BBC In Our Time 20191128
Collective intentionality and the further challenge of collective free improvisation
Continental Philosophy Review volume 53, pages49–65(2020)
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.
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 #stayhomePosted by UNATC I. L. Caragiale on Tuesday, March 24, 2020
By Jane Alison March 27, 2019
The second part of the challenge is philosophical. Scientists have taken physical time to be the only real time – whereas experiential time, the subjective sense of time’s passing, is considered a cognitive fabrication of secondary importance. The young Albert Einstein made this position clear in his debate with philosopher Henri Bergson in the 1920s, when he claimed that the physicist’s time is the only time. With age, Einstein became more circumspect. Up to the time of his death, he remained deeply troubled about how to find a place for the human experience of time in the scientific worldview.
These quandaries rest on the presumption that physical time, with an absolute starting point, is the only real kind of time. But what if the question of the beginning of time is ill-posed? Many of us like to think that science can give us a complete, objective description of cosmic history, distinct from us and our perception of it. But this image of science is deeply flawed. In our urge for knowledge and control, we’ve created a vision of science as a series of discoveries about how reality is in itself, a God’s-eye view of nature.
Such an approach not only distorts the truth, but creates a false sense of distance between ourselves and the world. That divide arises from what we call the Blind Spot, which science itself cannot see. In the Blind Spot sits experience: the sheer presence and immediacy of lived perception.