Collective intentionality and the further challenge of collective free improvisation

http://link.springer.com/article/10.1007/s11007-020-09484-y?fbclid=IwAR08IWwX_T0sdEp5SU_DqQgtm16lWjq_OZq2Up3bJH8r2iY0-EZR6-wv0xA

Collective intentionality and the further challenge of collective free improvisation

Abstract

The kind of collective improvisation attained by free jazz at the beginning of the sixties appears interesting from the perspective of contemporary debates on collective intentionality for several reasons. The most notable of these, is that it holds a mirror up to what analytical philosophers of action identify as “the complexly interwoven sets of collective intentions” that make a group more than the sum of its parts. But at the same time, free jazz poses a challenge to these philosophical theories of collective intentionality, because what happens is not planned in advance but arises from spontaneous interactions in the group. The second and no less decisive reason is that jazz musicians act together in a very distinctive way, which casts into clear relief the interplay between togetherness and agonism, individual freedom and group commitment, which is contained in every human interaction. In other words, in free jazz we find what Hannah Arendt calls the “paradoxical” or “twofold” character of “human plurality.” Starting with the analysis of two paradigmatic case studies—Charles Mingus’s Folk Forms No. 1 and Ornette Coleman’s Free Jazz: A Collective Improvisation—my main concern in this paper is to provide a phenomenological account of the individual-yet-plural intentionality that emerges and runs through the improvisatory process in the free jazz case. After having made the negative point that this phenomenon represents a challenge to the analytical theories of collective intentionality, I shall argue that it can be accounted for from a phenomenological perspective. My basic thesis is that the overall cohesiveness of the improvisatory process must be regarded as a meaningful realization of an overall feeling, shared and shaped together by musicians over time—and not as the execution of an advanced plan.

ensemble play in online class, First Year Acting - Vocal Technique, Romania

“rhythm" can be the name for the patterning joining antecedent and emergent, here and elsewhere:
Actorie Anul 1 - Tehnică Vocală (curs online)

#stamacasa, dar facem cursuri împreună! Anul 1 Actorie, la cursul online de Tehnică Vocală (prof. Irina Sârbu). ------------------- #unatc #unatc70 #online #remote #onlineclass #acting #theatre #workfromhome #onlinecourse #onlineclasses #workremotely #studentlife #stauacasa #onlinecourses #cursonline #canto #actorie #carantina #actorie #stayhome

Posted by UNATC I. L. Caragiale on Tuesday, March 24, 2020

Ensemble play in the face of pandemic, by students in an online course:

Actorie Anul 1 - Tehnică Vocală
First Year Acting - Vocal Technique 
UNATC I. L. Caragiale, Bucharest
(the top art academy in Romania)

Synthesis Atmosphere: Chomaz’ mist machines

At LADHYX Polytechnique Paris (the MIT of France ) Jean-Marc Chomaz' Hydrodynamics lab has a wall-scale mist array with hundreds of straws to smooth and focus flow, plus fans driving mist over their water chambers in plexi modules. each module is about 50cm cube, one face w straws. entire wall is about 3m x 3m

it can puff out laminar flows of mist clear across a room about 6m or "discrete" person-sized letters.

it's bordered by fans that protect the formed mist from stray winds so that it can also work outdoors to some extent.

Chomaz and I thought we could collaborate by connecting his mist instruments to sc.

Fwd: City Rhythm: Logbook of an Exploration

From Pinar Sefkatli (Universiteit van Amsterdam):

 research publication City Rhythm: Logbook of an Exploration.

 

City Rhythm research was started in 2016 by Prof. dr. Caroline Nevejan, in collaboration with AMS Institute, 6 Dutch cities (Den Haag, Rotterdam, Zaanstad, Zoetermeer, Helmond en Amsterdam), Amsterdam Health and Technology Institute (ahti) and with the students from LDE Minor Responsible Innovation. The research on rhythms in the physical world and in the data world showed that focusing on rhythm and on dynamics in neighbourhoods and in datasets creates new design spaces that can generate un-expected solutions.

 

Thanks to the research grant we received from the Dutch Scientific Research Organisation (NWO), the research will proceed for four more years. The next phase of the research, Designing Rhythms for Social Resilience, will focus on the South-East district of Amsterdam (Amsterdam Zuidoost). DRSR will explore more deeply the rhythms of the neighbourhood from architectural and data perspectives with a PhD researcher from both disciplines, with the main goal of making conclusions on social safety and resilience.

 

We hope that you find the findings of our research inspiring, and that you can get an idea about the upcoming research which will start on July 2018. The publication is also available online, which can be found on TU Delft Architecture Faculty’s books catalogue, BK Books

 


Best wishes,
Pinar Sefkatli

 

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Goldsmiths : April 23: Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections


Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections

April 23, 2016
Goldsmiths London


Organizers: 
Paola Crespi and Eleni Ikoniadou

Participants included

Pascal Michon (KEYNOTE)
“Could Rhythm Become a New Scientific Paradigm for the Humanities?"



