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An extracurricular program in an Australian university French language program that brings together adults of varying ages and nationalities for oral language development activities is described. The program uses improvisation, psychodrama and role playing, and suggestopedia all together to develop a theme or in alternation, for creativity and relaxation. (MSE)

Cet essai part d’une lecture de l’essai classique « Vers une Musique Informelle », en se concentrant sur le concept d’« informel » qu’Adorno a utilisé pour penser son utopie musicale. Il s’agira de l’élargir à deux lieux que le philosophe n’a pas su souligner ou anticiper. D’une part, l’improvisation (musicale et au-delà) et, d’autre part, à partir des recherches de Christoph Türcke, une réflexion possible sur la configuration du monde du capital après la mort du philosophe de Francfort.

This contribution focuses on the place of recording technologies in the ritual performance of poetic improvisation sung during the glénti in Ólympos, a village of the island of Kárpathos, in Greece. It is based on an ethnography of the musical practice and is interested in the various live recordings of this glénti and the use made of it through their dissemination. These recordings are made by the villagers constituting archives for the community, but also by foreigners making a holiday memory. They are widely broadcast on the internet, on community radio stations or on YouTube. The Olympiotes see it as a means of transmitting their heritage to expatriate nationals, making it at the same time accessible to foreigners.

In this article, we discuss the centrality of improvisation for teaching, based particularly on readings of Cassin (2014, 2020), Rancière (1991, 1999, 2013, 2020), and Bailey (1992). Our starting point is that there simply can be no teaching without improvisation, i.e., the delicate practice of responding to, situating, and attuning to events within educational encounters that cannot be foreseen, but constantly call for attention and action through the finest virtue of our intellect at play. In the article, we go along with the early Sophists for whom improvisation meant to be able to speak about everything by allowing oneself to be led by opportunity (Cassin 2014). We will be claiming that improvisation of the sophist teacher is both an intellectual and bodily virtue, requiring discipline as well as poêsis and technê as well as praxis. In short, improvisation as a specific form of educational performativity. Together with Rancière (1991, 2020), diPiero (2020), and Bailey (1992) we intend to show how improvisation in teaching speaks to our senses and sets into motion simultaneously the sharing and uniqueness of sensing as such, captured by Rancière’s understanding of le partage du sensible. Improvisation, we conclude, can be understood as the product of contingent encounters between subjects, objects, and environments, where it emerges in the rupture between form and content (diPiero 2020). As such, it allows for other ways of speaking and being in the world than those desired by the institutionalisation of a certain police orderand therefore becomes, we suggest, a central element in a democratic realization of the teaching practice.

The recent introduction of jazz and pop/rock courses in the curricula of Conservatories impels us to reflect on the role that pedagogical orientations and value criteria referring to fields of application, methods and goals other than those of the Western art musical tradition have played in these same higher education institutions. The theory of audio-tactile music provides us with the tools to identify their respective specificities, even beyond a strictly anthropological-cultural level. Underpinning this approach is the guiding principle that such differentiated domains necessarily entail divergent didactic-pedagogical criteria, whose features are to be determined and described, if we want to avoid the failure of didactic transposition processes and a deleterious confusion between methods and perspectives.

This article is an attempt to parallel literature and jazz music, which, according to the Belgian poet Robert Goffin, created new trends at the beginning of the 20th century. Touched by the cosmopolitanism of Blaise Cendrars, the simultaneous poetry of Guillaume Apollinaire, the author tries to synthesize a new spirit in a new poetry in syncopated rhythm. He sees musical improvisation as an element that can shape creative writing in various aspects, from narrative to structure, reflecting the surrealist-inspired need to create outside the traditional ontological framework. According to him, jazz not only illustrates the quest for independence in the artistic and social spheres, but is also a means to reach the unconscious. [ABSTRACT FROM AUTHOR]

