Dix commandements - Dieu
Non daté

1	— Tu n’auras pas d’autres dieux que moi.
2	— Tu ne feras aucune idole, aucune image de ce qui est là-haut dans les cieux, ou en bas sur la terre, ou dans les eaux par-dessous la terre. Tu ne te prosterneras pas devant ces images, pour leur rendre un culte. Car moi, le Seigneur ton Dieu, je suis un Dieu jaloux : chez ceux qui me haïssent, je punis la faute des pères sur les fils, jusqu’à la troisième et la quatrième génération ; mais ceux qui m’aiment et observent mes commandements, je leur garde ma fidélité jusqu’à la millième génération.
3	— Tu n’invoqueras pas le nom du Seigneur ton Dieu pour le mal, car le Seigneur ne laissera pas impuni celui qui invoque son nom pour le mal.
4	— Tu feras du sabbat un mémorial, un jour sacré. Pendant six jours tu travailleras et tu feras tout ton ouvrage ; mais le septième jour est le jour du repos, sabbat en l’honneur du Seigneur ton Dieu : tu ne feras aucun ouvrage, ni toi, ni ton fils, ni ta fille, ni ton serviteur, ni ta servante, ni tes bêtes, ni l’immigré qui réside dans ta ville. Car en six jours le Seigneur a fait le ciel, la terre, la mer et tout ce qu’ils contiennent, mais il s’est reposé le septième jour. C’est pourquoi le Seigneur a béni le jour du sabbat et l’a consacré.
5	— Honore ton père et ta mère, afin d’avoir longue vie sur la terre que te donne le Seigneur ton Dieu.
6	— Tu ne commettras pas de meurtre.
7	— Tu ne commettras pas d’adultère.
8	— Tu ne commettras pas de vol.
9	— Tu ne porteras pas de faux témoignage contre ton prochain.
10	— Tu ne convoiteras pas la maison de ton prochain ; tu ne convoiteras pas la femme de ton prochain, ni son serviteur, ni sa servante, ni son boeuf, ni son âne : rien de ce qui lui appartient. 

—

Immaculate Heart College department rules - Sister Corita Kent
Années 1960 - Boston - Usa


RULE 1	Find a place you trust, and then try trusting it for awhile. 
RULE 2	General duties of a student — pull everything out of your teacher; pull everything out of your fellow students.
RULE 3	General duties of a teacher — pull everything out of your students. 
RULE 4	Consider everything an experiment. 
RULE 5	 Be self-disciplined — this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way. 
RULE 6	 Nothing is a mistake. There’s no win and no fail, there’s only make. 
RULE 7	 The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things. 
RULE 8	 Don’t try to create and analyze at the same time. They’re different processes.
RULE 9	Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think. 
RULE 10	 “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” (John Cage) 

HINTS	Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything — it might come in handy later.”

—

Droits du lecteur - Daniel Pennac
Comme un roman - Gallimard - 1992 - France

1 — Le droit de ne pas lire
2 — Le droit de sauter des pages
3 — Le droit de ne pas finir un livre
4 — Le droit de relire
5 — Le droit de lire n'importe quoi
6 — Le droit au bovarysme
7 — Le droit de lire n'importe où
8 — Le droit de grappiller
9 — Le droit de lire à haute voix
10 — Le droit de se taire

—

Vœu de chasteté du dogme95 - Lars von Trier et Thomas Vinterberg
1995 - Danemark

Proclamé la première fois au Théatre de L’odéon.

Je jure de me soumettre aux règles qui suivent telles qu'édictées et approuvées par Dogme 95.
- Le tournage doit être fait sur place. Les accessoires et décors ne doivent pas être apportés (si l'on a besoin d'un accessoire particulier pour l'histoire, choisir un endroit où cet accessoire est présent).
- Le son ne doit jamais être réalisé à part des images, et inversement (aucune musique ne doit être utilisée à moins qu'elle ne soit jouée pendant que la scène est filmée).
- La caméra doit être portée à la main. Tout mouvement, ou non-mouvement possible avec la main est autorisé. (Le film ne doit pas se dérouler là où la caméra se trouve ; le tournage doit se faire là où le film se déroule).
- Le film doit être en couleurs. Un éclairage spécial n'est pas acceptable. (S'il n'y a pas assez de lumière, la scène doit être coupée, ou une simple lampe attachée à la caméra).
- Tout traitement optique ou filtre est interdit.
- Le film ne doit pas contenir d'action de façon superficielle. (Les meurtres, les armes, etc. ne doivent pas apparaître).
- Les détournements temporels et géographiques sont interdits. (C'est-à-dire que le film se déroule ici et maintenant).
- Les films de genre ne sont pas acceptables.
- Le format de la pellicule doit être le format académique 35mm.
- Le réalisateur ne doit pas être crédité.

