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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.
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