RHYTHM and ART
Dee Reynolds
"Rhythmic Seascapes and the Art of Waves"
Paola Crespi
"'Time is Measurable and It's NOT Measurable': Polyrhythmicity in Rudolf Laban's Unpublished Notes and Drawings" 
Bruno Duarte
“Rhythm and Structure: Brecht's Rewriting of Hoelderin's 'Antigone'"


RHYTHM and THE SOCIAL
Ewan Jones
"How the Nineteenth Century Socialised Rhythm"
Mickey Vallee
"Notes Towards a Social Syncopation: Rhythm, History and the Matter of Black Lives"
John Habron
“Rhythm and the Asylum: Priscilla Barclay and the Development of Dalcroze's Eurhythmics as a Form of Music Therapy"


RHYTHM and MEDIA 
Simon Yuill 
and
Bev Skeggs
"Conflicted Rhythms of Value and Capital: Rhythmanalysis and Algorhythmic Analysis of Facebook" 
Sven Raeymaekers
“Silence as Structural Element in Hollywood Films"


RHYTHM and THE BODY 
Laura Potrovic
"Body-Flow: Co-Composing the Passage of Rhythmical Becoming(s)"
Mihaela Brebenel
"What Could Possibly Still Get Us Going: Rhythm and the Unresolved"
Eilon Morris 
“Rhythm and the Ecstatic Performer"



RHYTHM and NUMBER (Topology Research Unit Panel)
Peggy Reynolds
"Rhythms All the Way Down"
Julian Henriques
"Rhythmanalysis Weaponised"
Vesna Petresin
"Being Rhythmic"
Sha Xin Wei
“Rhythm and Textural Temporality: An Approach to Experience Without a Subject and Duration as an Effect"


RHYTHM and PHILOSOPHY 
Steve Tromans
"Rhythmicity, Improvisation and the Musical-Philosophical: Practice-as-Research in Jazz Performance"
Eliza Robertson
"Rhythm in Prose: Bergson's Duree and the Grammatical Verbal"
Yi Chen
“Rhythmanalysis: Using the Concept of Rhythm for Cultural Enquiry"


Sound Installation 
Annie Goh and Lendl Barcelos’ ‘DisqiETUDE'
St Hatcham Church G01

Goldsmiths : April 23: Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections


Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections

April 23, 2016
Goldsmiths London


Organizers: 
Paola Crespi and Eleni Ikoniadou

Participants included

Pascal Michon (KEYNOTE)
“Could Rhythm Become a New Scientific Paradigm for the Humanities?"



RHYTHM and ART
Dee Reynolds
"Rhythmic Seascapes and the Art of Waves"
Paola Crespi
"'Time is Measurable and It's NOT Measurable': Polyrhythmicity in Rudolf Laban's Unpublished Notes and Drawings" 
Bruno Duarte
“Rhythm and Structure: Brecht's Rewriting of Hoelderin's 'Antigone'"


RHYTHM and THE SOCIAL
Ewan Jones
"How the Nineteenth Century Socialised Rhythm"
Mickey Vallee
"Notes Towards a Social Syncopation: Rhythm, History and the Matter of Black Lives"
John Habron
“Rhythm and the Asylum: Priscilla Barclay and the Development of Dalcroze's Eurhythmics as a Form of Music Therapy"


RHYTHM and MEDIA 
Simon Yuill 
and
Bev Skeggs
"Conflicted Rhythms of Value and Capital: Rhythmanalysis and Algorhythmic Analysis of Facebook" 
Sven Raeymaekers
“Silence as Structural Element in Hollywood Films"


RHYTHM and THE BODY 
Laura Potrovic
"Body-Flow: Co-Composing the Passage of Rhythmical Becoming(s)"
Mihaela Brebenel
"What Could Possibly Still Get Us Going: Rhythm and the Unresolved"
Eilon Morris 
“Rhythm and the Ecstatic Performer"



RHYTHM and NUMBER (Topology Research Unit Panel)
Peggy Reynolds
"Rhythms All the Way Down"
Julian Henriques
"Rhythmanalysis Weaponised"
Vesna Petresin
"Being Rhythmic"
Sha Xin Wei
“Rhythm and Textural Temporality: An Approach to Experience Without a Subject and Duration as an Effect"


RHYTHM and PHILOSOPHY 
Steve Tromans
"Rhythmicity, Improvisation and the Musical-Philosophical: Practice-as-Research in Jazz Performance"
Eliza Robertson
"Rhythm in Prose: Bergson's Duree and the Grammatical Verbal"
Yi Chen
“Rhythmanalysis: Using the Concept of Rhythm for Cultural Enquiry"


Sound Installation 
Annie Goh and Lendl Barcelos’ ‘DisqiETUDE'
St Hatcham Church G01

proposition 0.4

how about this as a working proposition:

0.4
rhythm is not a thing, not a form, not even a pattern, but a sense ?
(thus, a special case of temporality, which is the sense of dynamic, change, …)

added to
0.1
rhythm is not sonic

0.2
rhythmic is not unidimensional

0.3 
rhythm is not metrically regular, or metric at all.



after Goldsmiths talk: Rhythm and Textural Temporality: An Approach to Experience Without a Subject and Duration as an Effect 

from teraswam to continuum mechanics, and rheology?

Could RHEOLOGY and continuum mechanics be a source of insight for the continuum limit from internet of things to teraswarm and beyond?

That, plus a form of general relativity that has to take into account the interactions peculiar to media?

Rheology (/riːˈɒlədʒi/; from Greek ῥέω rhéō, "flow" and -λoγία, -logia, "study of") is the study of the flow of matter, primarily in a liquid state, but also as 'soft solids' or solids under conditions in which they respond with plastic flow rather than deforming elastically in response to an applied force.[1] It applies to substances which have a complex microstructure, such as muds, sludges, suspensions, polymers and other glass formers (e.g., silicates), as well as many foods and additives, bodily fluids (e.g., blood) and other biological materials or other materials which belong to the class of soft matter.