—

Sentences on conceptual art - Sol Lewitt
j1969 - Usa - 0-9 n° 5

1 — Conceptual Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2 — Rational judgements repeat rational judgements.
3 — Illogical judgements lead to new experience.
4 — Formal Art is essentially rational.
5 — Irrational thoughts should be followed absolutely and logically.
6 — If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
7 — The artist’s will is secondary to the process he initiates from idea to completion. His willfulness may only be ego.
8 — When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who
would be reluctant to make art that goes beyond the limitations.
9 — The concept and idea are different. The former implies a general direction while the latter is the components. Ideas implement the concept.
10 — Ideas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
11 — Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions but an idea must necessarily be completed in the mind before the next one is formed.
12 — For each work of art that becomes physical there are many variations that do not.
13 — A work of art may be understood as a conductor from the artist’s mind to the viewers. But it may never reach the viewer, or it may never leave the artist’s mind.
14 — The words of one artist to another may induce an ideas chain, if they share the same concept.
15 — Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken), to physical reality, equally.
16 — If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
17 — All ideas are art if they are concerned with art and fall within the conventions of art.
18 — One usually understands the art of the past by applying the conventions of the present thus misunderstanding the art of the past.
19 — The conventions of art are altered by works of art.
20 — Successful art changes our understanding of the conventions by altering our perceptions.
21 — Perception of ideas leads to new ideas.
22 — The artist cannot imagine his art, and cannot perceive it until it is complete.
23 — One artist may mis-perceive (understand it differently than the artist) a work of art but still be set off in his own chain of thought by that misconstrual.
24 — Perception is subjective.
25 — The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
26 — An artist may perceive the art of others better than his own.
27 — The concept of a work of art may involve the matter of the piece or the process in which it is made.
28 — Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
29 — The process is mechanical and should not be tampered with. It should run its course.
30 — There are many elements involved in a work of art. The most important are the most obvious.
31 — If an artist uses the same form in a group of works, and changes the material, one would assume the artist’s concept involved the material.
32 — Banal ideas cannot be rescued by beautiful execution.
33 — It is difficult to bungle a good idea.
34 — When an artist learns his craft too well he makes slick art.
35 — These sentences comment on art, but are not art.

—

Personal contract - Matthew Herbert 
Angleterre

The use of sounds that exist already is not allowed. Subject to article 2. In particular: no drum machines, no synthesizers, no presets.
Only sounds that are generated at the start of the compositional process or taken from the artist’s own previously unused archive are available for sampling.
The sampling of other people’s music is strictly forbidden.
No replication of traditional acoustic instruments is allowed where the financial and physical possibility of using the real ones exists.
The inclusion, development, propagation, existence, replication, acknowledgement, rights, patterns and beauty of what are commonly known as accidents, is encouraged. Furthermore, they have equal rights within the composition as deliberate, conscious, or premeditated compositional actions or decisions.
The mixing desk is not to be reset before the start of a new track in order to apply a random eq and fx setting across the new sounds. Once the ordering and recording of new music has begun, the desk may be used as normal.
All fx settings must be edited: no factory preset or pre-programmed patches are allowed.
Samples themselves are not to be truncated from the rear. Revealing parts of the recording are invariably stored there.
A notation of sounds used to be taken and made public.
A list of technical equipment used to be made public.
Optional: Remixes should be completed using only the sounds provided by the original artist.

—

Švankmajer’s decalogue
Tchéquie

Before you start making a film, write a poem, paint a picture, create a collage, write a novel, essay, etc.
Surrender to your obsessions.
Use animation as a magical operation.
Keep exchanging dreams for reality and vice versa.
If you are trying to decide what is more important, trust the experience of the eye or the experience of the body; always trust the body, because touch is an older sense than sight and its experience is more fundamental.
The deeper you enter into the fantastic story the more realistic you need to be in the detail.
You should always use your wildest imagination.
Always pick themes that you feel ambivalent about.
Cultivate your creativity as a form of self-therapy.
Never work, always improvise.

