Thesis Outline

Topic Introduction

Talking about improvisation, its possibilities for wider agency and as a method for resisting the current systematic standardisation of our lives. Relating this back to my practice as a performing artist in the field of music, as well as expanding this to other artists, techniques and beyond. I would also like to introduce the idea of it being a tool for resistance and alternative understanding within what I consider a soft-oppressed society.

The Practice

this may be split into two sections, a reflection on my practice and motivations, and that of a wider music, hacking, diy movement. Or maybe it is better that I write it into one?

Music

I will expand on the backgrounds of my improvisation practice, pull on political and cultural discourses of its origins and understand its regards to my work and living space. Here I would also like to talk about artists who engage in various levels of improvisation, their political and cultural contexts and relate it to my/our own.

Software/Hacking

Here I want to make the connection of music, patterns, and improvisation with software making, particularly in the sense of understanding ones tools, mastering language, and understanding how to break it. As well as this I want to suggest that the opensource software movement practices forms of improvisation through its fluid collaborative work.

The State of Improvisation

Considering my motivations, and reflections of its existence, I want to understand in what form it exists now - whether that be in music, art, software etc. Consider the alternative practices and why they may be dominant.

Beyond an artistic practice

I think it would not be difficult to connect the improvisational methodology, to acts beyond artistic pursuits. Here I would like to examine in more detail the wider contexts in which improvisation exists/existed and highlight the core motivations that make up improvisation, and consider why these qualities may have arisen at particular times.

Political Contexts

Here I would like to start to examine spaces that share political and cultural pressure points within and exterior to the arts to begin to open up the idea of improvisation as an alternative method for research, creation, and collaboration that differently poses resistance to the standard flow.

The Resistance

Here would be an opportunity to outline the qualities of an improvisational practice, and re-contextualise them beyond their standard scope. For now I can think of the following;

Non-heirarchical collaboration, fluidity and chance, responsibility, and fragility. I also want to suggest how these qualities do not readily fit, or can pose resistance against the neo-libralist capitalist framework, our hegemonic, patriarchal, divided society.

Conclusion

Pulling this all together (somehow)

References

DEMOS, TJ. Decolonizing nature: contemporary art and the politics of ecology. Max Bach. Sternberg Press, 2016.
FULLER, Matthew. Media ecologies: Materialist energies in art and technoculture. MIT press, 2005.
FULLER, Matthew y GOFFEY, Andrew. Evil media. MIT Press, 2012.
ILES, Anthony. Noise & Capitalism. Mattin and Iles, Anthony. Gipuzkaoko Foru Aldundia - Arteleku, 2009.
MANSOUX, Aymeric y DE VALK, Marloes. Floss+ art. Openmute, 2008.
MATTIN. "Free Software Series". Neural. 2010, vol 38, p. 22-25.
DE VALK, Marloes. "Tools to fight boredom: FLOSS and GNU/Linux for artists working in the field of generative music and software art". Contemporary Music Review. 2009, vol 28 Issue 1.
STENGERS, Isabelle. In catastrophic times: Resisting the coming barbarism. Open Humanities Press and meson press, 2015.
RUSHTON, Steve. "The Roland Kirk Question". Unpublished.

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