Oblique strategies︎︎︎
This is a deck of cards with suggestions like:

  1. Breathe more deeply
  2. Cut a vital connection
  3. Define an area as 'safe' and use it as an anchor
  4. Emphasize repetitions
  5. Ghost echoes
  6. Go slowly all the way round the outside
  7. Is there something missing?
  8. Look at a very small object, look at its centre
  9. Make a blank valuable by putting it in an exquisite frame
  10. Only a part, not the whole
  11. Remove specifics and convert to ambiguities
  12. Shut the door and listen from outside
  13. Tidy up
  14. Turn it upside down
  15. What would your closest friend do?

There are many more and it's fun to create your own.  It's interesting how many ways they can be interpreted and how they can really help develop new ideas.

︎︎︎this is a great system for when you get stuck and need a fresh idea when developing material

︎︎︎from Brian Eno and Peter Schmidt

Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...

In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.

The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.

We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.

Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.

︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own

︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.  

︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.

︎︎︎submit your own ideas and tools so we can keep building this site!