Surround journal, No 1 (2013)

First issue of an online music journal featuring pieces on Wandelweiser collective, Ralf Wehowsky, Vanessa Rosetto, AEU, Kevin Drumm, Graham Lambkin, and more.

Edited by Mark Flaum, Jon Abbey (of Erstwhile Records)
Published on 24 March 2013

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Gary Peters: The Philosophy of Improvisation (2009)

Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, The Philosophy of Improvisation ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation.

Gary Peters turns to many of the major thinkers within continental philosophy—including Heidegger, Nietzsche, Adorno, Kant, Benjamin, and Deleuze—offering readings of their reflections on improvisation and exploring improvisational elements within their thinking. Peters’s wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, The Philosophy of Improvisation will be welcomed by anyone striving to comprehend the creative process.

Publisher University of Chicago Press, 2009
ISBN 0226662780, 9780226662787
198 pages

review (Andy Hamilton, The Wire)
review (Martin Lussier, Critical Studies in Improvisation)

publisher
google books

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Ray Brassier, Jean-Luc Guionnet, Seijiro Murayama, Mattin: Idioms and Idiots (2010)

“We are all interested in philosophy. One of us is a professional philosopher interested in music. The others invited him to collaborate on a project. The precise nature of this collaboration is to be determined: he is not a musician and has never participated in any sort of musical performance. He agrees to collaborate but neither he nor the others have any idea what form the collaboration will take. We did something together: a concert. We want to try to explain it to ourselves: What happened exactly? How did it happen? And why? … We want to recount the story of the process, but not only that; we also want to recapitulate all the discussions that took place before and afterwards (right up to the present), articulating the questions posed by the concert – questions that are both abstractly theoretical and very concrete. Our hope is that in doing so, the experience of the concert will allow us to attain a better understanding of the representation of art in art. ”

Released by w.m.o/r, #35, May 2010
CD with 36 pages booklet

author

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