—

Lois du bon polar - Borges

1 | Une limite facultative de ses personnages
2 | Exposition de toutes les données du problème
3 | Avare économie de moyens
4 | Primauté du comment sur le qui
5 | Pudeur de la mort 
6 | Nécessité et merveilleux dans la solution
7 | Dédain des risques physiques
8 | Renoncement aux considérations ou jugements moraux
9 | Rejet du hasard
10 | Méfiance ou rejet des procédures de l’investigation policière
12 | La solution doit éviter le recours au surnaturel, qui ne peut être invoqué que comme une conjecture transitoire à écarter
13 | La solution ne peut comporter des éléments inconnus du lecteur
14 | Omission de la vie privée du détective et de ses aventures sentimentales ou sexuelles
15 | Dans le cas d’un double ou triple dénouement, il doit y avoir une progression, chaque fin surpassant la précédente en ingéniosité et en rigueur
16 | Le meurtrier ne peut être le majordome (à moins d’être dans un congrès de majordomes)
17 | L’assassin ne peut être l’immigré ou le fanatique religieux ou le suspect d’extrémisme politique
18 | L’assassin ne doit pas être le narrateur
19 | L’assassin ne doit pas être l’enquêteur

—

Gilbert and George - The Ten Commandments
Angleterre

I    Thou shalt fight conformism
II    Thou shalt be the messenger of freedoms
III    Thou shalt make use of sex
IV Thou shalt reinvent life
V    Thou shalt grab the soul
VI    Thou shalt give thy love
VII    Thou shalt create artificial art
VIII    Thou shalt have a sense of purpose
IX    Thou shalt not know exactly what thou dost, but thou shalt do it
X    Thou shalt give something back

—

10 Commandments of Detective Fiction - Ronald Knox: 

The criminal must be someone mentioned in the early part of the story, but must not be anyone whose thoughts the reader has been allowed to follow.
All supernatural or preternatural agencies are ruled out as a matter of course.
Not more than one secret room or passage is allowable.
No hitherto undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end.
No Chinaman must figure in the story.
No accident must ever help the detective, nor must he ever have an unaccountable intuition which proves to be right.
The detective must not himself commit the crime.
The detective must not light on any clues which are not instantly produced for the inspection of the reader.
The stupid friend of the detective, the Watson, must not conceal any thoughts which pass through his mind; his intelligence must be slightly, but very slightly, below that of the average reader.
Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them.

—

Good design - Dieter Rams

Good design is innovative
Good design makes a product useful
Good design is aesthetic
Good design makes a product understandable
Good design is unobtrusive
Good design is honest
Good design is long-lasting
Good design is thorough down to the last detail
Good design is environmentally-friendly
Good design is as little design as possible

—

The Cult of Done Manifesto - Bre Pettis & Kio Stark

There are three states of being. Not knowing, action and completion.
Accept that everything is a draft. It helps to get it done.
There is no editing stage.
Pretending you know what you’re doing is almost the same as knowing what you are doing, so just accept that you know what you’re doing even if you don’t and do it.
Banish procrastination. If you wait more than a week to get an idea done, abandon it.
The point of being done is not to finish but to get other things done.
Once you’re done you can throw it away.
Laugh at perfection. It’s boring and keeps you from being done.
People without dirty hands are wrong. Doing something makes you right.
Failure counts as done. So do mistakes.
Destruction is a variant of done.
If you have an idea and publish it on the internet, that counts as a ghost of done.
Done is the engine of more.

—

An Incomplete Manifesto for Growth - Bruce Mau 
1998

ALLOW EVENTS TO CHANGE YOU.        You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
FORGET ABOUT GOOD.        Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
PROCESS IS MORE IMPORTANT THAN OUTCOME.        When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
LOVE YOUR EXPERIMENTS (AS YOU WOULD AN UGLY CHILD).        Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
GO DEEP.        The deeper you go the more likely you will discover something of value.
CAPTURE ACCIDENTS.        The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
STUDY.        A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
DRIFT.        Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
BEGIN ANYWHERE.        John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
EVERYONE IS A LEADER.        Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
HARVEST IDEAS. EDIT APPLICATIONS.        Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
KEEP MOVING.        The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
SLOW DOWN.        Desynchronize from standard time frames and surprising opportunities may present themselves.
DON’T BE COOL.        Cool is conservative fear dressed in black. Free yourself from limits of this sort.
ASK STUPID QUESTIONS.        Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
COLLABORATE.        The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
__________________.        Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
STAY UP LATE.        Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.
WORK THE METAPHOR.        Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
BE CAREFUL TO TAKE RISKS.        Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
REPEAT YOURSELF.        If you like it, do it again. If you don’t like it, do it again.
MAKE YOUR OWN TOOLS.        Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
STAND ON SOMEONE’S SHOULDERS.        You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
AVOID SOFTWARE.        The problem with software is that everyone has it.
DON’T CLEAN YOUR DESK.        You might find something in the morning that you can’t see tonight.
DON’T ENTER AWARDS COMPETITIONS.        Just don’t. It’s not good for you.
READ ONLY LEFT‑HAND PAGES.        Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”
MAKE NEW WORDS.        Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. Expression generates new conditions.
THINK WITH YOUR MIND.        Forget technology. Creativity is not device‑dependent.
ORGANIZATION = LIBERTY.        Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise.
DON’T BORROW MONEY.        Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
LISTEN CAREFULLY.        Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
TAKE FIELD TRIPS.        The bandit of this world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object‑oriented, real‑time, computer‑graphics‑simulated environment.
MAKE MISTAKES FASTER.        This isn’t my idea – I borrowed it. I think it belongs to Andy Grove.
IMITATE.        Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have looked to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discreeted, and underused imitation is as an agent.
SCAT.        When you forget the words, do what Ella did: make up something else… but not words.
BREAK IT, STRETCH IT, BEND IT, CRUSH IT, FOLD IT.
EXPLORE THE OTHER EDGE.        Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old‑tech equipment made obsolete by an economic cycle but still rich with potential.
COFFEE BREAKS, CAB RIDES, GREEN ROOMS.        Real growth often happens outside of where we intend it to, in the interstitial spaces – what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized one art and science conference with all of the infrastructure of a conference… but no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
AVOID FIELDS. JUMP FENCES.        Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the walls and cross the fields.
LAUGH.        People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
REMEMBER.        Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
POWER TO THE PEOPLE.        Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.