Depuis la fin des IUFM, se sont succédé la masterisation (2010), les ESPE (2014) et les INSPE (2019). Ces réformes de la formation initiale des enseignants ont grandement transformé le travail des professionnels au sein de ces structures. En deçà des changements structurels, cet article s'intéresse au travail des formateurs à partir du grain fin de leur activité au sein de dispositifs prescrits par les réformes. Plus précisément, c'est à partir d'un épisode improvisé où une formatrice expérimentée, affectée par un échange entre pairs débutants, a tenté d'interrompre une situation de formation que nous mettons en évidence des conflits dans son activité d'ajustement provoqués par l'introduction non accompagnée de nouveaux dispositifs. Nous montrerons également comment un dispositif d'intervention-recherche a permis à un collectif de formateurs de revenir sur cette situation, d'en faire l'analyse et de s'engager dans un développement potentiel de leur activité d'ajustement d'en tirer des pistes potentielles de transformation de leur activité. [ABSTRACT FROM AUTHOR]

This contribution examines groove dynamics across various spatial contexts such as the dance club and the artistic performance space. As groove dynamics do not occur in a spatial vacuum but are embedded in affective environments, they need to be approached from an interdisciplinary perspective that ties together findings from experimental field studies, performance studies, musicology, cognitive hermeneutics etc. and places them in the physical, anatomic and acoustic contexts of concrete dance situations. In that way, the dance floor can be understood as a space of entanglements where acoustic, movement and kinaesthetic grooves mark and create a fluid territory of improvisational interaction and communication.

This article presents the results of a scientific investigation into the way in which a training course devoted to the development of improvisation skills can be evaluated without taking into account the quality of the improvisation (the aim is not to train actors but STAPS students) but rather the commitment to a process of letting go and taking others into account, as recommended in improvisation. The research question is: What relationships exist between teacher intentions and student experiences with assessment? The hypothetical-theoretical approach used to conduct this study has made it possible to uncover regularities, in terms of configuration, whose salient results are that it is possible to evaluate the development of a skill, provided that metacognition and the quality of the psycho-affective relationship between the individuals are prioritized. [ABSTRACT FROM AUTHOR]

This article provides an overview of research which, at the international level, has addressed or is addressing the issues training teachers through and/or in improvisation. After proposing elements of problematization which bring the subject matter into tension, a six-axis summary highlights a series of opposing training biases that might fuel dialectic games. To understand these possible games, we developed two illustrations. We then present a summary of training methods or of ways to support the development of professionalism through and/or towards improvisation. The article as a whole leads to a discussion and a conclusion which defend: (a) the value of not confusing training through and/or in improvisation, with training through and/or in adaptation, and (b) the fact that training through and/or in improvisation will remain "entre chien et loup" (an "in-between"). [ABSTRACT FROM AUTHOR]

This article provides an overview of research which, at the international level, has addressed or is addressing the issues training teachers through and/or in improvisation. After proposing elements of problematization which bring the subject matter into tension, a six-axis summary highlights a series of opposing training biases that might fuel dialectic games. To understand these possible games, we developed two illustrations. We then present a summary of training methods or of ways to support the development of professionalism through and/or towards improvisation. The article as a whole leads to a discussion and a conclusion which defend: (a) the value of not confusing training through and/or in improvisation, with training through and/or in adaptation, and (b) the fact that training through and/or in improvisation will remain “entre chien et loup” (an “in‑between”).

Theatre and drama methods are moving outside the walls of theatre both in different forms of participatory theatre and in the case of cultural and social performances. The reorganization of the vanishing point in theatre can be seen in education, in classrooms examining the possibilities of theatre and drama as part of teaching and learning. Using theatre as a method in learning a new language engages the students in seeing language outside of their everyday roles, but simultaneously utilizing their whole being and bodies as a part of their linguistic performance. In Finnish language teaching as a foreign and as a second language, the focus has been traditionally set on teaching grammar through writing, on learning the different grammatical cases and rules through written exercises. The learning of a new language is evaluated through the written performance made by language students, and language learning remains written, unilateral and distant from the real use of the language. In my PhD project, I am researching the impact of using certain techniques, e.g. drama grammar by Susanne Even, when teaching Finnish as a second language. My pedagogical aim is to improve the way in which students learn different grammatical phenomena when studying Finnish. My research focuses on teaching Finnish at the Babeș-Bolyai University using improvisation practices, drama methods and kinesics alongside more traditional language teaching methods. In my paper, I will focus on the concept of language and the language of the theatre through theatre semiotics by Keir Elam (1980). Learning a new language happens through the collaboration of gestures, bodies, tones and voices – not just language structures. Theatre has its own language of forms, which can be utilized in language learning and teaching. In addition, I will present some of the exercises I use in my Finnish language teaching sessions - from improvisation philosophy and methods by Keith Johnstone (1979, 1999), Gary Peters (2009), to the use of drama grammar, as defined by Susan Even (2004, 2011). The goal in my research is to demonstrate that the traditional grammar teaching methods used in classrooms today can be significantly improved through the use of kinesthetic learning techniques that incorporate motion, sound and improvisation throughout the entire learning process. My theoretical framework comes from functional language learning as defined by John Biggs (2003) and Yrjö Lauranto (2011), in which the premise for language learning is based on the functional use of language through improvisational practices instead of relying solely on the declarative knowledge of grammar.

