Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

In Improvisation, Samuel Wells defines improvisation in the theater as "a practice through which actors seek to develop trust in themselves and one another in order that they may conduct unscripted dramas without fear." Sounds a lot like life, doesn't it? Building trust, overcoming fear, conducting relationships, and making choices--all without a script. Wells establishes theatrical improvisation as a model for Christian ethics, a matter of "faithfully improvising on the Christian tradition." He views the Bible not as (...) a "script" but as a "training school" that shapes the habits and practices of the Christian community. Drawing on scriptural narratives and church history, Wells explains six practices that characterize both improvisation and Christian ethics. His model of improvisation reinforces the goal of Christian ethics--to teach Christians to "embody their faith in the practices of discipleship all the time."--Publisher description. (shrink)

This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation (...) of the arts will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation. (shrink)

This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...) this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

This paper introduces freely improvised joint actions, a class of joint actions characterized by highly unspecific goals and the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance. We argue that classic philosophical accounts of joint action such as Bratman’s (...) rule them out because the latter require a capacity for planning that is idle in the case of FIJAs. This argument is structurally similar to arguments for minimalist accounts of joint action, and this invites a parallel minimalist account, which we provide in terms of a specific kind of shared intentions that do not require plan states. We further argue that the resulting minimalist account is different in kind from the sort of minimalism suggested by developmental considerations and conclude in favor of a pluralistic minimalism, according to which there are several ways for an account of joint action to be minimal. (shrink)

In this article, we inquire into Maxine Sheets-Johnstone and Michele Merritt’s descriptions and use of dance improvisation as it relates to “thinking in movement.” We agree with them scholars that improvisational practices present interesting cases for investigating how movement, thinking, and agency intertwine. However, we also find that their descriptions of improvisation overemphasize the dimension of spontaneity as an intuitive “letting happen” of movements. To recalibrate their descriptions of improvisational practices, we couple Ezequiel Di Paolo, Thomas Buhrmann, and (...) Xabier E. Barandiaran’s enactive account of the constitution of agency with case studies of two expert performers of improvisation: a dancer and a musician. Our analyses hereof show that their improvisations unfold as a sophisticated oscillation of agency between specialized forms of mental and bodily control and, indeed, a more spontaneous “letting things happen.” In all, this article’s conclusions frame thinking in movement concerning improvisational practices as contextually embedded, purposively trained, and inherently relational. (shrink)

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a (...) rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform. (shrink)

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. (...) Not only some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. (...) After discussing some criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

In this article, I attempt to bring some colour to a discussion of fraught topics in education. Though the scenes and stories (from education and elsewhere) that feature here deal with racism, the discussion aims to say something to such topics more generally. The philosophers whose work I draw on here are Stanley Cavell and Judith Butler. Both Butler and Cavell develop (or depart from) J.L. Austin's theory of the performative utterance. Butler, following Derrida, argues that in concentrating on the (...) illocutionary force of utterances (their capacity to do things), Austin fails to account for the force of words themselves. The iterability of language means that words are never at one with themselves. They carry their old contexts with them as they enter into new ones. This has important consequences for ethical issues that pertain to what Butler calls the ?performativity? of gender and race. Though we are performed by language, this performance has a dynamic quality that leads to the reshaping of identity. In contrast, for Cavell, the disappointing aspect of Austin's thought relates to the latter's neglect of the perlocutionary effect of language ? what is done ?by words?. By taking on this project, Cavell embraces the unconventional aspects of language characterised by ?passionate? expression and exchange. Butler and Cavell approach the performative utterance from different directions. In the last part of this article, the significance of this difference is discussed in relation to the provision of a moral education with regard to tackling issues surrounding racism. (shrink)

