Intuition, Hexis, and Resistance in Musical Experimentation

Kathleen Coessens, Stefan Östersjo

Onderzoeksoutput: Chapterpeer review


In the present text, our argument does not aim to identify a specific series of differences between experimentation in science and in the arts; rather, it is intended as an exploration of the spaces in between the two. In fact, we are not making a comparison at all: the claims we make are specific to artistic experimentation but do not attempt to create a distinction between experimentation in other contexts and disciplines. We look at difference in artistic experimentation as a notion of multiplicity that extends between the known and the unknown in artistic experimentation. From such a point of view, experimental practices in the arts do not primarily deal with actions the outcome of which is unknown-- referring to Cage's definition--but rather with the creation of systems of interrelated forces and agents in which the outcome can be intuitively known, through the tacit knowing situated in the musician's body. Experimental practices open the potential of the interval between the explicit and the tacit, the expected and the unexpected.
We briefly overview the findings and observations in three empirically based texts and denote their impact on our artistic practices. We first explore the relation between inside and outside, considering the different timelines in which we find musical intuition operating. Whether in the long-term development of a compositional project, a day-long working session in a recording studio, or the kairos moment of choice in the midst of performance or in the writing of a composition, intuition appears to be omnipresent as a background process.
Second, in the social realm of the musician's body, we find the paired concepts of habitus and hexis to be central to the understanding of musical experimentation. It is through the expression of a hexis that a musician can develop a distinct relation to an artistic context and address it in a critical and explorative manner. Confrontations with the resistance of culture, the body, and materials compel the artist to be alert and dynamic. Interactions between the artist and the broader cultural, musical, and material environment set the ground for the liminal space within which decisions are taken.
Originele taal-2English
TitelArtistic Experimentation in Music
SubtitelAn Anthology
RedacteurenDarla Crispin, Bob Gilmore
Plaats van productieLeuven
UitgeverijLeuven University Press
Aantal pagina's8
ISBN van geprinte versie978-94-6270-013-0
StatusPublished - 1 okt 2014

Bibliografische nota

Darla Crispin and Bob Gilmore


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