In this Book

summary
Addressing a wide range of improvised art and music forms—from jazz and cinema to dance and literature—this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith.

Table of Contents

  1. Cover
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  1. Half Title, Title Page, Copyright
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. pp. vii-viii
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  1. Introduction: What Is Social Aesthetics?
  2. Georgina Born, Eric Lewis, Will Straw
  3. pp. 1-30
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  1. Part I: The Social and the Aesthetic
  1. Chapter 1. After Relational Aesthetics: Improvised Music, the Social, and (Re)Theorizing the Aesthetic
  2. Georgina Born
  3. pp. 33-58
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  1. Chapter 2. Scripting Social Interaction: Improvisation, Performance, and Western “Art” Music
  2. Nicholas Cook
  3. pp. 59-77
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  1. Chapter 3. From the American Civil Rights Movement to Mali: Reflections on Social Aesthetics and Improvisation
  2. Ingrid Monson
  3. pp. 78-90
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  1. Chapter 4. From Network Bands to Ubiquitous Computing: Rich Gold and the Social Aesthetics of Interactivity
  2. George E. Lewis
  3. pp. 91-110
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  1. Part II: Genre and Definition
  1. Chapter 5. The Social Aesthetics of Swing in the 1940s: Or the Distribution of the Non-Sensible
  2. David Brackett
  3. pp. 113-134
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  1. Chapter 6. What Is “Great Black Music”? The Social Aesthetics of the AACM in Paris
  2. Eric Lewis
  3. pp. 135-159
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  1. Chapter 7. Kenneth Goldsmith and Uncreative Improvisation
  2. Darren Wershler
  3. pp. 160-180
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  1. Part III: Sociality and Identity
  1. Chapter 8. Strayhorn’s Queer Arrangements
  2. Lisa Barg
  3. pp. 183-212
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  1. Chapter 9. What’s Love Got to Do with It? Creating Art, Creating Community, Creating a Better World
  2. Tracey Nicholls
  3. pp. 213-232
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  1. Chapter 10. Improvisation in New Wave Cinema: Beneath the Myth, the Social
  2. Marion Froger, Will Straw
  3. pp. 233-252
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  1. Part IV: Performance
  1. Chapter 11. Social Aesthetics and Transcultural Improvisation: Wayde Compton and the Performance of Black Time
  2. Winfried Siemerling
  3. pp. 255-267
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  1. Chapter 12. Devices of Existence: Contact Improvisation, Mobile Performances, and Dancing through Twitter
  2. Susan Kozel
  3. pp. 268-287
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  1. Chapter 13. The Dramaturgy of Spontaneity: Improvising the Social in Theater
  2. Zoë Svendsen
  3. pp. 288-308
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  1. References
  2. pp. 309-334
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  1. Contributors’ Biographies
  2. pp. 335-338
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  1. Index
  2. pp. 339-345
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Additional Information

ISBN
9780822374015
Related ISBN
9780822361787
MARC Record
OCLC
1103704683
Pages
368
Launched on MUSE
2019-06-24
Language
English
Open Access
Yes
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