Theatrical improvisation is a joyful, creative, and playful activity of discovery and a spontaneous process. It seems to be the opposite of teaching, which requires proper planning and advance thinking and seems a very “serious business” that deals with values and knowledge. Improvisation is shaped by flexibility and by transformative and equal relations among the participants. In contrast, there is in education usually a very clear hierarchy of teacher and pupils, and the relationships are mostly managed in a (...) one-way direction. This seemingly reasonable comparison of opposites can be continued and developed. If we look beyond these superficial, stereotypical, and binary images of improvisation and teaching.. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising (...) Mind' these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the metrical (...) requirements of Homeric poetry). In written literature, the use of ready-made language was long disparaged as the opposite of creativity, but Barthes describes both speech and literature in general as consisting entirely of transformations of words that have already been set in order, and describes individual style as essentially a citational process, and the transformation of earlier formulae. Formulaic language can be shown to underlie much linguistic creativity. (shrink)

Wenn eine Kultur etwas als Erfindung akzeptiert, dann hat dieses Etwas bereits den Status einer Tatsache erhalten, die vorhanden ist und auf ihren Nutzen oder auf ihre Funktion hin befragt werden kann. Was aber geschieht davor? Wie gewinnt das Erfundene Wirklichkeit? Wie in der Kunst, wie im Theater, wie in der Literatur und Musik, wie in der Wissenschaft? Und mit welchen Folgen? Die Beiträge in diesem Band beschäftigen sich alle mit einem Moment oder einem bestimmten Modell der Invention. Ausgehend von (...) den jeweils involvierten Medien wird der Versuch unternommen, diese Momente und Modelle zu rekonstruieren. Um etwas über die entsprechenden Inventionen in Erfahrung bringen zu können, werden diese als Ergebnisse oder Effekte von Improvisationsprozessen begriffen: Improvisationen in dem Sinne, dass von einem grundsätzlich offenen Zukunftsspielraum ausgegangen wird, gleichzeitig aber auch davon, dass es ein Umgebungs- und Verfahrenswissen gibt, das im Einzelfall beschrieben werden kann. (shrink)

Jazz improvisation requires a set of phenomenological practices, through which musicians confront their own sonic situatedness. Drawing on writings from Paget Henry, Mike Monahan, and Storm Heter, these phenomenological practices can be characterized as creolizing, and can reveal a sense in which, as Sidney Bechet says, music gives you its own understanding of itself. Specifically, improvising musicians engage their own situatedness by slowing things down, and through repetition. Bass players can listen through other players’ hands, and audiences can hear (...) more of what's happing in jazz by understanding the ways musicians practice. (shrink)

The act of drawing a line or uttering a word is often seen as integral to the process of making art. This is especially obvious in music and the visual arts, but applies to literature, performance, and other arts as well. These collected essays, written by scholars from diverse fields, take a historical view of the richness of creation out of nothing (creatio ex nihilo) in order to draw out debates, sometimes implicit and sometimes formally stated, about the production and (...) reproduction of cultural meaning in a period of great change and novelty, between the beginnings of the medieval intellectual tradition and the imprint of the Enlightenment. The authors pose the following questions: Do tradition and creativity conflict with one another, or are they complementary? What are the tensions between composition and live performance? What is the role of the audience in perceiving the object of art? Are such objects fixed or flexible? What about the status of the event? Is the event part of creation, in the sense that it disturbs the still waters of historical continuity? These and other questions build on the foundation of Roland Barthes' concept of Degree Zero, offering new insights into what it means to create"--Back cover. (shrink)

Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” or “reproductive” tonal imagery: a field of consciousness that includes experiences, images that are internal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of interference between consciousness (...) and the unconscious. The performing urgency of gestures, voices, and sounds, although arranged in the same scene, highlights the difference in individual time. In this intense activity of opposition and resolution the experience becomes an unstable territory that rests on the capacity of the body to remember, decide, anticipate, and invent. The ego reveals itself to be an emerging representation of our nerve structures and, even if conscious organization continues to be attributed to it, its role is not at all crucial. Unity, if anything, means coordination. The conscious ego is the expression of the body. In its ultimate form its unity is a biological problem. (shrink)

This chapter contains sections titled: Attentiveness Awareness of the Circumstances of Action Acknowledging the Autonomy of Others Respecting Complexity Memory Respecting Individuality Rethinking the Past The Habit of Resourcefulness Kantian Mutual Respect Genuineness and Insight Sensitivity to the Context of Discourse Excessive Attentiveness The Diversity of Intentional Action.

