text: FM 7-100.1________________________________________________________________________________
  doctrine describes fundamental principles and provides guidelines for the use
  of military forces in pursuit of national objectives.
  1-82. Military and operational art is the theory and practice of conducting
  armed conflict. It recognizes that war is a human endeavor and therefore not
  amenable to quantifiable formulas that limit thinking and lead to unimagina-
  tive and predictable solutions. It is the intellectual and intuitive synthesis of
  military doctrine, military science, and intangibles to address the problem at
  hand. Military science is not discarded but, like military doctrine, is seen as
  providing tools that support the practice of military art. The single, most im-
  portant ingredient in the practice of military strategy, and of military and
  operational art, is the commander. The commander who develops creative so-
  lutions to military problems is highly valued.
  1-83. The study and analysis of political and military history has an impor-
  tant place in the development of OPFOR military thought and doctrine. The
  OPFOR views the role of history and past experience as one that provides in-
  sights and observations into the present and future conduct of war. It is a
  significant source for the development of new and adaptive ways of conduct-
  ing military operations. The OPFOR has developed an effective method for
  identifying, analyzing, validating, and applying new concepts. It is an inter-
  active process that establishes a partnership between military colleges and
  civilian institutions on one side and the active force on the other.
  OPERATIONAL ART
  1-84. Operational art links tactics and strategy to form a coherent structure
  for the conduct of war. Some strategists have traditionally expressed opera-
  tional art as the sequencing of battles and engagements so that the collective
  outcomes will produce a specified military condition in a theater. Others de-
  scribe operational art as the blending of direct and indirect approaches to
  achieve necessary conditions in a theater. The OPFOR has developed a style
  of operational art that is an amalgam of both theories, capturing the best
  from each.
  1-85. No particular level of command is uniquely concerned with operational
  art. The Chief of the General Staff and the theater commander(s) normally
  plan and direct strategic and theater campaigns, respectively, while field
  group and operational-strategic command (OSC) commanders normally de-
  sign the major operations of a campaign. The OPFOR recognizes the classic
  division of warfare between the strategic, operational, and tactical levels.
  However, the boundaries between these levels are not associated so much
  with particular levels of command as with the effect or contribution to achiev-
  ing strategic, operational, or tactical objectives.
  OPERATIONAL ART AND THE NATIONAL SECURITY STRATEGY
  1-86. As discussed earlier in this chapter, the national security strategy can
  involve four types of strategic-level actions: strategic, regional, transition,
  and adaptive operations. In specific terms, OPFOR operational art consists of
  the sequencing of the actions of military forces to attain strategic goals set
  forth within and across this spectrum of strategic-level actions. In practical
  terms, this is expressed in the strategic campaign plan.