In this paper, I explore the question of agency in spontaneous action via a phenomenology of musical improvisation, drawing on fieldwork conducted with large con- temporary improvising ensembles. I argue that musical improvisation is a form of ‘participatory sense-making’ in which musical decisions unfold via a feedback pro- cess with the evolving musical situation itself. I describe how musicians’ technical expertise is developed alongside a responsive expertise, and how these capacities complicate the sense in which habitual action can be viewed (...) as pre-conscious or ‘automatic.’ Nevertheless, I shall argue that the self-awareness required for expert improvisation does not amount to highly reflective deliberation, arguing instead that the practice of musical improvisation involves an exercise of practical rationality, akin to what Aristotle called phronēsis. Musical decisions – as an expressive form of sense-making – are guided by feelings of ‘rightness’ that are experienced directly and intuitively, responding to the norms and reasons that are embedded in the instruments, sounds, and practices of a particular (sub)culture. (shrink)

As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my own (...) idiosyncratic responses, I reach out to other, future readers by welcoming and inviting creative pushback, aiming to open up options, to accept and expand on the rich fare these authors offer us. (shrink)

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)

Digital data is an increasing and continual presence across the sites, activities and relationships of everyday life. In this article we explore what data presence means for the ways that the everyday is organised, sensed, and anticipated. While digital data studies have demonstrated how data is deeply entangled with the way in which everyday life is lived out and valued, at the same time our relationships with data are riddled with anxieties or small niggles or tricky trade-offs and their use (...) is often chaotic and muddled, part of the inevitable uncertainty about what will happen next. If the presence of data is part of the environments we inhabit, this raises the question of how and why data is valuable to us and what forms of hope and trust enable this value to further develop. (shrink)

This article develops and mobilises the concept of ‘mundane data’ as an analytical entry point for understanding Big Data. We call for in-depth investigation of the human experiences, routines, improvisations and accomplishments which implicate digital data in the flow of the everyday. We demonstrate the value of this approach through a discussion of our ethnographic research with self-tracking cycling commuters. We argue that such investigations are crucial in informing our understandings of how digital data become meaningful in mundane contexts of (...) everyday life for two reasons: first because there is a gap in our understanding of the contingencies and specificities through which big digital data sets are produced, and second because designers and policy makers often seek to make interventions for change in everyday contexts through the presentation of mundane data to consumers but with little understanding of how people produce, experience and engage with these data. (shrink)

Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past (...) masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself. (shrink)

Humans are organisms of a creative sort. We make new things that scaffold the ecology of our minds, shape the boundaries of our thinking and form new ways to engage and make sense of the world. That is, we are creative ‘thingers’. This paper adopts the perspective of Material Engagement Theory and introduces the notion ‘thinging’ to articulate and draw attention to the kind of cognitive life instantiated in acts of thinking and feeling with, through and about things. I will (...) focus more specifically on Creativethinging, or creative material engagement, exploring the importance of thinging for understanding our species unique capacity for inventiveness. (shrink)

If there is any endeavor so demanding of human creativity, it is the remaking of lives and property after disaster. However, post-disaster recovery is considered the greatest failure in disaster management, and within this field, post-disaster housing reconstruction is the most insufficiently investigated practice. Furthermore, studies of disaster management attribute failure to top-down and technocratic approaches that often overlook the agency, capacities, and moral priorities of those directly affected. In contrast, this paper attends to those displaced by disaster as creative (...) and moral agents who manage to carry on with life despite their socio-economic and political vulnerabilities by drawing from theory in anthropology, disaster studies, and cognitive psychology. Through examining how inhabitants of a post-Typhoon Yolanda reset­tlement site transform their housing to negotiate multiple and vague rules and regulations, I entangle myself with literature that assumes that the creativity of design lies in the capacity of individuals to improvise according to their values and in response to those of others, within a world that is continually unfolding. I also assume that improvisation is contingent upon processes of cognitive innovation in which social relations operate as indispensable intellectual resources for grasping and mobilizing knowledge that would give inhabitants of resettlement housing the best possible chance of attaining their hopes, dreams, and ambitions. Consequently, I propose that viewing creativity as an improvisational process highlights the agentic potential of design in even the bleakest and most quotidian of settings. My own hope is to extend the possibilities for correspondence between built environment practitioners and those who, because of their subaltern positionalities, tend to be overlooked by the field of post-disaster housing reconstruction and yet must live through the consequences of its practice. (shrink)

Can there be improvised recipes? This paper argues that improvised recipes are possible. I call them instantaneous-recipes. They emerge at the same instant where a dish is also prepared. The improvisational freedom of instantaneous-recipes is displayed in the spontaneity of using what is available in terms of ingredients, tools, utensils, and techniques. Similar to what graffiti writers do while tagging – that is, leaving their signatures on – a wall or the side of a train car, in creating their signature (...) dishes, improvisers of the kitchen are forced to adapt on the spot to changing contextual conditions just like a missing or newly available ingredient, a technical failure, or a mistake. Analogously to tags, improvised recipes are formally imperfect: they do not comply with established ones and are often rough, unpolished, broken, and disordered. But their imperfections are not aesthetic flaws, but merits. Imperfectionism in cooking, as I call the view rejecting the idea that only perfect instantiations of pre-existing recipes afford positive aesthetic experiences, is linked with three values: aesthetic, humanistic, and sustainable. By bringing imperfect features within the domain of gastronomic appreciation, instantaneous-recipes broaden the range of our aesthetic palette, while also reminding us of our finitude as humans. By encouraging creative uses of available ingredients and leftovers, improvisation in the kitchen also embodies a more sustainable approach to food waste. (shrink)

The relationship between 1. recipes, 2. ingredients and 3. dishes may be understood in analogy to the relationship between elements in the performing arts: for example, in music, 1. musical works, 2. ‘musical ingredients’ and 3. performances. The recipe’s inventor is a ‘composer’ and the cook is a ‘performer’. As I will argue, both in musical performances and in the preparation of dishes, the application of norms requires ‘creative’ adaptation to the concrete specific situation and the final product emerges from (...) practical interactions that involve transformations of their own normative bases. Hence, both in culinary practices and performing arts like music, the improvisational case is paramount for understanding how their normativity, as paradigmatic of the normativity of human practices in general, works. (shrink)

Creativity has become an oft-used word in UK public policy, but perhaps it is also under-imagined. This paper contends that there is an instrumental tendency to narrowly frame creativity as innovation, implying a reproducible product, instead of more openly as improvisation, a situational, embodied and temporal process. This is not a simple dichotomy (innovation and improvisation, product and process, can be mutually informing concepts), nor is it specifically a question of definition; rather, it relates to an ontological orientation, and related (...) to that are issues of epistemological implications. In particular the paper is concerned with the value of the arts in public policy, as situated in the social, and therefore human, spaces of health and care; and more generally the arts in society. The paper brings together a broad discussion from across disciplines, not in an interdisciplinary attempt to solve a problem, or to be reductive in the analysis, but to begin to approach a reorienting of understandings of creativity and the human value and foundation of the arts in society. (shrink)