The cryptic prompts—fragments, really—of Brian Eno’s and Peter Schmidt’s Oblique Strategies unveiled themselves to Leslie Ullman as rough translations from an obscure language. As an experiment, Ullman used each one as a poem title, and in doing so she accessed a thrill of freedom, uncertainty, and propulsion beyond her own familiar patterns and landscapes. In the process, she found herself exploring the literary, visual, and musical arts from angles that had never occurred to her before. Unruly Tree showcases the most successful of Ullman’s play, and the result is a marvelous work by a poet…mehr
The cryptic prompts—fragments, really—of Brian Eno’s and Peter Schmidt’s Oblique Strategies unveiled themselves to Leslie Ullman as rough translations from an obscure language. As an experiment, Ullman used each one as a poem title, and in doing so she accessed a thrill of freedom, uncertainty, and propulsion beyond her own familiar patterns and landscapes. In the process, she found herself exploring the literary, visual, and musical arts from angles that had never occurred to her before. Unruly Tree showcases the most successful of Ullman’s play, and the result is a marvelous work by a poet at the height of her craft. At its heart this book is about process itself—even when it applies to experiences outside the arts—and about reclaiming an inner freedom many of us lose in our lives as adults in these noisy, rancorous times.
Leslie Ullman is the author of several books of poetry and nonfiction, including Progress on the Subject of Immensity (UNM Press) and Little Soul and the Selves.
Inhaltsangabe
* Preface * Prologue: Just carry on * Part I. Floating Time * Listen in total darkness or in a very large room, very quietly * Go slowly all the way around the outside * Are there sections? Consider transitions * Turn it upside down * Define an area as “safe” and use it as anchor * You are an engineer * What mistakes did you make last time? * Disconnect from desire * Ghost echoes * Left channel, right channel, centre channel * Only one element of each kind * Do we need holes? * Honor thy error as hidden intention * You can only make one dot at a time * Look closely at the most embarrassing details and amplify them * Is the tuning appropriate? * Take away the elements in order of apparent nonimportance * Give the game away * Use fewer notes * Part II. Left-Hand Time * Abandon normal instruments * Imagine the music as a chain of disconnected events * Use an unacceptable color * Make an exhaustive list of everything you might do and do the last thing on the list * Twist the spine * Into the impossible * Accept advice * Simple subtraction * Mechanicalize something idiosyncratic * Consult other sources: promising, unpromising * Ask people to work against their better judgment * Accretion * Don’t be frightened to display your talents * Repetition is a form of change * A line has two sides * Change instrument roles * Lowest common denominator check: single beat, single note, single riff * Make a blank valuable by putting it in an exquisite frame * Cascades * Use an old idea * Is it finished? * Part III. Back-Beat Time * Do nothing for as long as possible * Faced with a choice, do both * Give way to your worst impulse * Spectrum analysis * The inconsistency principle * Listen to the quiet voice * Fill every beat with something * What would your closest friend do? * Infinitesimal gradations * Don’t be afraid of things because they’re easy to do * Use filters * Humanize something free of error * Get your neck massaged * Look at a very small object, look at its centre * Think of the radio * Water * Mute and continue * Emphasize differences * Consider different fading systems * Work at a different speed * Acknowledgments
* Preface * Prologue: Just carry on * Part I. Floating Time * Listen in total darkness or in a very large room, very quietly * Go slowly all the way around the outside * Are there sections? Consider transitions * Turn it upside down * Define an area as “safe” and use it as anchor * You are an engineer * What mistakes did you make last time? * Disconnect from desire * Ghost echoes * Left channel, right channel, centre channel * Only one element of each kind * Do we need holes? * Honor thy error as hidden intention * You can only make one dot at a time * Look closely at the most embarrassing details and amplify them * Is the tuning appropriate? * Take away the elements in order of apparent nonimportance * Give the game away * Use fewer notes * Part II. Left-Hand Time * Abandon normal instruments * Imagine the music as a chain of disconnected events * Use an unacceptable color * Make an exhaustive list of everything you might do and do the last thing on the list * Twist the spine * Into the impossible * Accept advice * Simple subtraction * Mechanicalize something idiosyncratic * Consult other sources: promising, unpromising * Ask people to work against their better judgment * Accretion * Don’t be frightened to display your talents * Repetition is a form of change * A line has two sides * Change instrument roles * Lowest common denominator check: single beat, single note, single riff * Make a blank valuable by putting it in an exquisite frame * Cascades * Use an old idea * Is it finished? * Part III. Back-Beat Time * Do nothing for as long as possible * Faced with a choice, do both * Give way to your worst impulse * Spectrum analysis * The inconsistency principle * Listen to the quiet voice * Fill every beat with something * What would your closest friend do? * Infinitesimal gradations * Don’t be afraid of things because they’re easy to do * Use filters * Humanize something free of error * Get your neck massaged * Look at a very small object, look at its centre * Think of the radio * Water * Mute and continue * Emphasize differences * Consider different fading systems * Work at a different speed * Acknowledgments
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