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| Strategy | |
|---|---|
| Pae White's non-blank graphic metacard | |
| Make it more sensual | |
| Do the words need changing? | |
| Remember those quiet evenings | |
| Spectrum analysis | |
| Take away the important parts | |
| Honour thy error as a hidden intention | |
| Repetition is a form of change | |
| Emphasise repetitions | |
| Disconnect from desire | |
| Voice your suspicions | |
| Is the intonation correct? | |
| Imagine the music as a moving chain or caterpillar | |
| Make an exhaustive list of everything you might do and do the last thing on the list | |
| It is quite possible (after all) | |
| Mechanicalise something idiosyncratic | |
| Take a break | |
| Cascades | |
| Do nothing for as long as possible | |
| The inconsistency principle | |
| Simple subtraction | |
| Trust in the you of now | |
| Decorate, decorate | |
| Retrace your steps | |
| You can only make one dot at a time | |
| Do the last thing first | |
| Towards the insignificant | |
| Consider different fading systems | |
| Cut a vital connection | |
| Accretion | |
| Always first steps | |
| The tape is now the music | |
| Turn it upside down | |
| Abandon normal instruments | |
| Don't be frightened to display your talents | |
| It is simply a matter of work | |
| Who should be doing this job? How would they do it? | |
| How would you have done it? | |
| Overtly resist change | |
| Be extravagant | |
| Mute and continue | |
| Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap) | |
| Left channel, right channel, centre channel | |
| What would your closest friend do? | |
| Which elements can be grouped? | |
| Is the tuning intonation correct? | |
| Go to an extreme, come part way back | |
| Destroy | |
| Not building a wall but making a brick | |
| What to increase? What to reduce? What to maintain? | |
| Consider transitions | |
| Don't break the silence | |
| You don't have to be ashamed of using your own ideas | |
| Only a part, not the whole | |
| Think of the radio | |
| Ask your body | |
| Breathe more deeply | |
| Once the search has begun, something will be found | |
| What wouldn't you do? | |
| Put in earplugs | |
| Idiot glee (?) | |
| Into the impossible | |
| Voice nagging suspicions | |
| Is something missing? | |
| (Organic) machinery | |
| Remove a restriction | |
| Is there something missing? | |
| Discard an axiom | |
| Is the style right? | |
| Imagine the piece as a set of disconnected events | |
| Would anyone want it? | |
| Use 'unqualified' people | |
| Make what's perfect more human | |
| Give the game away | |
| Remove specifics and convert to ambiguities | |
| Change instrument roles | |
| Emphasise the flaws | |
| What to maintain? | |
| The most important thing is the thing most easily forgotten | |
| From nothing to more than nothing | |
| Don't be frightened of clichés | |
| Be dirty | |
| Accept advice | |
| Do the washing up | |
| Use an unacceptable colour | |
| Consult other sources | |
| A line has two sides | |
| Think | |
| Disciplined self-indulgence | |
| Children's voices | |
| Distorting time | |
| Your mistake was a hidden intention | |
| Is the tuning appropriate? | |
| Use clichés | |
| Fill every beat with something | |
| Slow preparation, fast execution | |
| Tidy up | |
| Which parts can be grouped? | |
| Go slowly all the way round the outside | |
| Display your talent | |
| Look closely at the most embarrassing details and amplify them | |
| What are the sections sections of? Imagine a caterpillar moving | |
| You are an engineer | |
| What are you really thinking about just now? Incorporate | |
| Discover your formulas and abandon them | |
| Move towards the unimportant | |
| Be less critical | |
| What mistakes did you make last time? | |
| Distort time | |
| The most easily forgotten thing is the most important | |
| State the problem as clearly as possible | |
| Make a blank valuable by putting it in an exquisite frame | |
| Openly resist change | |
| Feedback recordings into an acoustic situation | |
| Work at a different speed | |
| Change specifics to ambiguities | |
| Look at the order in which you do things | |
| Gardening, not architecture | |
| Emphasise differences | |
| What is the simplest solution? | |
| Where's the edge? Where does the frame start? | |
| Twist the spine | |
| Convert a melodic element into a rhythmic element | |
| Balance the consistency principle with the inconsistency principle | |
| Intentions | |
| Assemble some of the elements in a group and treat the group | |
| Simply a matter of work | |
| Always the first steps | |
| When is it for? | |
| Which frame would make this look right? | |
| Always give yourself credit for having more than personality (given by Arto Lindsay) | |
| Faced with a choice, do both (given by Dieter Rot) | |
| Make something implied more definite (reinforce, duplicate) | |
| Ghost echoes | |
| What context would look right? | |
| Use an old idea | |
| Is it finished? | |
| Use something nearby as a model | |
| Ask people to work against their better judgement |
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