When we think of improvised musical performance, we commonly think of musicians engaged in an activity that brings forth a musical event of some kind. This activity is both situated and situating—it occurs in a particular locale and the event itself situates the players who are literally located within that event. This paper explores how we might understand the spatio-temporal field in which improvising musicians are situated when they perform. To comprehend what I refer to as the “horizonal field” of (...) improvised musical performance requires understanding the nature of listening and hearing, the materiality of sound, and the spatio-temporal qualities of the audible event itself. Considering each of these topics, this paper presents the “horizonal field” of improvised musical performance as a particular region bounded by silence. (shrink)

Despite a long history of researchers who combine phenomenology with qualitative or quantitative methods, there are only few examples of working with a phenomenological mixed method—a method where phenomenology informs both qualitative and quantitative data generation, analysis, and interpretation. Researchers have argued that in working with a phenomenological mixed method, there should be mutual constraint and enlightenment between the qualitative and quantitative methods for studying consciousness. In this article, we discuss what a framework for phenomenological mixed methods could look like (...) and we aim to provide guidance of how to work within such framework. We are inspired by resources coming from research in mixed methods and existing examples of phenomenological mixed-method research. We also present three cases of phenomenological mixed methods where we study complex social phenomena and discuss the process of how we conducted the studies. From both the research inspiration and our own studies, we depict the landscape of possibilities available for those interested in mixing phenomenology with qualitative and quantitative methods, as well as the challenges and common pitfalls that researchers face. To navigate in this landscape, we develop a three-fold structure, focusing on the phenomenological frame, the phenomenologically informed generation of qualitative and quantitative data, and the phenomenologically informed analysis and interpretation of data. (shrink)

An emerging perspective on human cognition and performance sees it as a kind of self-organizing phenomenon involving dynamic coordination across the body, brain and environment. Measuring this coordination faces a major challenge. Time series obtained from such cognitive, behavioral, and physiological coordination are often complicated in terms of non-stationarity and non-linearity, and in terms of continuous vs. categorical scales. Researchers have proposed several analytical tools and frameworks. One method designed to overcome these complexities is recurrence quantification analysis, developed in the (...) study of non-linear dynamics. It has been applied in various domains, including linguistic data or motion data. However, most previous studies have applied recurrence methods individually to categorical or continuous data. To understand how complex coordination works, an integration of these types of behavior is needed. We aimed to integrate these methods to investigate the relationship between language and motion directly. To do so, we added temporal information to categorical data, and applied joint recurrence analysis methods to visualize and quantify speech-motion coordination coupling during a rap performance. We illustrate how new dynamic methods may capture this coordination in a small case-study design on this expert rap performance. We describe a case study suggesting this kind of dynamic analysis holds promise, and end by discussing the theoretical implications of studying complex performances of this kind as a dynamic, coordinated phenomenon. (shrink)

The literature on coordination within and between individuals is reviewed, with an emphasis on the inherent transience of coordination patterns in behavioral activity. This transience is integral to understanding cognitive activity as flexible patterns of coordination in brain, body, and environment. Kello reviews the articles in this special issue as contributions to understanding the role of context in shaping or interpreting coordination patterns in human behavior.

Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans are largely underspecified. One possibility is that such forms of coordination primarily rely on mutual influences between interactive partners, and on perception–action couplings such as entrainment or mimicry. Yet some forms of improvised joint actions appear difficult to explain solely by appealing to these emergent mechanisms. Here, we focus on collective free improvisation, a form of highly unplanned creative practice where both (...) agents' subjective reports and the complexity of their interactions suggest that shared intentions may sometimes emerge to support coordination during the course of the improvisation, even in the absence of verbal communication. In four experiments, we show that shared intentions spontaneously emerge during collective musical improvisations, and that they foster coordination on multiple levels, over and beyond the mere influence of shared information. We also show that musicians deploy communicative strategies to manifest and propagate their intentions within the group, and that this predicts better coordination. Overall, our results suggest that improvised and scripted joint actions are more continuous with one another than it first seems, and that they differ merely in the extent to which they rely on emergent or planned coordination mechanisms. (shrink)

Gestures and speech are clearly synchronized in many ways. However, previous studies have shown that the semantic similarity between gestures and speech breaks down as people approach transitions in understanding. Explanations for these gesture–speech mismatches, which focus on gestures and speech expressing different cognitive strategies, have been criticized for disregarding gestures’ and speech's integration and synchronization. In the current study, we applied three different perspectives to investigate gesture–speech synchronization in an easy and a difficult task: temporal alignment, semantic similarity, and (...) complexity matching. Participants engaged in a simple cognitive task and were assigned to either an easy or a difficult condition. We automatically measured pointing gestures, and we coded participant's speech, to determine the temporal alignment and semantic similarity between gestures and speech. Multifractal detrended fluctuation analysis was used to determine the extent of complexity matching between gestures and speech. We found that task difficulty indeed influenced gesture–speech synchronization in all three domains. We thereby extended the phenomenon of gesture–speech mismatches to difficult tasks in general. Furthermore, we investigated how temporal alignment, semantic similarity, and complexity matching were related in each condition, and how they predicted participants’ task performance. Our study illustrates how combining multiple perspectives, originating from different research areas (i.e., coordination dynamics, complexity science, cognitive psychology), provides novel understanding about cognitive concepts in general and about gesture–speech synchronization and task difficulty in particular. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

Ray Brassier's "Unfree Improvisation/Compulsive Freedom" is a terse but insightful discussion of the notion of freedom in improvisation. He argues that we should view freedom not as the determination of an act from outside the causal order, but as the reflective self-determination by action within the causal order. This requires a system that acts in conformity to rules but can represent and modify these rules with implications for its future behaviour. Brassier does not provide a detailed account of how self-determination (...) works in improvisation. His text implies that the act of improvisation involves an encounter between rule-governed rationality and idiomatic patterns or causes but does not specify how such rules operate in music, what their nature is or how the encounter between rules and more rudimentary “pattern-governed” behaviour occurs. I will argue that, in any case, there are no such rules to be had. Instead, claims about what is permissible or implied in musical processes index highly-context sensitive perceptual and affective responses to musical events. I develop this picture in the light of recent accounts of predictive processing and active inference in cognitive science. This account provides an alternate way of expressing Brassier’s remarks on the relationship between music and history in “Unfree Improvisation” one that eschews normative discourse in favour of an ontology of social and biological assemblages, their affects, and the processes they entrain. This adjustment is of more than aesthetic interest. Brassier’s text suggests that the temporality of the improvising act models an insurgent relation to time: specifically, the remorseless temporality explored in his writings on Prometheanism and Radical Enlightenment. I will conclude by using use this analogy to elaborate the idea of a posthuman agency adapted to a hypermodern milieu of self-augmenting technological change. (shrink)