—

Stratégies obliques - Brian Eno et Peter Schmidt 
Angleterre - 1975

À quoi penses-tu vraiment en ce moment?
A-t-on besoin de trous?
Abandonne les instruments normaux
Abats ton jeu
Accentue les défauts
Accentue les différences
Accentue les répétitions
Accepte les conseils
Analyse des amas
Arrête-toi un moment
Assembles certains éléments en un groupe et traite le groupe
Auto-indulgence disciplinée
C’est tout à fait possible (après tout)
Cascades
Ce n’est qu’une quéstion de travail
Change le rôle des instruments
Comment l’aurais-tu fait?
Considère des transitions
Considère plusieurs façons d’enchaîner
Consulte d’autre sources - prometteuses - non-prometteuses
Continue
Coupe une connection vitale
Courage !
Court-circuit (prends le chemin le plus court)
Dans l’obscurité totale, ou dans une très grande chambre très doucement
De quoi les sections sont-elles des sections?
Décore, décore
Découvre les recettes dont tu te sers et abandonne-les
Définis un territoire comme «sûr»et sers-t’en comme d’une ancre
Demande aux gens de travailler à l’encontre de leur meilleur jugement
Dès que la recherche progressera, quelque chose sera trouvé
Detruis - rien- la chose la plus importante
Diminue, continue
Distorsion temporelle
Donne de la valeur à un espace vierge en le plaçant dans un cadre exquis
Donne libre cours à ton impulsion la plus mauvaise
Ecarte un axiome
Echos fantômatiques - fantômes «échotiques»
Ecoute la douce voix
Eloigne-toi du désir
Emploie une couleur inacceptable
En arrière
Enfants - qui parlent - qui chantent
Enlève les éléments par ordre d’inimportance apparente
Entre dans le domaine de l’impossible
Entre rien et un tout petit peu plus
Equilibre les principes de consistance et d’inconsistance
Essaie d’énoncer le problème aussi clairement que possible
Est-ce fini?
Examine avec attention les détails les plus embarrassants et amplifie-les
Existe-t-il des sections?
Fais confiance à ton moi présent
Fais quelque chose d’ennuyeux
Fais un acte soudain, destructif et imprévisible, incorpore
Fais une liste exhaustive de tout ce que tu pourrais faire et fais la dernière chose qui
s’y trouve
Faut-il changer les mots?
Gradations infinitésimales
Honore ton erreur comme une intention cachée
Humanise quelque chose dénué d’erreur
Il ne s’agit pas de construire un mur, mais de faire une brique
Imagine ce que tu fais comme une série d’événements sans rapport les uns avec les
autres
Imagine une chenille en mouvement
Intentions - noblesse? - humilité? - crédibilité?
Jouissance idiote
L’eau
L’intonation est-elle correcte?
La bande est la musique
La chose la plus importante est la chose la plus aisément oubliée
La répétition est une forme de changement
Le principe d’inconsistance
Les bords - fais-en lentement le tour
Machinerie (organique)
Manque-t-il quelque chose?
«Mécanicalise» quelque chose d’idiosyncratique
Mets de l’ordre
Mets-le la tête en bas
N’accentue pas une chose plus qu’une autre
N’aie pas peur d’afficher tes talents
Ne brise pas le silence
Ne change rien et continue avec une consistance immaculée
Ne fais rien le plus longtemps possible
Ne sois pas effrayé par les choses parce qu’elles sont faciles à faire
Ne sois pas effrayé par les clichés
Pense à la radio
Perdu en territoire inutile
Permets-toi un seul soulagement
Plus petit dénominateur commun
Ponts - à construire - à couper
Que ferait ton meilleur ami?
Que ne ferais-tu pas?
Quelle est la réalité de la situation
Quelles erreurs as-tu commises la dernière fois?
Quelqu’un en voudrait-il?
Questionne l’approche héroique
Questionne ton corps
Regarde l’ordre dans lequel tu fais les choses
Remplis chaque espace
Resiste (en apparence) au changement
Respire plus profondément
Revalorisation (une sensation agréable)
Reviens sur tes pas
Rien qu’une partie, pas le tout
Sois extravagant(e)
Sois moins critique plus souvent
Sois sale
Sors. Ferme la porte
Soustraction simple
Souviens-toi de ces douces soirées
Supprime les ambiguïtés et remplace-les par des spécificités
Supprime les spécificités et remplace-les par des ambiguïtés
Toujours des premiers pas
Travaille à un rythme différent
Tu es un ingénieur
Tu n’as pas à être honteux d’utiliser tes propres idées
Tu ne peux faire qu’un point à la fois
Un seul élément de chaque espèce
Une ligne a deux côtés
Utilise des filtres
Utilise des gens «non-qualifiés»
Utilise moins de notes
Utilise une vielle idée
Va jusqu’à un extrême, reviens vers plus de confort
Vers l’insignifiant

