The project consisted of a set of 115 white cards with simple black text in a deck subtitled Over One Hundred Worthwhile Dilemmas. Eno and Schmidt created a series of art instructions - an underappreciated - titled Oblique Strategies.
Indeed, one of Eno’s most interesting projects is a mid-1970s collaboration with the German composer Peter Schmidt, who had just finished a set of 64 drawings based on the - the same ancient Chinese text that so inspired Cage.
Though the failed works might be interesting too, they are not works that you would choose to share with other people or publish. If you consider yourself to be an experimental musician, you’ll have to accept that some of your experiments will fail. This is a fundamental difference between Cage and me. The music systems designed by Cage are choice-free, he doesn’t filter what comes out of his mind people have to accept them passively.īut my approach is, although I don’t interfere with the completion of a system, if the end result is not good, I’ll ditch it and do something else. I don’t reject interference I choose to interfere and guide. But the approach I have chosen was different from his. In a 2005 interview for the British Arts Council, Eno came to compare his work to that of: John Cage made a choice at a certain point: he chose not to interfere with the music content anymore. And view the full list of cards as a PDF here. Want some creative advice from Brian Eno and Peter Schmidt? Take your pick from Oblique Strategies, a deck of cards composed by the pair in 1975. That is precisely what Christopher Scoates, director of the University Art Museum at California State University, explores with unprecedented depth and dimension in () - a magnificent monograph spanning more than four decades of Eno’s music projects and museum and gallery installations, contextualized amidst a wealth of exhibition notes, sketchbook pages, and other never-before-revealed archival materials. It is precisely this ethos that explains Eno’s medium-blind, experience-centric creative impulse underpinning the visual arts career that he undertook in the 1960s, which developed in tandem with his growth as a musician.
“Stop thinking about art works as objects, and start thinking about them as triggers for experiences,” ambient music pioneer Brian Eno.
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