Bertsolarism is associated with the masculine and the public. More precisely with the square, a hegemonic place of Basque culture (González Abrisketa, 2013), where the ball is played, politicians speak and improvise and sing the Bertsolaris. Oral improvisation was for centuries natural practice of women and Basque men, but with the changes that took place in the nineteenth century, which prevailed public places —the square— instead of the interiors, women withdrew until they almost disappeared. Not quite, because they timidly made their way into that world of men. This work theorizes about subaltern voices; on the empowerment of Bertsolaris women, who went from invisible to notorious. Also of agency, indispensable in the empowerment of women (Murguialday, 2013; León, 2013). To find out the emergence of the Bertsolaris until the acquisition of the agency in recent decades, 200 questionnaires were passed to these women and interviews were also conducted with 36 of the people surveyed. / El bertsolarismo se asocia con lo masculino y con lo público. Más exactamente con la plaza, lugar hegemónico de la cultura vasca (González Abrisketa, 2013), donde se juega a la pelota, hablan los políticos e improvisan y cantan los bertsolaris. La improvisación oral fue durante siglos práctica natural de las mujeres y de los hombres vascos, pero con los cambios acaecidos en el siglo XIX, que primaron los lugares públicos —la plaza— en lugar de los interiores, las mujeres se retiraron hasta casi desaparecer. No del todo, porque tímidamente se abrieron camino en ese mundo de hombres. Este trabajo teoriza sobre las voces subalternas; sobre el empoderamiento de las mujeres bertsolaris, que pasaron de invisibles a notorias. También de agency, indispensable en el empoderamiento de las mujeres (Murguialday, 2013; León, 2013). Para averiguar la irrupción de las bertsolaris hasta la adquisición de la agencia en las últimas décadas, se pasaron 200 cuestionarios a dichas mujeres y se realizaron, asimismo, entrevistas con 36 de las personas encuestadas.

Le présent article traite d’une recherche qualitative-interprétative (Savoie-Zajc, 2018), réalisée selon une approche collaborative (Desgagné, 2001) avec des enseignant∙e∙s en insertion professionnelle du Québec (Canada). L’étude met à l’essai un scénario de formation composé d’exercices d’improvisation visant le développement d’habiletés interactives de gestion de classe (Pelletier, 2017). En plus de permettre la mise à jour d’un micro-référentiel d’habiletés interactives, l’analyse des activités réflexives de groupe permet de documenter la perception qu’ont les enseignant∙e∙s de leurs habiletés interactives ainsi que les exercices les plus efficaces pour les développer.

Director and actor Michael Marmarinos is an iconic figure of the avant-garde Greek theatre of recent decades. One of the most prominent Greek theatre directors active since the 1980s, Marmarinos has been associated with subversive performances of ancient Greek and classical European drama. As a director, he has also worked with Noh theatre, modern and contemporary Greek and international theatre and is renowned for his devised theatre works. Marmarinos’ artistic contributions in devised theatre have been particularly noteworthy, both because he was the first Greek director to reject the notion of the author as authority, foregrounding devising techniques and creating theatrical texts by means of a collective method, and because his performances utilize a distinctive, highly original stage style, especially by Greek standards. The present paper focuses on Marmarinos’ devised performances, National Anthem, A Theorem About Togetherness (2002), 2004-Olympic Games, Instructions Manual (2005), Hairdressers/Metapolitefsi (2020), expounding the reasons these performances constituted a type of powerful intervention in Greek theatre, in terms of both stage practice and themes and ideological content.