—

Truisms - Jenny Holzer

a little knowledge can go a long way
a lot of professionals are crackpots
a man can't know what it is to be a mother
a name means a lot just by itself
a positive attitude means all the difference in the world
a relaxed man is not necessarily a better man
a sense of timing is the mark of genius
a sincere effort is all you can ask
a single event can have infinitely many interpretations
a solid home base builds a sense of self
a strong sense of duty imprisons you
absolute submission can be a form of freedom
abstraction is a type of decadence
buse of power comes as no surprise
action causes more trouble than thought
alienation produces eccentrics or revolutionaries
all things are delicately interconnected
ambition is just as dangerous as complacency
ambivalence can ruin your life
an elite is inevitable
anger or hate can be a useful motivating force
animalism is perfectly healthy
any surplus is immoral
anything is a legitimate area of investigation
artificial desires are despoiling the earth
at times inactivity is preferable to mindless functioning
at times your unconsciousness is truer than your conscious mind
automation is deadly
awful punishment awaits really bad people
bad intentions can yield good results
being alone with yourself is increasingly unpopular
being happy is more important than anything else
being judgmental is a sign of life
being sure of yourself means you're a fool
believing in rebirth is the same as admitting defeat
boredom makes you do crazy things
calm is more conductive to creativity than is anxiety
categorizing fear is calming
change is valuable when the oppressed become tyrants
hasing the new is dangerous to society
children are the most cruel of all
children are the hope of the future
class action is a nice idea with no substance
class structure is as artificial as plastic
confusing yourself is a way to stay honest
crime against property is relatively unimportant
decadence can be an end in itself
decency is a relative thing
dependence can be a meal ticket
description is more important than metaphor
deviants are sacrificed to increase group solidarity
disgust is the appropriate response to most situations
disorganization is a kind of anesthesia
don't place to much trust in experts
drama often obscures the real issues
dreaming while awake is a frightening contradiction
dying and coming back gives you considerable perspective
dying should be as easy as falling off a log
eating too much is criminal
elaboration is a form of pollution
emotional responses ar as valuable as intellectual responses
enjoy yourself because you can't change anything anyway
ensure that your life stays in flux
even your family can betray you
every achievement requires a sacrifice
everyone's work is equally important
everything that's interesting is new
exceptional people deserve special concessions
expiring for love is beautiful but stupid
expressing anger is necessary
extreme behavior has its basis in pathological psychology
extreme self-consciousness leads to perversion
faithfulness is a social not a biological law
fake or real indifference is a powerful personal weapon
fathers often use too much force
fear is the greatest incapacitator
freedom is a luxury not a necessity
giving free rein to your emotions is an honest way to live
go all out in romance and let the chips fall where they may
going with the flow is soothing but risky
good deeds eventually are rewarded
government is a burden on the people
grass roots agitation is the only hope
guilt and self-laceration are indulgences
habitual contempt doesn't reflect a finer sensibility
hiding your emotions is despicable
holding back protects your vital energies
humanism is obsolete
humor is a release
ideals are replaced by conventional goals at a certain age
if you aren't political your personal life should be exemplary
if you can't leave your mark give up
if you have many desires your life will be interesting
if you live simply there is nothing to worry about
ignoring enemies is the best way to fight
illness is a state of mind
imposing order is man's vocation for chaos is hell
in some instances it's better to die than to continue
inheritance must be abolished
it can be helpful to keep going no matter what
it is heroic to try to stop time
it is man's fate to outsmart himself
it is a gift to the world not to have babies
it's better to be a good person than a famous person
it's better to be lonely than to be with inferior people
it's better to be naive than jaded
it's better to study the living fact than to analyze history
it's crucial to have an active fantasy life
it's good to give extra money to charity
it's important to stay clean on all levels
it's just an accident that your parents are your parents
it's not good to hold too many absolutes
it's not good to operate on credit
it's vital to live in harmony with nature
just believing something can make it happen
keep something in reserve for emergencies
killing is unavoidable but nothing to be proud of
knowing yourself lets you understand others
knowledge should be advanced at all costs
labor is a life-destroying activity
lack of charisma can be fatal
leisure time is a gigantic smoke screen
listen when your body talks
looking back is the first sign of aging and decay
loving animals is a substitute activity