This paper pursues two main aims. First, it distinguishes two kinds of improvisation: expert and inexpert. Expert improvisation is a (usually artistic) practice that the agent consciously sets as their goal and is evaluated according to (usually artistic) standards of improvisation. Inexpert improvisation, by contrast, supports and structures the agent’s action as it moves them towards their (usually everyday life) goals and is evaluated on its success leading the agent to the achievement of those goals. The (...) second aim is to describe inexpert improvisation as a robustly distributed affair, one that involves the ongoing integration of embodied practices with social and material resources within our surrounding environments. On the wide approach to improvisation fostered in this paper, inexpert improvisation is claimed to be our default way of inhabiting our world. (shrink)

This article builds upon existing scholarship concerning the relationship between improvisation and composition. Sections 1 to 3 comprise an exploration into and analysis of both the traditional understanding of improvisation and composition as opposing categories, as well as the more modern, nuanced view of their interpenetrating natures. I conclude that the former view should be replaced by the latter. Sections 4 and 5 present and subsequently negate two potential failings of my argument. First, I confront the problem posed (...) by Goehr’s work-concept, whose essence is opposed to the spirit of improvisation, but argue that recording allows for the solidification of these improvisations into works. Secondly, I undermine the view that composition is creation ex nihilo whilst improvisation is the mere reworking of old material. I uncover the originality of improvisation and formulae of composition to restore their compatibility and reinforce improvisation’s status as a method of broad- and narrow-sense composition. (shrink)

This paper discusses mistakes that occur in improvised musical performance. I first develop a couple of distinctions that are useful to understand the varied nature of such mistakes. Particularly, I think that it is important to distinguish mistakes that depend upon formal features of the music, and mistakes that are such in virtue of a failure of the performer’s intentions. Within this latter category, I argue that it is useful to distinguish between two different layers of performance intentions. Subsequently, I (...) discuss the idea that, in improvised performance, mistakes are not merely tolerated but are, in some sense, valuable, showing how the distinction I develop can shed some light on these issues. (shrink)

To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research (...) in the cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that support sensorimotor, experiential, emotional, meta-cognitive, and collaborative forms of interaction and lead to the coordination and synchronization of behavior. I claim that improvisation is an intelligent cognitive skill associated with meta-awareness, open to monitoring and control. It involves both automatized and flexible behavior and can occur without conscious awareness. Improvising in principle is independent of verbal language and higher-order thought, but nevertheless profits from the presence of multiple converging processes. (shrink)

The main aim of this article is to argue the case for understanding improvising as a real-time emergent process grounded in collaborative action, while noting that talking about improvisation, bluntly put, is not the same as improvising. The ways in which improvisers respond and adapt to changing circumstances in the moment and over time, it is argued, connect directly to the discipline of process philosophy and involve pattern recognition and creation skills as well as the ability to predict the (...) actions of conspecifics. The conclusion considers some benefits and challenges in approaching improvisation from a process-based and systems-theoretical perspective. (shrink)

Improvising involves participants adopting attitudes and dispositions that make them welcoming towards what happens, even when it is unforeseen. How is the discourse on improvisation and a disposition to improvise in the community connected to the concept of inquiry? What type of reasoning can be developed? This paper aims to reflect on two different perspectives. On the one hand, we consider the feasibility of improvising inquiry in the community, promoting inquiry as an activity that can be developed extemporaneously when (...) teacher and students form a community with an “improvising” habitus. On the other hand, we underscore the intrinsic improvisational dimension of inquiry that takes shape in philosophical dialogue in the community. To develop these two educational and formative perspectives, participants students and particularly teachers must first acquire a “readiness” for improvisation which is a sort of complex attitude. Some results of previous research on improvisation are presented to explain and emphasize the features of this complex disposition. Teachers who improvise suddenly open a window on events happening in the community, serving as an example for the class which is invited to do the same. Teachers thus become improviser-facilitators within the community, embracing the feature of a new jazz-pedagogy at the same time. (shrink)

