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)

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

Ziran, an idea from ancient Daoism, defies easy translation into English but can almost be captured by the term "spontaneity." It means "self-causation," if "self" is understood as fundamentally plural, and "causation" is understood as sensitivity and responsiveness. Applying ziran to the fields of action theory, attention theory, and aesthetics, Brian Bruya uses easy-to-read, straightforward prose to show, step-by-step, how this philosophical concept from an ancient tradition can be used to advance theory today. Incorporated into contemporary philosophy of action, ziran (...) opens us to the notion of movement and action as self-organizing. Incorporated into contemporary cognitive science, ziran opens us to the possibility of effortless attention, contrary to the reigning paradigm. Incorporated into contemporary aesthetics, ziran opens us to a new category of art--somatic art--and a new, refined understanding of improvisation"-- Back cover. (shrink)

The practice of architecture takes place in what is aptly called “an architectural practice.” But, in a sense, no architecture takes place there. Unless something outside that practice is built, we merely have plans for architecture, unfulfilled ideas, but nothing that functions or shelters. In this paper, my attempt to show an important connection between improvisation and architecture is about the process of architecture as its execution of a built structure. My idea is to begin with an unheralded example from (...) vernacular architecture, glean from it what I think is improvisational and work with issues I believe are generated from it in order to point out some things about improvisation as well as architecture. That example is the collective of buildings known as the shantytown. The shanty, like the ruin, comes about with “unintentional visual interest” to pervert the phrase of Michael Baxandall, happening as it does without foregrounding concern for architectural beauty or elegance. Philosophical investigations of vernacular architecture are not new, but one where an improvised mode of construction is a serious component of its analysis has largely been passed over. One question I try to answer can put the issue another way: What is the limiting case of improvisation in architecture? (shrink)

Research into group creativity with its dynamic, interpersonal, and multi-perspective character poses many challenges, among others, how to collect data and capture its shared nature. In this paper, we discuss the creative process of an ensemble in dance improvisation as an example of vivid and collaborative creative practice. To identify aspects of improvisational dance cognition, we designed and applied a video-stimulated recall approach to capturing the multiple perspectives of the shared creative process. We tested the method during an improvisational session (...) with dancers, showing how the recordings of dancers’ thought narratives and internal states might be used for studying group creativity. Finally, we presented an audiovisual installation Between Minds and Bodies that aimed to recreate the dancers’ experience and offered immersion into the creative process by accessing individual dancer’s thought processes in the improvised performance while watching the dance improvisation. (shrink)