low expectations are good protection
manual labor can be refreshing and wholesome
men are not monogamous by nature
moderation kills the spirit
money creates taste
monomania is a prerequisite of success
morals are for little people
most people are not fit to rule themselves
mostly you should mind your own business
mothers shouldn't make too many sacrifices
much was decided before you were born
murder has its sexual side
myth can make reality more intelligible
noise can be hostile
nothing upsets the balance of good and evil
occasionally principles are more valuable than people
offer very little information about yourself
often you should act like you are sexless
old friends are better left in the past
opacity is an irresistible challenge
pain can be a very positive thing
people are boring unless they are extremists
people are nuts if they think they are important
people are responsible for what they do unless they are insane
people who don't work with their hands are parasites
people who go crazy are too sensitive
people won't behave if they have nothing to lose
physical culture is second best
planning for the future is escapism
playing it safe can cause a lot of damage in the long run
politics is used for personal gain
potential counts for nothing until it's realized
private property created crime
pursuing pleasure for the sake of pleasure will ruin you
push yourself to the limit as often as possible
raise boys and girls the same way
random mating is good for debunking sex myths
rechanneling destructive impulses is a sign of maturity
recluses always get weak
redistributing wealth is imperative
relativity is no boon to mankind
religion causes as many problems as it solves
remember you always have freedom of choice
repetition is the best way to learn
resolutions serve to ease our conscience
revolution begins with changes in the individual
romantic love was invented to manipulate women
routine is a link with the past
routine small excesses are worse than then the occasional debauch
sacrificing yourself for a bad cause is not a moral act
salvation can't be bought and sold
self-awareness can be crippling
self-contempt can do more harm than good
selfishness is the most basic motivation
selflessness is the highest achievement
separatism is the way to a new beginning
sex differences are here to stay
sin is a means of social control
slipping into madness is good for the sake of comparison
sloppy thinking gets worse over time
solitude is enriching
sometimes science advances faster than it should
sometimes things seem to happen of their own accord
spending too much time on self-improvement is antisocial
starvation is nature's way
stasis is a dream state
sterilization is a weapon of the rulers
strong emotional attachment stems from basic insecurity
stupid people shouldn't breed
survival of the fittest applies to men and animals
symbols are more meaningful than things themselves
taking a strong stand publicizes the opposite position
talking is used to hide one's inability to act
teasing people sexually can have ugly consequences
technology will make or break us
the cruelest disappointment is when you let yourself down
the desire to reproduce is a death wish
the family is living on borrowed time
the idea of revolution is an adolescent fantasy
the idea of transcendence is used to obscure oppression
the idiosyncratic has lost its authority
the most profound things are inexpressible
the mundane is to be cherished
the new is nothing but a restatement of the old
the only way to be pure is to stay by yourself
the sum of your actions determines what you are
the unattainable is invariable attractive
the world operates according to discoverable laws
there are too few immutable truths today
there's nothing except what you sense
there's nothing redeeming in toil
thinking too much can only cause problems
threatening someone sexually is a horrible act
timidity is laughable
to disagree presupposes moral integrity
to volunteer is reactionary
torture is barbaric
trading a life for a life is fair enough
true freedom is frightful
unique things must be the most valuable
unquestioning love demonstrates largesse of spirit
using force to stop force is absurd
violence is permissible even desirable occasionally
war is a purification rite
we must make sacrifices to maintain our quality of life
when something terrible happens people wake up
wishing things away is not effective
with perseverance you can discover any truth
words tend to be inadequate
worrying can help you prepare
you are a victim of the rules you live by
you are guileless in your dreams
you are responsible for constituting the meaning of things
you are the past present and future
you can live on through your descendants
you can't expect people to be something they're not
you can't fool others if you're fooling yourself
you don't know what's what until you support yourself
you have to hurt others to be extraordinary
you must be intimate with a token few
you must disagree with authority figures
you must have one grand passion
you must know where you stop and the world begins
you can understand someone of your sex only
you owe the world not the other way around
you should study as much as possible
your actions ae pointless if no one notices
your oldest fears are the worst ones

