What Are Oblique Strategies

(Organic)machinery. (Editions 1, 2, 3, and 5)
[blank white card] (Editions 1, 2,3, and 5) It is possible that this was present in Edition 4 aswell, but I don't know for certain.
A line has two sides. (Editions 1,2, 3, 4, and 5)
A very small object - Its centre. (Editions 2 and 5) Note:This appeared as 'Look at a very small object, look at its centre.' inEdition 1.
Abandon normal instruments. (Editions 1, 2, 3, and 5) This was modified as 'Abandon normalinstructions.' in Edition 4.
Accept advice. (Editions 1, 2, 3, 4,and 5)
Accretion. (Editions 1, 2, 3, and5) This was modified as 'Adding on.' in Edition 4.
Allow an easement (an easement is theabandonment of a stricture). (Editions 1, 2, 3, and 5) Similar to 'Remove a restriction.' from Edition 4.
Always first steps. (Editions 2, 3,4, and 5)
Always give yourself credit for havingmore than personality. (Editions 2 and 5)
Are there sections? Considertransitions. (Editions 1, 2, 3, and 5)
Ask people to work against their betterjudgment. (Editions 1, 2, 3, 4, and 5)
Ask your body. (Editions 1, 2, 3, 4,and 5)
Assemble some of the instruments in agroup and treat the group. (Editions 1 and 2) See relatedversion below..
Assemble some of the elements in a groupand treat the group. (Editions 3 and 5)
Balance the consistency principle with theinconsistency principle. (Editions 1, 2, 3, and 5)
Be dirty. (Editions 1, 2, 3, 4, and5)
Be extravagant. (Editions 2, 3, 4,and 5)
Be less critical more often. (Edition 3) Edition 4 simply says 'Be less critical.'
Breathe more deeply. (Editions 1, 2,3, 4, and 5)
Bridges - build - burn. (Editions 1,2, 3, 4, and 5)
Cascades. (Editions 1, 2, 3, and 5)
Change instrument roles. (Editions1, 2, 3, and 5)
Change nothing and continue withimmaculate consistency. (Editions 1, 2, 3, and 5) This is'Change nothing and continue consistently.' in Edition 4.
Children's voices - speaking -singing. (Editions 1 and 2) This was changed to 'Children -speaking - singing.' in Editions 3 and 5.
Cluster analysis. (Editions 1, 2, 3,and 5)
Consider different fading systems. (Editions 1, 2, 3, and 5) Again, worded differently in Edition 4as 'Consider transitions.'
Consult other sources - promising -unpromising. (Editions 1, 2, 3, and 5)
Convert a melodic element into a rhythmicelement. (Editions 1, 2, and 5)
Courage! (Editions 1, 2, 3, 4, and 5)
Cut a vital connection. (Editions 1,2, 3, 4, and 5)
Decorate, decorate. (Editions 1, 2,3, 4, and 5)
Define an area as `safe' and use it as ananchor. (Editions 1, 2, 3, and 5)
Destroy - nothing - the most importantthing. (Editions 1, 2, 3, 4, and 5)
Discard an axiom. (Editions 1, 2, 3,4, and 5)
Disciplined self- indulgence. (Editions 2, 3, 4, and 5)
Disconnect from desire. (Editions 1,2, 3, and 5) Or 'Abandon desire.' in Edition 4.
Discover the recipes you are using andabandon them. (Editions 1, 2, 3, and 5)
Discover your formulas and abandonthem. (Edition 4)
Distorting time. (Editions 1, 2, 3,and 5) Or 'Distort time.' in Edition 4.
Do nothing for as long as possible. (Editions 1, 2, 3, 4, and 5)
Do something boring. (Editions 1, 2,3, 4, and 5)
Do something sudden, destructive andunpredictable. (Edition 4)
Do the last thing first. (Edition 4)
Do the washing up. (Editions 1, 2,and 5)
Do the words need changing? (Editions 1, 2, 3, 4, and 5)
Do we need holes? (Editions 1, 2, 3,and 5)
Don't be afraid of things because they'reeasy to do. (Editions 1, 2, 3, and 5) Changed to 'Don'tavoid what is easy.' in Edition 4.
Don't be frightened of cliches. (Editions 1, 2, 3, and 5) Or simply 'Use cliches.' in Edition 4
Don't be frightened to display yourtalents. (Editions 1, 2, 3, and 5) 'Display your talent.'in Edition 4.
Don't break the silence. (Editions1, 2, 3, 4, and 5)
Don't stress one thing more thananother. (Editions 1, 2, 3, 4, and 5)
Emphasize differences. (Editions 1,2, 3, 4, and 5)
Emphasize repetitions. (Editions 1,2, 3, and 5)
Emphasize the flaws. (Editions 1, 2,3, 4, and 5)
Faced with a choice, do both (given byDieter Rot). (Editions 1, 2, 4, and 5)
Feed the recording back out of themedium. (Editions 2 and 5) This may be a restatement ofbelow..
Feedback recordings into an acousticsituation. (Edition 1)
Fill every beat with something. (Editions 1, 2, 3, and 5)
Find a safe part and use it as ananchor. (Edition 4)
From nothing to more than nothing. (Edition 3)
Get your neck massaged. (Editions 1,2, and 5)
Ghost echoes. (Editions 1, 2, 3, and4)
Give the game away. (Editions 1, 2,3, and 4) I can't be certain whether it was a typo or avariation, but this was replaced in Edition 5 with..
Give the name away. (Edition 5)
Give way to your worst impulse. (Editions 1, 2, 3, 4, and 5)
Go outside. Shut the door. (Editions 2, 3, 4, and 5) This was originally 'Shut the door andlisten from outside.' in Edition 1.
Go slowly all the way round theoutside. (Editions 1, 2, 3, and 5)
Go to an extreme, move back to a morecomfortable place. (Edition 3) Or in Edition 4: 'Go to anextreme, come part way back.'
Honor thy error as a hiddenintention. (Editions 1, 2, 3, and 5) Or 'Your mistake was ahidden intention.' in Edition 4.
How would someone else do it? (Edition 4)
How would you have done it? (Editions 1, 2, 3, 4, and 5)
Humanize something free of error. (Editions 1, 2, 3, and 5) Or 'Make what's perfect more human.' inEdition 4.
Idiot glee (?) (Editions 2, 3, and 5)
Imagine the music as a set of disconnectedevents. (Editions 1, 2, 3, and 5)
In total darkness, or in a very largeroom, very quietly. (Editions (Editions 2, 3, and 4)
Infinitesimal gradations. (Editions1, 2, 3, and 5)
Intentions - credibility of - nobility of- humility of. (Editions 1 and 2) This was changed to'Intentions - nobility of - humility of - credibility of.' in Editions3 and 5,
Into the impossible. (Editions 1, 2,3, and 5)
Is it finished? (Editions 1, 2, 3,4, and 5)
Is the into

Oblique Strategies List