ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...) and imperfections, as Gioia assumes, but a positive aesthetic, as in Japanese wabi-sabi. Imperfections can become new styles or kinds of perfection—and so true imperfectionism is a constant striving for new contingencies to respond to. A subtler, more complex relation between composition and improvisation is proposed, in which both have broad and narrow senses. Composition involves works, usually desk produced and notated; or more generally, putting things together in an aesthetically rewarding form. Thus, improvisation is a compositional method. Improvisation and composition are interdependent; both involve structure and spontaneity. Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions. (shrink)

I argue in this paper that, like the Pyrrhonism of Sextus Empiricus, Wittgenstein’s response to negative–dogmatic skepticism in On Certainty turns on the attempt to free us from the demands of traditional philosophy and is therefore not a philosophical position, strictly speaking. Rather, it is a therapeutic metaphilosophy designed to bring into view (i.e., to illumine) the relationship between our everyday epistemic practices and those of philosophy such that we simultaneously come to recognize (a) what I call the pragmatic–transcendental self–standingness (...) of the everyday and (b) its philosophical–rational groundlessness. The Pyrrhonian illumination of the everyday is therapeutic in that it aims to purify our metadoxastic attitudes of dogmatism. (shrink)