—

11 Commandments of Writing - Henri Miller
New Directions Publishing - 1964

Work on one thing at a time until finished.
Start no more new books, add no more new material to ‘Black Spring.’
Don’t be nervous. Work calmly, joyously, recklessly on whatever is in hand.
Work according to Program and not according to mood. Stop at the appointed time!
When you can’t create you can work.
Cement a little every day, rather than add new fertilizers.
Keep human! See people, go places, drink if you feel like it.
Don’t be a draught-horse! Work with pleasure only.
Discard the Program when you feel like it—but go back to it next day. Concentrate. Narrow down. Exclude.
Forget the books you want to write. Think only of the book you are writing.

—

10 Rules for Good Writing - Elmore Leonard
The guardian - 2010

Never open a book with weather.
Avoid prologues.
Never use a verb other than "said" to carry dialogue.
Never use an adverb to modify the verb "said"…he admonished gravely.
Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
Never use the words "suddenly" or "all hell broke loose."
Use regional dialect, patois, sparingly.
Avoid detailed descriptions of characters.
Don't go into great detail describing places and things.
Try to leave out the part that readers tend to skip.

—

10 rules for writing - Jeanette Winterson
The guardian - 2010
Turn up for work. Discipline allows creative freedom. No discipline equals no freedom.
Never stop when you are stuck. You may not be able to solve the problem, but turn aside and write something else. Do not stop altogether.
Love what you do.
Be honest with yourself. If you are no good, accept it. If the work you are ­doing is no good, accept it.
Don’t hold on to poor work. If it was bad when it went in the drawer it will be just as bad when it comes out.
Take no notice of anyone you don’t respect.
Take no notice of anyone with a ­gender agenda. A lot of men still think that women lack imagination of the fiery kind.
Be ambitious for the work and not for the reward.
Trust your creativity.
Enjoy this work!

—

8 Rules of Writing - Neil Gaiman
The guardian - 2010

— Write
— Put one word after another. 
Find the right word, put it down.
— Finish what you’re writing. 
Whatever you have to do to finish it, finish it.
— Put it aside. Read it pretending you’ve never read it 
before. Show it to friends whose opinion you respect and who like the kind of thing that this is.
— Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.
— Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.
— Laugh at your own jokes.
— The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.

—

Tips for Artists Who Want to Sell - John Baldessari
(todo)

—

How to work better manifesto - Peter Fischli & David Weiss
1991 ( Suisse )

1 - Do one thing 
		at the time
2 - Know the problem
3 - Learn To listen 
4 - Learn to 
		ask Question
5 - Distinguish sense 
		from nonsense
6 - Accept change
		as inevitable
7 - Admit Mistakes
8 - Say it simple
9 - Be calm 
10 - Smile

Comment travailler mieux

1 - Faire une seule chose 
				à la fois
2 - Identifier le problème
3 - Apprendre à écouter
4 - Apprendre à poser 
				les bonnes questions
5 - distinguer le bon sens 
				de l’absurde
6 -  Se dire que chaque 
				changement est définitif
7 - Admettre ses erreurs
8 - Dire les choses simplement
9 - être calme
10 - Sourire

—

« Il faut que je vous apprenne que je n’ai rien à vous apprendre. »
Joseph Jacotot, 1823

- Toutes les intelligences sont égales.
 - Qui veut peut.
- Pas de maître explicateur, tout le monde peut enseigner, 
on peut enseigner ce qu’on ignore.
- Tout est dans tout.
- Avec pour corollaire pratique : sachez une chose et rapportez-y tout le reste.
- On ne retient que ce qu’on répète.
- Apprenez un livre et rapportez-y tous les autres.
- Chacun peut s’instruire tout seul.