En focalisant notre attention sur l'atelier comme lieu de formation des improvisateurs et improvisatrices de théâtre, cet article vise à réintroduire le Théâtre d'Improvisation dans le processus d'apprentissage qui l'accompagne. Dirigé par un·e chef·fe d'atelier chargé·e de la gestion des exercices, des consignes ainsi que des retours, l'atelier se construit comme un jeu interactionnel et discursif visant à transmettre des compétences à improviser. Ce processus suppose des modalités d'ajustements collectifs et de compréhension mutuelle entre les comédien·ne·s qui s'exercent et (...) le·la chef·fe d'atelier qui prend le rôle de conseiller·ère, d'évaluateur·rice et d'enseignant·e. En ce sens, le travail d'atelier relève d'une dynamique particulière en tant que performance avant la performance publique, impliquant d'élargir la notion d'exercice à ses débordements interactionnels. Au sein de ce cadre pédagogique, le retour, moment d'échanges en aval de l'exercice, devient un phénomène primordial. S'il recouvre différentes fonctions telles que l'évaluation, la critique ou le conseil, le retour offre aussi la possibilité de déréférencer le propos de l'exercice en question pour traiter du Théâtre d'Improvisation comme pratique. Le retour dans sa dimension épisémiotique permet dès lors de saisir le passage de l'exercice, comme phénomène éphémère et localisé à la pratique du Théâtre d'Improvisation, comme discipline stabilisée et collective. (shrink)

In this article, I investigate the ways in which improvisation occurs and works in stand-up comedy. I introduce a continuum model of composing and improvising and for understanding and classifying generative and nongenerative performances. The model reflects the fact that cognitive neuroscience research on creativity and improvisation provides evidence for the claim that composing and improvising are two species of the same genus (selective creation), and the differences between generative and nongenerative performance are not categorical but vague, admitting (...) of a continuum model. The model is applied to standard cases of stand-up comedy to illuminate the specific ways in which improvisation and composition are present in stand-up comedy, and the ways in which stand-up comedy performances are mixtures of generative and nongenerative elements. In addition, I address some of the reasons why such understanding is important and useful. (shrink)

Although lean search is seen as an important action in lean startup, previous studies have less knowledge on how to realize it, especially in the face of traditional plans that cannot cope with sudden changes in the environment. To fill the research gap, this study investigates the effects of improvisation on lean search. Meanwhile, this research also discusses the moderating effects of entrepreneurial team heterogeneity and the environmental uncertainty to identify the boundary conditions of this relationship. Supported by the (...) cross-sectional data from 203 Chinese startups, the results show that explorative and ambidextrous improvisation are positively associated with lean search. However, the effect of exploitative improvisation on lean search is unsupported. Additionally, technology uncertainty positively moderates the relationship between exploitative improvisation and lean search. Market uncertainty positively moderates the relationship between explorative improvisation and lean search. However, the entrepreneurial team heterogeneity negatively moderates the relationship between ambidextrous improvisation and lean search. These findings contribute to understanding how startups could conduct lean search in a rapidly changing environment, which provides theoretical guidance for improving the success rate of startups. (shrink)

Healthcare practitioners are often presented with vulnerable encounters where their professional experience is insufficient when dealing with patients who suffer from illnesses such as chronic pain. How can one otherwise understand chronic pain and develop practices whereby medical healthcare practitioners can experience alternative ways of doing their practice? This essay describes how a group of researchers have, over a number of years, developed improvised participatory theatre as a means of engaging healthcare practitioners, patients and other lay people in situations where (...) it is legitimate to reappraise their practice and reunderstand the nature of an illness such as chronic pain. One conclusion was to consider that it is a relational rather than an individual phenomenon that in turn demands alternative practice. Through iterative workshop processes of improvised theatre, participants are encouraged to experience the vulnerable, the unknown, and the need to be alternatively present when dealing with patients whose situation is imbued with suffering. (shrink)

