... and participation, which are often taken as paradigms for the analysis of contemporary art practice in terms of their welcome attempt to rethink the relation between aesthetic and social processes. A third goal of the chapter is to ask precisely how it is that improvisation as a socio-musical practice adds...

... This chapter offers a comparative perspective on the relationship between the social and the aesthetic by contrasting the development of an Afro-modernist aesthetic of politics and music in American jazz improvisation of the 1950s and 1960s and the aesthetics of sensibilisation...

... This chapter asks whether there is there such a thing as “uncreative” improvisation, and if there is, how it would operate. The work of the writer and artist Kenneth Goldsmith, particularly in his capacity as a disc jockey for the free-form New Jersey radio station WFMU, is interrogated. It has...

... The cinema of the French Nouvelle Vague (New Wave) brought, as one of its perceived radical innovations, an emphasis on improvisation at the levels both of acting and of filmmaking itself. Improvisation was one means by which this cinema differentiated itself from an earlier tradition of French...

..., Compton relies on hip hop turning transformative “lit hop” in a socially and locally anchored yet transcultural aesthetics that both consumes and transforms its materials in improvisational performance. The DJ’s improvisation over fixed tracks becomes Compton’s model for the performing subject’s agency...

... Based on the author’s artistic project IntuiTweet, which integrates movement improvisation, phenomenological writing, mobile phones, and the popular social-networking platform Twitter, this chapter explores choreographic and performative approaches to the study of embodied expression...

...“The Fierce Urgency of Now”<subtitle>Improvisation, Rights, and the Ethics of Cocreation</subtitle> ...