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Collective intentionality and the further challenge of collective free improvisation
Continental Philosophy Review Pub Date : 2020-01-27 , DOI: 10.1007/s11007-020-09484-y
Lucia Angelino

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.

中文翻译:

集体意向性和集体自由即兴创作的进一步挑战

从当代关于集体意向性的辩论的角度来看,出于多种原因,自由爵士在 60 年代初期实现的集体即兴表演似乎很有趣。其中最值得注意的是,它为行动分析哲学家所认定的“复杂交织的集体意图集”提供了一面镜子,这些意图使一个群体不仅仅是其各部分的总和。但与此同时,自由爵士对这些集体意向性哲学理论提出了挑战,因为发生的事情不是事先计划好的,而是来自群体中自发的互动。第二个同样具有决定性意义的原因是爵士音乐家以一种非常独特的方式一起行动,这使得团结和对抗、个人自由和团体承诺之间的相互作用变得清晰 这包含在每个人的互动中。换句话说,在自由爵士乐中,我们发现了汉娜·阿伦特所说的“人类多元化”的“矛盾”或“双重”特征。从对两个典型案例研究的分析开始——Charles Mingus 的 Folk Forms No. 1 和 Ornette Coleman 的 Free Jazz: A Collective Improvisation——我在这篇论文中的主要关注点是提供一个现象学解释,描述出现和贯穿自由爵士案例中的即兴过程。在否定这一现象代表对集体意向性分析理论的挑战之后,我将论证它可以从现象学的角度来解释。
更新日期:2020-01-27
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