Turbotronic has been a trend in the Serbian popular music since 2010, when Lenhart had his first performance at Improstor in Novi Sad. Continuing with his work, an entire circle of audience has been created around Lenhart, as well as other artists who deal with a certain kind of improvisation of music. This direction gets the name Turbotronic, somehow unplanned, according to the same name reportage of the Vice Portal. Nowadays Turbotronic includes several different groups dealing with the mixing of various music genres - from rap, through pop, to turbo-folk. However, Lenhart Tapes is a founder and a key figure in turbotronic. Lenhart is a musician who deals with the mixing of various audio content from an audio cassette tape. Since 2014, Lenhart has begun cooperating with Mirjana Raić, who joins him primarily by singing traditional music in his compositions. So far, Lenhart and Mirjana recorded around ten songs and had several joint appearances. In this paper I have several goals. Primarily, I will present the development and key features of Turbotronic as an alternative music genre. Then, my further analysis will be directed to mentioned individuals - Vladimir Lenhart (Lenhart Tapes) and Mirjana Raić. Through the concepts of musical biography, musical legacy, improvisation and construction of socio-cultural otherness with music, which I will consider primarily thoroughly, my key goal is to decode the message that these artists send to the wider audience through their music. The paper is based on the data derived from interviews I conducted with Lenhart and Mirjana on several occasions, but also on personal observation and participation in their rehearsals and concerts.

Copyright of Swiss Journal of Educational Research / Schweizerische Zeitschrift für Bildungswissenschaften is the property of University Library of Bern and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay explains how Nichiren Buddhist philosophy and practice of Soka Gakkai International (SGI) in Japan inspired the contemporary jazz improvisation of musical legends Herbie Hancock and Wayne Shorter. The essay concludes with the jazz aesthetics of spontaneous musical improvisation formulated by Herbie Hancock and Wayne Shorter based on the Nichiren Buddhist theory and practice of “value creation” by tapping our Buddha nature as the source of infinite creative possibilities.

In this paper I argue that the specific musical authenticity of improvisation in different kinds of music (especially, but not only, in Jazz and Free improvisation practices) consists of what I call ‘being true to the moment’ and that since the artistic success of every musical performance requires performers’ attentiveness and responsiveness to the moment of the performance, improvisational authenticity is the epitome of musical authenticity. I proceed as follows. Firstly I present Peter Kivy’s plural view of musical authenticity and discuss Julian Dodd’s view of musical improvisation as essentially inauthentic. Then, I articulate two notions of improvisational authenticity, ontological and expressive authenticity, which I develop by means of a third, and crucial, notion of improvisational authenticity: truthfulness to the moment, which is the specific way improvisation realizes a fourth kind of authenticity: artistic authenticity. Finally, I argue that improvisational authenticity is paradigmatic for the authenticity of musical performance as performance.

The elusive nature and the function of art occupy a highly contested territory within aesthetic philosophy since its inception. The present article also engages with the question of the nature and the function of art, though in a more narrowed and specific domain. The claim that is going to be tackled here is whether improvisation in art, in general, makes a statement against empirical science? To corroborate this claim I will look at specific artworks that offer a way of considering the function of art as something that can stand in opposition to empirical science and as something that therefore can offer an alternative understanding of consciousness. The main question is, “where does improvisation stand against the radical evolutionary positivist objectivization of consciousness?” To answer, we look at the emancipatory role of art that challenges the empiricism of modern science via investigating several artworks as signposts. We examine different types of improvisation by analyzing Joe Wight’s Darkest Hour (2017) and by drawing on the concept of autopoiesis, we define autopoietic improvisation as free improvisation. Then we draw on Charlie Brooker’s Black Mirror show (2011–present) to indicate that the idea of how indelible techno-totalitarianism, which envisages a dystopian future for mankind via the refinement and regulation of consciousness, offers a limited view of consciousness. Techno-totalitarianism stands as a key term to be defined and analyzed here as it is precisely the mechanism against and through which I will shape a new discourse of improvisation. Techno-totalitarianism is the state of digital rationalization and instrumentation of neuroscience in the regulation of human desire, choice, and behavior such as regulation and self-regulation are no longer distinguishable. We also discuss how finding a theory of everything and complete formula for consciousness means cutting new alleyways to utter annihilation of human will, improvisation or freedom in general.

