John Cage's Practical Utopias: John Cage in Conversation with Steve Sweeney Turner

Turner, Steve Sweeney; Cage, John

doi:10.2307/1193658

Cited by 7 publications

(3 citation statements)

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“…Among its advocates, composer John Cage famously held that improvisation is best understood as recitation from memory, always familiar and never leading to new experience (see e.g. Turner, 1990; see also Lewis, 2007, pp. 363ff.…”

Section: A Puzzle: Habit and Creativity In Skilled Improvisationmentioning

confidence: 99%

The fast and the curious: Creative improvisation as action-oriented abduction

Linson¹,

Schulkin²,

Clark³

2022

Preprint

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Improvisation, understood as a skillful activity, suggests a tension between the constitutive roles of habit and creativity. Cognitive and phenomenological accounts of skill acquisition point to the importance of developing habitual responses that facilitate fluid performance. Yet, habit formation is associated with repetitive behavior. Seemingly at odds with repetition, spontaneous invention is often regarded as the basis of improvising creatively. The puzzle – how habit and creativity relate in skillful improvisation – is resolved by drawing on a view of the brain as an embodied, predictive organ, entangled in cultural scaffolding, and perpetually engaged in inference. This view is in part rooted in the pragmatist tradition, as is a large body of work on music. By combining these strands of theoretical and empirical research, an account of action-oriented abduction is developed and applied to an illustrative vignette. The resulting application goes beyond existing accounts to articulate an enriched sense of creative improvisation.

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Section: A Puzzle: Habit and Creativity In Skilled Improvisationmentioning

confidence: 99%

The fast and the curious: Creative improvisation as action-oriented abduction

Linson¹,

Schulkin²,

Clark³

2022

Preprint

View full text Add to dashboard Cite

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“…. don't arrive at any revelation that they're unaware of " [1]. Escaping musical systems of historical memory, calibrating new musical materials for congruity with the present-an act of human-becoming-can nonetheless be achieved by integrating computational creativity into the practice of music improvisation.…”

Section: Creativity and Human-becoming A R T O A R T I N I A N A N D mentioning

confidence: 99%

On Improvised Music, Computational Creativity and Human-Becoming

Artinian

Wilson

2017

Leonardo Music Journal

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Music improvisation is an act of human-becoming: of self-expression—an articulation of histories and memories that have molded its participants—and of exploration—a search for unimagined structures that break with the stale norms of majoritarian culture. Given that the former objective may inhibit the latter, we propose an integration of human musical improvisers and deliberately flawed creative software agents that are designed to catalyze the development of human-ratified minoritarian musical structures.

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“…Live coders, not restricted by the limits of their physicality to the same extent, have their capability extended into the machine and are therefore 'taken out of themselves' as a matter of course in the execution of their art. The affordances of the computer offer them the potential to more easily avoid the situation described in John Cage's criticism of improvisers as performers who 'slip back into their likes and dislikes, and their memory, and … don't arrive at any revelation that they're unaware of" (Turner, 1990). The time frame in which they codify their musical expression is not necessarily synchronous with musical time and so the imperative to conceptualise, encode and transmit musical material is relieved of the 'ten actions per second' restriction that Pressing identifies as the limit of improvisational novelty.…”

Section: Derek Bailey Describesmentioning

confidence: 99%

Cognitive load and live coding: a comparison with improvisation using traditional instruments

Sayer

2016

International Journal of Performance Arts and Digital Media

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John Cage's Practical Utopias: John Cage in Conversation with Steve Sweeney Turner

Cited by 7 publications

References 0 publications

The fast and the curious: Creative improvisation as action-oriented abduction

The fast and the curious: Creative improvisation as action-oriented abduction

On Improvised Music, Computational Creativity and Human-Becoming

Cognitive load and live coding: a comparison with improvisation using traditional instruments

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