The Power of Improvisation: Living Life Without a Specific Scenario or Scenario | Weekly Country

The situation that often occurs in my work with my patients is that they arrive at the session not knowing what we are talking about and end up astonished by the richness of their associations, which flows spontaneously, as if it were a jam session. The ability to predict and repeat our encounters is the best recipe for improvisation. They are the bridge that facilitates it – In music, this bridge is a clear digression that approaches the subject from another angle, often by changing its mood, changing tempo or tempo, or changing from a major to a minor key. For psychoanalytic work to be taken seriously, a kind of linguistic improvisation must occur.

In fact, most of our daily conversations are improvised. No one is involved in a written conversation, and the participants usually cannot predict where it will end. The contradictions about improvisation are astounding, especially how unusually it presents itself in our lives. Its dualities and contradictions are far from being obstacles, but rather generators of movement, and can lead to surprises that reveal themselves to us and exclude misconceptions. It serves as an innovative example of how to beat routine.

Keith Jarrett, Who joined the legendary trumpeter Miles Davis As a keyboardist on numerous albums and concerts, he attributes the ability to reconcile adaptive flexibility with routine organization to the ability to improvise, prevalent in jazz: “Miles worked within an improvisational format, but used well-established melodic passages capable of evoking feelings of intimacy, humor, and disappointment.” Hope through improvised musical strings. He did so acting without text, searching for the present continuous, and creating a ritual space that enhanced the mystery.” No two jazz improvisations are alike. While practicing with young people, he told them, “Play what you hear, not what you know.”

Improvisation is a way to expand awareness and a way to reach deep insights. Just think of the aura surrounding bebop greats like Charlie Parker or the legendary status attributed to painter Jean-Michel Basquiat. In turn, the experiences of Dada, Expressionism, Futurism, and later spontaneity are celebrated in the literature of “spontaneous prose,” as practiced by Jack Kerouac.

It is clear that we are not alone in this capacity. “In fact, birds have been singing for much longer than the human animal,” Ornithologist Donald Krudsma, who has studied the ecological and social forces that may have contributed to the evolution of communication, told me for more than 50 years. Birds have the ability to give us insight into human consciousness and perception. “Songbirds must learn their song, allowing for a diversity and complexity not possible in innate vocalization,” Krudesma told me. Expertise in the art of memory, fluency, and flexibility are essential for birds that manipulate elements of song. However, improvisation goes beyond questions of efficiency and economics: the automatic arrangement of votes is a rich and expensive business.

Birds memorize and repeat a theme, setting it through a series of methodological shifts, “as if satiating an appetite for novelty,” notes Krudsma, “relying a little on careful imitation and much on invention, each bird develops a unique repertoire. We have come to the conclusion that the different forms of song They are open improvisations, and in many cases unique expressions.” The song as a whole shows a wonderful balance between predictability and surprise. Birds have a separate repertoire of vocal constructions, but they are generated spontaneously through invention, copying, rearranging and reshaping.

Music tolerates, invites and exploits repetition: we want to predict and be surprised. Improvisation occurs on the margins between repetition and innovation. Paul F. Berliner, in his book Think about jazz. endless art of improvisation, He describes it as “an account of complex formulas” that draws, condenses, emphasizes, cancels and compensates for differences. When implemented, the process of improvisation relates to entropy, negentropy, chaos, order, structural and disorganized, known and unknown elements.

In jazz, improvisations usually indicate a known harmony that quickly breaks down again. The effect of surprise depends in particular on their resorting to the familiar and then changing it. As Miles Davis said so eloquently, “I’ll play and then I’ll tell you what it’s all about.”