Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on dubious individualist assumptions (...) about creative minds. Such a misapprehension is effacing the public value that a more inclusive and accurate understanding of filmmaking offers. By “public value” we mean the potential to enhance social and cultural well-being, particularly in working lives and collaborative undertakings in the screen industries. Better understanding of the systemic and social nature of creativity in filmmaking can potentially help in democratising aesthetics, which we consider a clear public good. (shrink)

This paper pursues two main aims. First, it distinguishes two kinds of improvisation: expert and inexpert. Expert improvisation is a (usually artistic) practice that the agent consciously sets as their goal and is evaluated according to (usually artistic) standards of improvisation. Inexpert improvisation, by contrast, supports and structures the agent’s action as it moves them towards their (usually everyday life) goals and is evaluated on its success leading the agent to the achievement of those goals. The second aim is to (...) describe inexpert improvisation as a robustly distributed affair, one that involves the ongoing integration of embodied practices with social and material resources within our surrounding environments. On the wide approach to improvisation fostered in this paper, inexpert improvisation is claimed to be our default way of inhabiting our world. (shrink)

As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my own (...) idiosyncratic responses, I reach out to other, future readers by welcoming and inviting creative pushback, aiming to open up options, to accept and expand on the rich fare these authors offer us. (shrink)

In this paper, we explore how the choices of boundary work in software development influence the team autonomy enacted by team members. Boundary work is when people protect their professional individual autonomy, when they downplay that autonomy to collaborate over professional boundaries, and when they create new boundaries. Team autonomy is here defined as a team using their autonomy to collaborate in deciding their own output. We use an action research design, with varied methodologies carried out through three action cycles. (...) Our findings show that when collective, collaborative boundary work is not performed, a sort of individualized zone occurs where individuals either try to do collaborative boundary work by themselves or seek individual autonomy. We propose that individual autonomy can be divided into professional individual autonomy and situationally dependent individual autonomy. This research contributes theoretically by showing how the absence of collaborative boundary work can lead to an individualized zone. Practically, it can improve team autonomy by enhancing the understanding of why teams should perform collaborative boundary work. The value of the concept of boundary work used in this setting involves studying the intentions for collaboration, not whether collaboration actually takes place. (shrink)

The target article “Thinking Through Other Minds” (TTOM) offered an account of the distinctively human capacity to acquire cultural knowledge, norms, and practices. To this end, we leveraged recent ideas from theoretical neurobiology to understand the human mind in social and cultural contexts. Our aim was bothsynthetic– building an integrative model adequate to account for key features of cultural learning and adaptation; andprescriptive– showing how the tools developed to explain brain dynamics can be applied to the emergence of social and (...) cultural ecologies of mind. In this reply to commentators, we address key issues, including: (1) refining the concept of culture to show how TTOM and the free-energy principle (FEP) can capture essential elements of human adaptation and functioning; (2) addressing cognition as an embodied, enactive, affective process involving cultural affordances; (3) clarifying the significance of the FEP formalism related to entropy minimization, Bayesian inference, Markov blankets, and enactivist views; (4) developing empirical tests and applications of the TTOM model; (5) incorporating cultural diversity and context at the level of intra-cultural variation, individual differences, and the transition to digital niches; and (6) considering some implications for psychiatry. The commentators’ critiques and suggestions point to useful refinements and applications of the model. In ongoing collaborations, we are exploring how to augment the theory with affective valence, take into account individual differences and historicity, and apply the model to specific domains including epistemic bias. (shrink)

Rosa Luxemburg defended a view of spontaneism as a way of according strategic priority to popular initiatives over the directives of vanguard parties. But she never worked out a theory of spontaneism, and consequently it has typically been dismissed as lacking solid grounds. In this paper, I take an initial step toward rehabilitating spontaneism by rethinking its assumptions concerning historical agency in embodied habitual terms. After first outlining Luxemburg’s view of spontaneism itself, I consider individual embodied action and focus on (...) the sort of spontaneity that is exhibited in various forms of skilled expertise. This spontaneity reflects an acquired habitual predispositionality that is never a matter of mindless automaticity, and which in certain cases can involve significant degrees of improvisational creativity. Bringing this to light secures a basic plausibility for spontaneism at the level of individual agency by showing how socially transformative action could possibly be engaged in spontaneously. (shrink)

In this article, we inquire into Maxine Sheets-Johnstone and Michele Merritt’s descriptions and use of dance improvisation as it relates to “thinking in movement.” We agree with them scholars that improvisational practices present interesting cases for investigating how movement, thinking, and agency intertwine. However, we also find that their descriptions of improvisation overemphasize the dimension of spontaneity as an intuitive “letting happen” of movements. To recalibrate their descriptions of improvisational practices, we couple Ezequiel Di Paolo, Thomas Buhrmann, and Xabier E. (...) Barandiaran’s enactive account of the constitution of agency with case studies of two expert performers of improvisation: a dancer and a musician. Our analyses hereof show that their improvisations unfold as a sophisticated oscillation of agency between specialized forms of mental and bodily control and, indeed, a more spontaneous “letting things happen.” In all, this article’s conclusions frame thinking in movement concerning improvisational practices as contextually embedded, purposively trained, and inherently relational. (shrink)

“4E” cognitive science has demonstrated that embodied coupling offers powerful resources for reasoning. Despite a surge of studies, little empirical attention is paid to discussing the precise scope of these resources and their possible complementariness with traditional knowledge-based inference. We use decision-making in Shiatsu practice – a bodywork method that employs hands-on interaction with a client – to showcase how the two types of cognitive resources can mesh and offer alternative paths to a task: “Local” resources such as embodied presence, (...) empathy, attunement, as well as skilled perception-action coupling are not only central for implementing a successful therapeutic intervention. The immediate coupling with a client also offers basic means of deciding about fitting and meaningful interventions. Yet, when comprehensive intervention strategies are at stake, Shiatsu decision making must be complemented through “non-local” resources, notably inferences rooted in anatomy/physiology knowledge, categories, heuristics, and mental models. To draw out implications for “4E” cognitive science, we argue that “local” embodied coupling and “non-local” conceptual inferences can functionally complement, inform, and scaffold each other in a dialectic process. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired interviews (...) with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

Not only our conscious expectations, wishes and intentions are directed towards the future, but also pre- or unconscious tendencies, hunches and anticipations. Using a term of Ernst Bloch, they can be summarized as thenot-yet-conscious. This not-yet-conscious mostly unfolds spontaneously and without plan; it is not directly anticipated or aimed at, but rather comes to awareness in such a way that the subject is, as it were, surprised by itself. Thus it gives rise to phenomena such as the striking, the coincidental, (...) the new, and the improvised, which are particularly important for understanding creative and therapeutic processes. The paper aims at providing a general phenomenological framework for the understanding of not-yet-conscious dynamics and their unfolding in different contexts. To this end, the structure of the not-yet-conscious is examined in light ofprotention, in which the phenomenon is fundamentally to be located. I propose to describe the general structure of protention as a future-directed horizon of graded probabilities, i.e., as a “protentional cone”. This cone is fed by current experiences and bodily tendencies and is focused to varying degrees by attention. This results in either more focused or rather defocused states of anticipation, the latter giving space to the not-yet-conscious as a meaning “in statu nascendi”. On this basis, selected manifestations of the not-yet-conscious are analyzed, including extemporaneous speech, artistic improvisation and creativity, bodily meaning implicates, decision-making, and meaningful coincidence. (shrink)

Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors from (...) three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)