I examine jazz pianist Jason Moran’s conceptual artwork, Staged (2015/18), in order to interrogate the intersection between improvisation and contemporary art. Enlisting and expanding upon George Lewis’s coinage and theorization of Afrological and Eurological practices, I outline discourses that have coded improvisation as embedded in tradition, the “known,” and history, and conceptual art (as a form of “contemporary art”) as free from these. Staged brings these discourses into collision and offers new directions for contemporary art through its jazz improvisatory sensibility.

Does the detour through fiction make it possible to investigate social realities that are difficult to access and to do research differently with the respondents by placing their speech at the heart of it? In the context of a socio-filmic research on young people and love in a working-class neighborhood in the Paris region, we were led to work from fiction and improvisation to tackle such a subject that usually remains in the realm of private life. We set up film workshops in which we proposed to about twenty young people, aged 14 to 16 years old and inhabitants of the neighborhood, to reflect on these questions of love and relationships between girls and boys by playing improvisations that were filmed and then projected and discussed with them.If it allowed to set tongues wagging, this passage through fiction and improvisation also aimed to create a space for dialogue and exchange with the respondents. It was thus a question of creating spaces for words and games, but also of bringing the young people filmed to a certain reflexivity about their own image, their behaviour and their representations of relations between girls and boys in the neighbourhood, notably through the practice of video elicitation. Fiction was thus not only a means of restoring knowledge about a social reality, but also a real investigative tool.By going back over one of the improvisations that came out of these workshops, the discussions and interviews that followed, we will analyze the way in which the young people tried to represent themselves and the social logics at work in this process while sketching out certain methodological and epistemological reflections raised by this investigative work from an imaginary reality.

By focusing on the workshop as a training place for theatre improvisers, this article aims to reintroduce Improvisational Theatre into the learning process that accompanies it. An improv workshop is led by a workshop leader, in charge of managing the exercises, providing instructions and feedback. It is built as an interactional and discursive exercise aimed at conveying improvisation skills. The workshop process involves collective adjustments and mutual understanding modalities between the actors practicing and the workshop leader, who takes on a role of advisor, evaluator and teacher. Therefore, improv workshops take place within a specific dynamic of performance prior to public performance, which implies to broaden the notion of exercise to its interactional outbursts. In that context, the feedback given by the workshop leader, which is a moment of exchange that follows the exercise, becomes a primordial phenomenon. Feedback covers different functions such as evaluation, criticism or advice, but it also offers the possibility of dereferencing the topic of the exercise itself in order to deal with Improvisational Theatre as a practice. When taking feedback in its episemiotic dimension, we can grasp how the exercise turns from an ephemeral and localized phenomenon, into the practice of Improvisational Theatre as a stabilized and collective discipline.

Copyright of Bulletin de la Société Paul Claudel is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From 2008 to 2018, the Hodos Ensemble brought improvising musicians together around works that are indeterminate in different ways (orchestration, notation, form, etc.). Between 2011 and 2018, the Ensemble also regularly collaborated with Philip Corner for a retrospective of his work. This article reviews this rich experience, and looks at issues related to the interpretation of "indeterminate" works and its links with improvisation. [ABSTRACT FROM AUTHOR]

In this interview, Vincent Lê Quang reflects on his practice of soundpainting, and discusses the relationship between soundpainting and improvisation, composition and conducting. [ABSTRACT FROM AUTHOR]

We begin with a twofold observation: (1) music is a practice of place that nevertheless (2) escapes whenever possible through the triviality of the excuse, in the sense of exoneration-- roughly speaking, the situation is never appropriate. So, how can we stay here when all means are good to get out? Let us question the difference between composition and improvisation in light of this accusation of fleeing circumstances at every turn, by constructing the following hypothetical analogy: improvisation is to composition as science-fiction or anticipation is to utopia. Finally, we conclude that the fewer excuses there are, the more music takes place. Or, perhaps, creating the possibility for music is like walking a line between excuses. These meditations stem from the many discussions I've had before, during, and after various concerts; the text retains a conversational style in the hope that something impersonal will emerge. [ABSTRACT FROM AUTHOR]