This journal's well-intentioned consideration of the arts has turned out to be quite the Pandora's box. As soon as we broach the subject of aesthetics, we are already in the realm of ideology; as soon as we impose the frame of scientific inquiry upon any subject, we invoke another kind of ideology. The previous issues in this series have depicted the unfolding of an ideological clash of cultures between sciences and the humanities, enough to make C.P. Snow blush. For the (...) time being, this is an unavoidable condition; yet the more we remain aware of it, the further we may push our insights. (shrink)

This investigation seeks to explore connection points between music and societal processes, by linking improvised music to cultural networks and social practices. Exceeding musicological and action-theoretical reflections, the improvisation is regarded from a cultural sociological perspective, which asks how improvisational practices can be integrated into cultural, historical and discursive contexts. Taking free jazz as the scope of the investigation, it is argued that there is a necessity to discuss its characteristic improvisation, in connection to the critical, radical and (...) aesthetical practices of the African-American community. The musical practices of free jazz, therefore, can be seen as social practices, in which a form of resistance is manifested through an intended liberation of the current musical and cultural order. Improvisation processes expressed in free jazz hence reflect an ethnically motivated strategy, in which the ruling system of values is questioned, while simultaneously offering alternative modes of expression. (shrink)

ABSTRACTIn the first section I ask two questions: what sort of a poem is Childe Harold’s Pilgrimage, and what is the immediate experience of reading it in sequence? These two questions are the practical equivalents of the main terms of my title. I try to answer them by reconstructing a first reading of the poem in the light of my own experience and the imagined one of the first readers of the poem. I suggest that two terms—accretion and elimination—are helpful (...) here and that, in some ways, the structure and sequential experiencing of the poem resemble the structures of extended nineteenth-century musical forms. In the second section, I reverse perspective and take a position at the end of the poem. From such a point, it is easier to find what the poem has included and eliminated and this, in turn, suggests the kind of poem that it is. In the third section I tackle the terms “improvisation” and “hybrid genres” directly, link them with my earlier arguments, and engage with some theorists, especially Bakhtin.... (shrink)

Introduction : our political present -- Possibilities for a political future -- Respecting resistance -- Aesthetic perspectives -- Aesthetic pitfalls -- Political perspectives -- Political pitfalls -- Improvising communities.

Introduction. The law of the extempore -- The rise and reform of the New York City cabaret laws -- Deconstructive legal improvisation -- The 'wildness' of jazz improvisation -- Demystifying improvisation -- The structure-freedom paradox in law -- Justice as improvisation.

(1998). Composition, improvisation, constitution: forms of life in the music of pierre boulez and ornette coleman. Angelaki: Vol. 3, The love of music, pp. 75-102.

The human capacity for intersubjective engagement is present, even when one is limited in speaking, pointing, and coordinating gaze. This paper examines the everyday social interactions of two differently-disposed actors—a non-speaking autistic child and his speaking, neurotypical mother—who participate in shared attention through dialogic turn-taking. In the collaborative pursuit of activities, the participants coordinate across multiple turns, producing multi-turn constructions that accomplish specific goals. The paper asks two questions about these collaborative constructions: 1) What are their linguistic and discursive structures? (...) 2) How do embodied actions contribute to these constructions? Findings show that the parent and child repeatedly co-produced multi-turn constructions that had consistent structures, implying a sophisticated ability to anticipate the completion of action trajectories. Examining the embodied actions of interactants revealed that the child often accommodated to the parent’s demands for participation. Nonetheless, the child occasionally pursued his own goals by improvising with and within multi-turn constructions. He launched constructions to redirect parental attention, and otherwise produced surprising actions within the turn-taking structure of these constructions. The paper concludes that multi-turn constructions in the midst of activities are a primordial site in which to begin observing the competencies of non-speaking autistic children for intersubjective engagement. (shrink)

