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Negotiated Moments

Negotiated Moments

Improvisation, Sound, and Subjectivity

The contributors to Negotiated Moments explore how subjectivity is formed and expressed through musical improvisation, tracing the ways the transmission and reception of sound occur within and between bodies in real and virtual time and across memory, history, and space. They place the gendered, sexed, raced, classed, disabled, and technologized body at the center of critical improvisation studies and move beyond the field's tendency toward celebrating improvisation's utopian and democratic ideals by highlighting the improvisation of marginalized subjects. Rejecting a singular theory of improvisational agency, the contributors show how improvisation helps people gain hard-won and highly contingent agency. Essays include analyses of the role of the body and technology in performance, improvisation's ability to disrupt power relations, Pauline Oliveros's ideas about listening, flautist Nicole Mitchell's compositions based on Octavia Butler's science fiction, and an interview with Judith Butler about the relationship between her work and improvisation. The contributors' close attention to improvisation provides a touchstone for examining subjectivities and offers ways to hear the full spectrum of ideas that sound out from and resonate within and across bodies. 

Contributors. George Blake, David Borgo, Judith Butler, Rebecca Caines, Louise Campbell, Illa Carrillo Rodríguez, Berenice Corti, Andrew Raffo Dewar, Nina Eidsheim, Tomie Hahn, Jaclyn Heyen, Christine Sun Kim, Catherine Lee, Andra McCartney, Tracy McMullen, Kevin McNeilly, Leaf Miller, Jovana Milovic, François Mouillot, Pauline Oliveros, Jason Robinson, Neil Rolnick, Simon Rose, Gillian Siddall, Julie Dawn Smith, Jesse Stewart, Clara Tomaz, Sherrie Tucker, Lindsay Vogt, Zachary Wallmark, Ellen Waterman, David Whalen, Pete Williams, Deborah Wong, Mandy-Suzanne Wong

  • Cover
  • Contents
  • Acknowledgments
  • Introduction: Improvising at the Nexus of Discursive and Material Bodies
  • 1. Improvisation within a Scene of Constraint: An Interview with Judith Butler
  • Part I. Listening, Place, and Space
    • 2. “How Am I to Listen to You?”: Soundwalking, Intimacy, and Improvised Listening
    • 3. Community Sound [e]Scapes: Improvising Bodies and Site/Space/Place in New Media Audio Art
  • Part II. Technology and Embodiment
    • 4. Improvising Composition: How to Listen in the Time Between
    • 5. The Networked Body: Physicality, Embodiment, and Latency in Multisite Performance
    • 6. Openness from Closure: The Puzzle of Interagency in Improvised Music and a Neocybernetic Solution
    • 7. Mediating the Improvising Body: Art Tatum’s Postmortem Performance in a Posthuman World
  • Part III. Sensibility and Subjectivity
    • 8. Banding Encounters: Embodied Practices in Improvisation
    • 9. Learning to Go with the Flow: David Rokeby’s Very Nervous System and the Improvising Body
    • 10. Stretched Boundaries: Improvising across Abilities
  • Part IV. Gender, Trauma, and Memory
    • 11. The Erotics of Improvisation in Ann-Marie MacDonald’s Fall on Your Knees
    • 12. Corregidora: Corporeal Archaeology, Embodied Memory, Improvisation
    • 13. Theorizing the Saxophonic Scream in Free Jazz Improvisation
    • 14. Extemporaneous Genomics: Nicole Mitchell, Octavia Butler, and Xenogenesis
  • Part V. Representation and Identity
    • 15. Faster and Louder: Heterosexist Improvisation in North American Taiko
    • 16. Improvisation and the Audibility of Difference: Safa, Canadian Multiculturalism, and the Politics of Recognition
    • 17. Performing the National Body Politic in Twenty-First-Century Argentina
  • Discography
  • References
  • Contributors
  • Index
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