Based on the example of Olivier Messiaen, who held the post of organist at the Église de la Sainte-Trinité in Paris for 60 years and my own current work in the same position, this article seeks to rethink the activity of the creative organist in his organ loft and place him in a unique position in the field of musical creation at the crossroads of improvisation and composition. Thanks to new sources, the study and re-enactment of Messiaen's practices at his keyboards leads us to question these two categories and their hybridizations. Their confrontation raises questions on the relationships between instrument, sound, and writing, on which the organ offers a unique vantage point. Examples from my Études pour orgue (2006-2015) show how the interaction of invention with the organ's complex sound phenomena may renew the ties between improvisation and composition and interrogate contemporary practices of musical creation. [ABSTRACT FROM AUTHOR]

Musical improvisation is often said to exist at the intersection of a double continuum, with the degree of spontaneity in creation on one axis, and the degree to which the performance is predetermined on the other. This article looks at the idea of the "double continuum" in improvisation using a case study--an analysis of the creative process of the project Sillon, the "comprovisatory" experiment of a composer and five improvisers from the collective Umlaut. Without denying the continuities that exist between improvisation and composition, the article sheds light on the specificity and singularity the musicians each attach to their individual practices beyond their mutual goal to produce a "hybrid" musical object. [ABSTRACT FROM AUTHOR]

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Cet article part d’une observation banale et d’un constat familier aux enseignants de langue : il se produit dans un cours de langue étrangère des épisodes où l’enseignant se voit interroger (et se trouve interrogé) sur tel ou tel aspect du fonctionnement ou de l’emploi de la langue qu’il enseigne, et se voit en situation d’improviser une décision : en différant la réponse, en éludant la question, ou en y répondant à chaud de façon imprévue, à l’improviste, et donc en improvisant. Il s’agit donc de l’apparition d’une question imprévue, et de ce qu’elle déclenche chez l’enseignant, dans sa démarche et dans sa réflexion.

Following research conducted as part of an enactive cultural anthropology (Theureau, 2015), this article examines the work of novice teachers from the perspective of the "activity", which they call improvisation. It proposes a different conception than the (very widespread) one of making improvisation a kind of interactive virtuosity of expert teachers. Our results, which make it possible to specify a set of key characteristics, lead us to consider it as a key moment in the dynamics of asymmetric coupling between a new teacher and his or her environment (including social) and, correlatively, as a major movement of professional “individuation” (Simondon, 2013). This article also provides a discussion about teaching, professional development and teacher education.

Interactivity, understood as the possibility of relevant action within a diegesis, rests both on a technical device, which gives the reader‑player a grip on some fictional events, and a pragmatic aspect, the promise of offering her a choice-based experience. This power of interactive fiction is often overshadowed by the borgesian metaphor of “forking paths”, a pattern which rarely corresponds to scriptwriting practices, and by the pervasiveness of examples borrowed from computer games, which tend to naturalize interactivity as a purely digital phenomenon. By balancing, digital and analogue examples (notably from tabletop roleplaying games and storygames), this article raises five major questions about interactivity: the issue of interface with the diegesis, the type of environment which is proposed for action, the treatment of choices, the memorization or storage of events, and the interplay between script and improvisation.

Study of musical performance often explains deviations from notated scores. Recent studies rethink this objective and take into account a more diverse musical reality. In music and other arts, performance acts divide between having intrinsic value and value as an instance of a pre-existing work. On one hand, we concentrate on the result of the action produced; on the other, on an event that partially values conformity to a re-identifiable trace. Reflecting on this polarity, I identify analytical objectives according to the roles that performance assumes in the different practices of oral, written, and phonographic musical cultures. [ABSTRACT FROM AUTHOR]

Following research conducted as part of an enactive cultural anthropology (Theureau, 2015), this article examines the work of novice teachers from the perspective of the "activity", which they call improvisation. It proposes a different conception than the (very widespread) one of making improvisation a kind of interactive virtuosity of expert teachers. Our results, which make it possible to specify a set of key characteristics, lead us to consider it as a key moment in the dynamics of asymmetric coupling between a new teacher and his or her environment (including social) and, correlatively, as a major movement of professional "individuation" (Simondon, 2013). This article also provides a discussion about teaching, professional development and teacher education. [ABSTRACT FROM AUTHOR]

This paper deals with the critical and popular reception of the first season of the TV series Westworld. It explores how the elements that have been perceived as flaws by a part of the audience can in fact be interpreted as being perfectly coherent with the thematic preoccupations of the series. This reflection leads to an analysis of what appears to be the main issue in Westworld: the liberation of its characters.

