
Remove ambiguities and convert to specifics [3rd ed.] | |
Remove specifics and convert to ambiguities [3rd ed.] | |
Repetition is a form of change [3rd ed.] | |
Retrace your steps [3rd ed.] | |
Revaluation (a warm feeling) [3rd ed.] | |
Reverse [3rd ed.] | |
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap) [3rd ed.] | |
Simple subtraction [3rd ed.] | |
Simply a matter of work [3rd ed.] | |
State the problem in words as clearly as possible [3rd ed.] | |
Take a break [3rd ed.] | |
Take away the elements in order of apparent non-importance [3rd ed.] | |
The inconsistency principle [3rd ed.] | |
The most important thing is the thing most easily forgotten [3rd ed.] | |
The tape is now the music [3rd ed.] | |
Think of the radio [3rd ed.] | |
Tidy up [3rd ed.] | |
Towards the insignificant [3rd ed.] | |
Trust in the you of now [3rd ed.] | |
Turn it upside down [3rd ed.] | |
Use an old idea [3rd ed.] | |
Use an unacceptable colour [3rd ed.] | |
Use fewer notes [3rd ed.] | |
Use filters [3rd ed.] | |
Use 'unqualified' people [3rd ed.] | |
Water [3rd ed.] | |
What are the sections sections of? Imagine a caterpillar moving [3rd ed.] | |
What are you really thinking about just now? [3rd ed.] | |
What is the reality of the situation? [3rd ed.] | |
What mistakes did you make last time? [3rd ed.] | |
What wouldn't you do? [3rd ed.] | |
What would your closest friend do? [3rd ed.] | |
Work at a different speed [3rd ed.] | |
Would anybody want it? [3rd ed.] | |
You are an engineer [3rd ed.] | |
You can only make one dot at a time [3rd ed.] | |
You don't have to be ashamed of using your own ideas [3rd ed.] | |
[blank white card] [3rd ed.] | |
Abandon desire [4th ed.] | |
Abandon normal instructions [4th ed.] | |
Accept advice [4th ed.] | |
Adding on [4th ed.] | |
A line has two sides [4th ed.] | |
Always the first steps [4th ed.] | |
Ask people to work against their better judgement [4th ed.] | |
Ask your body [4th ed.] | |
Be dirty [4th ed.] | |
Be extravagant [4th ed.] | |
Be less critical [4th ed.] | |
Breathe more deeply [4th ed.] | |
Bridges -build -burn [4th ed.] | |
Change ambiguities to specifics [4th ed.] | |
Change nothing and continue consistently [4th ed.] | |
Change specifics to ambiguities [4th ed.] | |
Consider transitions [4th ed.] | |
Courage! [4th ed.] | |
Cut a vital connection [4th ed.] | |
Decorate, decorate [4th ed.] | |
Destroy nothing; Destroy the most important thing [4th ed.] | |
Discard an axiom [4th ed.] | |
Disciplined self-indulgence [4th ed.] | |
Discover your formulas and abandon them [4th ed.] | |
Display your talent [4th ed.] | |
Distort time [4th ed.] | |
Do nothing for as long as possible [4th ed.] | |
Don't avoid what is easy [4th ed.] | |
Don't break the silence [4th ed.] | |
Don't stress one thing more than another [4th ed.] | |
Do something boring [4th ed.] | |
Do something sudden, destructive and unpredictable [4th ed.] | |
Do the last thing first [4th ed.] | |
Do the words need changing? [4th ed.] | |
Emphasize differences [4th ed.] | |
Emphasize the flaws [4th ed.] | |
Faced with a choice, do both (from Dieter Rot) [4th ed.] | |
Find a safe part and use it as an anchor [4th ed.] | |
Give the game away [4th ed.] | |
Give way to your worst impulse [4th ed.] | |
Go outside. Shut the door. [4th ed.] | |
Go to an extreme, come part way back [4th ed.] | |
How would someone else do it? [4th ed.] | |
How would you have done it? [4th ed.] | |
In total darkness, or in a very large room, very quietly [4th ed.] | |
Is it finished? [4th ed.] | |
Is something missing? [4th ed.] | |
Is the style right? [4th ed.] | |
It is simply a matter or work [4th ed.] | |
Just carry on [4th ed.] | |
Listen to the quiet voice [4th ed.] | |
Look at the order in which you do things [4th ed.] | |
Magnify the most difficult details [4th ed.] | |
Make it more sensual [4th ed.] | |
Make what's perfect more human [4th ed.] | |
Move towards the unimportant [4th ed.] | |
Not building a wall; making a brick [4th ed.] | |
Once the search has begun, something will be found [4th ed.] | |
Only a part, not the whole [4th ed.] | |
Only one element of each kind [4th ed.] | |
Openly resist change [4th ed.] | |
Pae White's non-blank graphic metacard [4th ed.] | |
Question the heroic [4th ed.] | |
Remember quiet evenings [4th ed.] | |
Remove a restriction [4th ed.] | |
Repetition is a form of change [4th ed.] | |
Retrace your steps [4th ed.] | |
Reverse [4th ed.] | |
Simple Subtraction [4th ed.] | |
Slow preparation, fast execution [4th ed.] | |
State the problem as clearly as possible [4th ed.] | |
Take a break [4th ed.] | |
Take away the important parts [4th ed.] | |
The inconsistency principle [4th ed.] | |
The most easily forgotten thing is the most important [4th ed.] | |
Think - inside the work -outside the work [4th ed.] | |
Tidy up [4th ed.] | |
Try faking it (from Stewart Brand) [4th ed.] | |
Turn it upside down [4th ed.] | |
Use an old idea [4th ed.] | |
Use cliches [4th ed.] | |
Use filters [4th ed.] | |
Use something nearby as a model [4th ed.] | |
Use 'unqualified' people [4th ed.] | |
Use your own ideas [4th ed.] | |
Voice your suspicions [4th ed.] | |
Water [4th ed.] | |
What context would look right? [4th ed.] | |
What is the simplest solution? [4th ed.] | |
What mistakes did you make last time? [4th ed.] | |
What to increase? What to reduce? What to maintain? [4th ed.] | |
What were you really thinking about just now? [4th ed.] | |
What wouldn't you do? [4th ed.] | |
What would your closest friend do? [4th ed.] | |
When is it for? [4th ed.] | |
Where is the edge? [4th ed.] | |
Which parts can be grouped? [4th ed.] | |
Work at a different speed [4th ed.] | |
Would anyone want it? [4th ed.] | |
Your mistake was a hidden intention [4th ed.] |
This file contains bidirectional Unicode text that may be interpreted or compiled differently than what appears below. To review, open the file in an editor that reveals hidden Unicode characters.
Learn more about bidirectional Unicode characters
function motd () { | |
if [ -e ~/.motd.txt ]; then | |
local rnd=1 | |
fn=~/.motd.txt | |
lns=$(wc -l $fn | sed 's|[ ]*\([0-9]*\).*|\1|') | |
if [ "$lns" = 0 ]; then | |
rnd=1 | |
else | |
rnd=$(( (RANDOM % (lns + 1)) + 1 )) | |
fi | |
sed -n ${rnd}p $fn | |
fi | |
} |
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