Eno Remixed: Collaboration & Oblique Strategies

It’s taken three years, but my chapter Eno Remixed: Collaboration & Oblique Strategies, co-written with poet Rupert Loydell and first delivered as a paper at the Modular Forms conference in Roehampton in 2013, has been printed and will be available for purchase in August.

The book is up now on Amazon due for publication in 2016, edited by  Sean Albiez and David Pattie and to be published by Bloomsbury. Here’s our abstract:


CONTROL & SURRENDER. Eno Remixed: Collaboration & Oblique Strategies



“State the problem in words as clearly as possible.” (Eno & Schmidt, 1979)
Oblique Strategies, a set of 100 cards printed with a series of cryptic messages, was first published by Brian Eno and the painter Peter Schmidt in 1975, as a device intended to jog their respective minds in periods of creative impasse.

In a radio interview with Charles Amirkhanian, Eno explained that the cards had evolved from “separate working procedures. It was one of the many cases during the friendship that he [Peter Schmidt] and I arrived at a working position at almost exactly the same time and almost in exactly the same words. There were times when we hadn’t seen each other for a few months at a time sometimes, and upon remeeting or exchanging letters, we would find that we were in the same intellectual position – which was quite different from the one we’d been in prior to that” (1980).

Kingsley Marshall and Rupert Loydell, a musician/writer and poet/painter respectively, explore the notion of the remix through the use of Eno’s own words, drawn from interviews and his own writing, together with critiques of his work and those that inspired it. The collaborators exchanged 200-word pieces of writing in order to construct their paper, with each consecutive response directed by the turn of a card selected from the third edition of the Oblique Strategies deck, issued in 1979.

Through this writing methodology – of the collision and collusion of collaborative writing practices borne by an exchange of electronic letters – coupled with more traditional modes of research, the pair cast light onto the manner with which notions of appropriation, cybernetics and chance have directed Eno’s creative output.

About Kingsley Marshall

Kingsley Marshall is Head of Film at the School of Film & Television at Falmouth University. He also works as a journalist, contributing film, music and video game criticism, features and reviews to Clash, Little White Lies, Shook and Big Screen magazines in the UK, Sabotage Times online and Magnetic overseas. He can be found on Twitter as @kingsleydc