Note: Speech to text dictation see book for accuracy
Part I Methodological Groundwork
- Both gestures – thoughtful and thoughtless – authorized and validate: value my idea because I work part in creating it; or, tell you my idea precisely because I haven’t worked hard at it at all. p6
- And continuance is a primary value, I just feel no pressure to begin a new or to create out of the void. They know they will leave their mark on the piece in renewing it; instead they place primacy on the validity and grace in the traditional melodies they improvise upon and the traditional charts they improvise with. p9
- Odysseus uses the craft of craftlessness to underscore the craft of a spontaneous but crafted eloquence – hall of mirrors. p12
Helping us to see more of the world – the improviser’s ultimate goal, as we shall see. Page 13
- Often presented as a solution, in fact, claims of spontaneous composition often signal problems artists are trying to solve. p 13
- Spontaneous texts assert they are effortless, the product of no study and no rhetoric. p13
- Rhetoric is the art and study of devices of persuasion, and self – style improvisations claim to be free not only of devices but even a desire to be to persuade. p14
- Why do belong to lead effortless lives even though so much of what makes life worth living is the fruit of effort?
Often celebrations of the texture of the world around us, improvisations, the literature of apparent chaos, at their heart explore questions about the nature of reason, order, and freedom. p16
- Spontaneity is a powerful figure or topos or conceptual feel that permits human discourse. p17
- Improvisation is a way to work through the twists and turns as mankind develops new tools of rationality and irrationality. p18
Spontaneity’s immediacy in the act of composition is agent and proof of these transformations, turning the lead of experience into the gold of imagination.
- The spontaneous imagination to create a kind of Divinity, or an experience of something that is like the divine, but for Stevens the divine is ever man-made. p20
- Improvisation explores the nature and value of creativity, of artifice and it’s opponent artlessness, of reason and it’s opponents, which is very through the centuries: grace, instinct, imagination, or the unconscious, to mention but a few. p21
Chapter 2 “Great disorder” versus “violent disorder”: the rhetoric of spontaneity versus the rhetoric of craft
- Gesture of spontaneity is almost always transgressive, seeking to break or extend the boundaries of craft and rationality.
- Recommending drunkenness is an odd way to begin a journey that ends in the goal of refinement and discipline, but that is some times how the topos of spontaneity works, as an extreme metaphor. p33
- The topos of spontaneity, it’s embrace of freedom, and improvisation itself are each in their own way almost always part of a binary what improvisers in the end propose that we embrace almost always lies somewhere in the middle. p34
U-topia means “no place” and I’m claiming that spontaneity is a topos, a place in mind. p34
- Is often explain away the adjuster of spontaneity as the “topos of affected modesty,” where is the convention of anticipatory self – defense: I am not worth attacking because either I am not worth your trouble or, if I am worthy, and this is not my best effort. p36
- We are here to engage experience, not to wall ourselves off from my. Page 37
- This is my central point: while usually argued away, or subjected to pointless scrutiny, in fact the figure of spontaneous is composition – the rhetoric of spontaneity – subtly channels that “spontaneous” texts’ central issue, whether we noticed it or not: the nature and value of rationality.
- If the tension between spontaneity and craft is so central to human experience, and if so called spontaneous texts explore a tension with their binary opposite, craft, then a logical expectation would be that the obverse would also be true, that overtly and self-styled “crafted” texts would be shown to explore the tension between spontaneity and irrationality on the one hand a craftsmanship and rationality on the other. p40
My goal is to investigate the timeless human issue that often lies embedded in gestures of spontaneity and to show how those gestures effect improvise texts and their readers. p44
- Share a distrust of art: of the authority conventions and artifice that complacent rationality creates. p45
- The Puritan seeks and openness to Grace; the modern seeks and openness to subconsciously urges. Between the two lies a world of difference to be sure, but not necessarily a difference in kind. p46
- Improvisations are polytropic, many turning, like Odysseus, who as we shall see embodies the form. p46