Successfully creating polarizing narratives, several populist leaders have come to dominate the global political sphere in recent times. However, the coronavirus pandemic has raised serious questions over their ability to respond to its challenges effectively. Whether they will remain in power after the pandemic is an intriguing question. The key to understanding the dynamics of power among populist leaders lies in analyzing the tactics they employ for the appropriation of political power. In this context, reading Christopher Marlowe’s Tamburlaine the Great (...) (1587) can play an important role. This essay, therefore, argues that through a unique characterization of Tamburlaine the Great, Marlowe critiques Queen Elizabeth’s aggressive political maneuvers of improvisation, which enabled her to reinforce her divine claim over the throne of England. Yet striking historical and literary references suggest that Queen Elizabeth and Marlowe’s Tamburlaine attempted to achieve improvisation through similar means but in the end encountered the transience and limits of their temporal powers, while facing the biological realities of barrenness and heredity – a fact that should serve as a warning to the current populist leaders across the world. (shrink)

I aim at explaining the sense in which the notion of improvisation is important for the ontology of art. In the first part, I criticize the widespread assumption of the repeatability of a musical work without transformation of its identity and defend Conversational Improvisational Emergentism (CIE) as the specific contribution of improvisation to musical ontology: in an improvisation, values and meanings of what has been played constrain what follows and are themselves retroactively (trans)formed by what follows; likewise, (...) the performing interpretations of musical works and traditions reinvent their meanings and evaluation criteria, responding to past interpretations and opening up (as well as binding) possibilities for future interpretations. In the second part, I extend the scope of my investigation to art more generally. By critiquing the principle of «no evaluation without identification» and referring to Peter Lamarque’s and Joseph Margolis’ views about art ontology, I propose a transformative theory of artworks, which is based on the thesis of the improvisational “nature” of artistic practices (a thesis that I conceive of as a particular form of CIE). Its core point is that evaluative and performative interpretations of artworks (re)shape creatively, and retroactively, the meanings and the flexible identities of artworks. Accordingly, the artworks’ meanings and identities emerge (and are (trans)formed) through the cultural improvisational interactions in which artworks participate. (shrink)

In this text, a dialogue about the difficult task of seizing the sense of history today is presented. The point of departure is the difficulty of the times to begin and the necessity to rethink the difference between historiography and historicity, and further between events, the event and the advent. The dialogue proposes to revisit the meaning of beginning from out the experience of improvisation and to reflect upon the possibility of developing improvisation as a sense of history.

This article examines parallel challenges and avenues for progress I have observed in my efforts to introduce improvisation in classical music studies, and meditation in music and overall academic settings. Though both processes were once central in their respective knowledge traditions—improvisation in earlier eras of European classical music, meditation and contemplative disciplines in Western philosophy—as well as being globally prominent, they nonetheless occupy marginalised roles in the contemporary academy. Other parallels include the challenges and benefits inherent in the (...) interplay between tradition-specific and trans-traditional engagement, where grounding in a musical lineage such as jazz promotes informed trans-idiomatic musical exploration and synthesis, and grounding in a contemplative lineage provides foundations for navigating the often-turbulent waters of the contemporary spiritual smorgasbord. I argue that a more critical look at integrity of practice, consisting in not only methodologies but also views of consciousness and human development, is key to the future progress of the contemplative studies movement and the contributions it may make to education and society at large. (shrink)

What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of (...) class='Hi'>improvisation, Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions. (shrink)

Dance creation involves complex psychological activities. Although previous studies have conducted extensive investigations on the psychological aspects of choreographers’ creations, little is known regarding the psychological barrier of choreographers in terms of creativity. The study aims to explore the psychological barrier of innovation in dance choreography, which is a kind of situation between mental illness and mental problems. The research shows that improvisational dance is a free dance with the human body as a material carrier, and it is a dance (...) form that the dancer’s thinking is transformed into dance action to express their inner thoughts. The improvement of the potential creative thinking of dance creators through the improvisational dance movement and structure are explored. Meanwhile, the theoretical ideas of psychologists have been applied to the cultivation and improvement of improvisational dance creativity, which has made full certification and supplement. Moreover, through psychological experiments, it is proved that improvisational dance is an important way to release and develop creativity. Based on the theory of psychology, feasible suggestions are given to improve students’ creative ability in the process of improvisational dance teaching. (shrink)