De l’aménageur chef d’orchestre à l’improvisateur
To be interested in a discipline such as improvisation in jazz makes it possible to show the structuring knowledge which positions improvisation at the crossroads between an artistic form relying on memory and one based on hope. The improviser acts with the constant concern of listening attentively...
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| Main Authors: | , , |
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| Format: | Article |
| Language: | fra |
| Published: |
Société d'Anthropologie des Connaissances
2019-09-01
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| Series: | Revue d'anthropologie des connaissances |
| Subjects: | |
| Online Access: | https://journals.openedition.org/rac/1755 |
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| Summary: | To be interested in a discipline such as improvisation in jazz makes it possible to show the structuring knowledge which positions improvisation at the crossroads between an artistic form relying on memory and one based on hope. The improviser acts with the constant concern of listening attentively and of letting himself go, between the mastering of an already existing work and its repetition, and the tensions which exist with new creations. It is also possible to observe collective organisational forms which put into practice a form of “diagonal” management which opens up opportunities to redefining the role of the orchestra director. By the interaction of knowledge of improvisation and that of development and planning, which in theory resists the idea of improvisation, this article concerns the characteristics which would enable improvisation to be seen as a new source of meaning and legitimacy for the profession of urban planner. The analysis of different emblematic forms of improvisation opens up ways to reflect on these questions. |
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| ISSN: | 1760-5393 |