Short description:

This volume brings together philosophical and interdisciplinary perspectives on improvisation. The contributions connect the theoretical dimensions of improvisation with different viewpoints on its practice in the arts and the classroom.

Long description:

This volume brings together philosophical and interdisciplinary perspectives on improvisation. The contributions connect the theoretical dimensions of improvisation with different viewpoints on its practice in the arts and the classroom.

The chapters address the phenomenon of improvisation in two related ways. On the one hand, they attend to the lived practices of improvisation both within and without the arts in order to explain the phenomenon. They also extend the scope of improvisational practices to include the role of improvisation in habit and in planned action, at both individual and collective levels. Drawing on recent work done in the philosophy of mind, they address questions such as whether improvisation is a single unified phenomenon or whether it entails different senses that can be discerned theoretically and practically. Finally, they ask after the special kind of improvisational expertise which characterizes musicians, dancers, and other practitioners, an expertise marked by the artist?s ability to participate competently in complex situations while deliberately relinquishing control.??

Philosophy of Improvisation will appeal to anyone with a strong interest in improvisation, to researchers working in philosophy, aesthetics, and pedagogy as well as practitioners involved in different kinds of music, dance, and theater performances.?

"We do not just improvise sometimes and in some domains but all the time, in multi-modal, online, and interactive ways. Or so this wonderful book claims in ways that are fully persuasive. This book on improvisation in thought, in life, in action, and in interaction in a wide variety of everyday, artistic, and social domains is a breath of inter- and transdisciplinary fresh air in a field that continues to grow and expand. It is required reading for improvisation scholars in philosophy, in the arts, in pedagogy, in sports, and in creativity studies in general."

Aili Bresnahan, University of Dayton, USA

"Improvisation is the defining feature of human social life and is the essence of creativity. This fascinating book contains chapters on music, dance, planning, the classroom, and social life. The unifying insight is that improvisation is always present in our everyday lives. This book will be essential reading for anyone concerned with improvisational action, collaboration, and creativity, including scholars in the arts, in sociology, and in philosophy."

Keith Sawyer, University of North Carolina at Chapel Hill, USA

"The volume is definitively highly valuable, particularly because it makes readers think intensely and extensively about key aspects of improvisation that open up very interesting perspectives on central issues in the philosophy of action and in the philosophy of art, as well as in other areas of contemporary philosophical discussion such as ethics and pedagogy."

Alessandro Bertinetto, Estetika: The European Journal of Aesthetics

Table of Contents:

Introduction

Improvisation: The Competences of Not Being in Control

1. The Birth of Planning out of the Spirit of Improvisation: The Iceberg Model

2. Improvisation as Online Planning

3. Towards a Wide Approach to Improvisation

4. Improvisation as a Social Process

5. Taking Responsibility by Letting Go: The Improvisation of Responding to the Call

6. Dance Improvisation and the Metaphysics of Force

7. Joint Improvisation as Interaction Ritual

8. Improvising Affectivity ? Kitt Johnson?s site-specific Performances

9. Inner & Outer Ears - Enacting Agential Systems in Music Improvisation

10. Improvisation in the Classroom: Towards an Aspectual Account of Improvisatory Practice

?Yes, and??: Having It All in Improvisation Studies