—

trois impératifs catégoriques
Emmanuel Kant (1724 - 1804)

1. Agis de telle sorte que la maxime de ton action puisse être érigée par ta volonté en une loi universelle.
2. Agis de telle sorte que tu traites toujours l'humanité en toi-même et en autrui comme une fin et jamais comme un moyen.
3. Agis comme si tu étais à la fois législateur et sujet dans la république des volontés libres et raisonnables.

- 

trois lois de la robotique
Isaac Asimov et John W. Campbell, 1942

1. Un robot ne peut porter atteinte à un être humain ni, restant passif, laisser cet être humain exposé au danger.
2. Un robot doit obéir aux ordres donnés par les êtres humains, sauf si de tels ordres entrent en contradiction avec la première loi.
3. Un robot doit protéger son existence dans la mesure où cette protection n'entre pas en contradiction avec la première ou la deuxième loi.

-

postulats d'Euclide (~ -300)

Demande 1, Entre deux points on peut toujours tracer une droite.
Demande 2, On peut toujours prolonger indéfiniment une droite tracée entre deux points.
Demande 3, Partant d'un point et d'une longueur donnés, on peut toujours tracer un cercle.
Demande 4, Tous les angles droits sont égaux entre eux.
Demande 5, Si une droite, tombant sur deux droites, fait les angles intérieurs du même côté plus petits que deux droits, ces droites, prolongées à l'infini, se rencontreront du côté où les angles sont plus petits que deux droits.
	
-

Philodème de Gadara (-110 - -40)

Ne craignez pas les dieux
Ne vous inquiétez pas de la mort
Le bonheur est facile à obtenir
La souffrance est facile à supporter 

-

Axiomes d'un corps :
(Giuseppe Peano, Richard Dedekind, David Hilbert, Emmy Noether, etc)

1. Addition commutative — ∀ a, b ∈ F : a + b = b + a
2. Addition associative — ∀ a, b, c ∈ F : (a + b) + c = a + (b + c)
3. Élément neutre pour l’addition — ∃ 0 ∈ F : ∀ a ∈ F, a + 0 = a
4. Inverse additif — ∀ a ∈ F : ∃ (−a) ∈ F tel que a + (−a) = 0
5. Multiplication commutative — ∀ a, b ∈ F : a × b = b × a
6. Multiplication associative — ∀ a, b, c ∈ F : (a × b) × c = a × (b × c)
7. Élément neutre pour la multiplication — ∃ 1 ∈ F, 1 ≠ 0 : ∀ a ∈ F, a × 1 = a
8. Distributivité — ∀ a, b, c ∈ F : a × (b + c) = a × b + a × c

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Thelonious Monk's Advice to Steve Lacy
(1960)

Just because you're not a drummer, doesn't mean you don't have to keep time.
Pat your foot & sing the melody in your head, when you play.
Stop playing all that bullshit, those weird notes, play the melody!
Make the drummer sound good.
Discrimination is important.
You've got to dig it to dig it, you dig?
All reet!
Always know...
It must be always night, otherwise they wouldnt need the lights.
Let's lift the band stand!!
I want to avoid the hecklers.
Don't play the piano part, I'm playing that.
Don't listen to me. I'm supposed to be accompanying you!
The inside of the tune (the bridge) is the part that makes the outside sound good.
Don't play everything (or every time); let some things go by. Some music just imagined. What you don't play can be more important that what you do.
Always leave them wanting more.
A note can be small as a pin or as big as the world, it depends on your imagination.
Stay in shape! Sometimes a musician waits for a gig, & when it comes, he's out of shape & can't make it.
When you're swinging, swing some more!
(What should we wear tonight?) Sharp as possible!
Don't sound anybody for a gig, just be on the scene.
These pieces were written so as to have something to play, & to get cats interested enough to come to rehearsal.
You've got it! If you don't want to play, tell a joke or dance, but in any case, you got it! (to a drummer who didn't want to solo).
Whatever you think can't be done, somebody will come along & do it. A genius is the one most like himself.
They tried to get me to hate white people, but someone would always come along & spoil it.

-

règles d’harmonie classique

Deux voix ne doivent pas se déplacer en parallèle de quinte juste ou d’octave juste.
Deux voix doivent éviter de converger par mouvement direct vers une quinte ou une si l’une est la voix supérieure.
Les voix ne doivent pas se croiser.
La septième doit être préparée et résolue conjointement vers le bas.
En tonalité majeure, la sensible doit se résoudre sur la tonique.
Il ne faut pas doubler la sensible, ni la tierce dans un accord de septième.
Les accords doivent être complets à l'exception occasionnelle de la quinte.
Toute dissonance (suspension, appogiature, note de passage) doit être résolue correctement, conjointement si possible.
Il faut préférer les mouvements conjoints.

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