Within the field of experimental writing, Vincent Tholomé’s work stands out for its simultaneous exploration of both sound poetry and visual poetry. At first sight, one might have the impression that both sides of the experimentation are elaborated in very different ways: Tholomé’s sound poetry makes more room for improvisation, while the author’s play with typography obeys strict constraints. In this article, I will describe this double logic in order to see to what extent it is possible to interpret them as two sides of the same experimental approach rather than stressing their differences.

Faire de la musique un outil d’intelligibilité anthropologique, telle est l’ambition de ce séminaire que Denis Laborde porte depuis une vingtaine d’années à l’EHESS. Ambiance campus international. Multilingue, studieux et bon enfant, retardataires adossés aux fenêtres, ou assis à même le sol: biotope solidaire, participatif et portes ouvertes. À mesure de ses vingt années d’existence, se croisent ici des opérateurs culturels et des administrateurs, des philosophes d’inspiration analytique, des sociologues, des compositeurs, des musicologues, des artistes inclassables, des ethnomusicologues, des ethnologues, des géographes, des architectes, des juristes, tous réunis autour d’un thème en commun érigé en outil de connaissance, l’anthropologie de la musique. Denis Laborde trace l’histoire intellectuelle de ce séminaire. Elle mène d’une ethnologie des musiques de tradition orale aux politiques d’urbanisme qui font aujourd’hui de la musique un catalyseur de convivialité, en passant par des questions d’ontologies musiciennes.

It's far from unusual for comics series to remain unfinished, for editorial reasons. It's less common, however, for a one-volume story to be presented to a reader without a definitive conclusion; and yet, it is the case for two books by Lewis Trondheim, Lapinot et les carottes de Patagonie (1995) and Capharnaüm (2015), the former having made the cartoonist a star in his field, the latter having gone through several forms before its definitive, published version. The study of these two books reveals much. It first testifies of Trondheim's graphic evolution, within a single volume but also between the two comics. It also shows the narrative range the cartoonist can use. Finally, it shows his aptitude to improvisation, since neither of the two books was entirely planned during its making. I also analyze in this article the reception of such books, both without a conclusion but with varying developments (an almost complete story for Les Carottes, a kind of long first part for Capharnaüm). Their incompleteness, exhibited to the reader right from their title or foreword, almost becomes their main articulatory motif and keeps one from reading them as another comics would be. On the other hand, the way these books are rhythmically constructed must be questioned, since Trondheim has indicated many times he benefited from the planned (or fantasized) length of these works to allow himself several narrative and graphic stretches. Finally, once can wonder if Les Carottes and Capharnaüm can be satisfying in their "closure", to use Jan Yellowlees Douglas's term, meaning the way a reader can make sense of her reading once it reaches its end. On this question, I follow up on thoughts first elaborated in my article "Quand le feuilleton s'enraye: intégrales tronquées et séries interrompues"; I ask how the reader of an unfinished work can reconcile the author's ambitions, the inexistent end of the story and her own narrative projections. [ABSTRACT FROM AUTHOR]

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"Comprovisation" is a term created by combining "composition" and "improvisation" used by Sandeep Bhagwati since 2004 on various occasions. It is meant to clarify the systematic coexistence between the areas of composition and improvisation. This article shows how Bhagwati's concept of comprovisation can be used as an artistic concept, a form of playing music collectively, a way of working and as a training model. Comprovisation brings a new formulation of tasks and location of roles of the participants to the idea of collaborative work that is consistent in the process of rehearsal for staged performance. With it, one comes close to the realization of the basic idea of "making music together" (Alfred Schütz, Christopher Small). What is above all new here is its transcultural or intercultural orientation. Comprovisation invites the testing of and experimentation with the boundaries of available musics and cultures, their materiality, sociability, performativity and their creative potential. [ABSTRACT FROM AUTHOR]

Cette contribution s’inscrit dans la continuité des recherches qui questionnent la formation en compétences communicationnelles des futurs cadres (professionnels de la communication et managers). Elle met en évidence la place du non verbal dans l’élaboration du faire ensemble et interroge les modèles enseignés sur le rôle de ce type de communication dans la construction d’un projet collectif. Par le compte-rendu et l’analyse d’une proposition pédagogique originale intitulée « Org’impro », recherche-action dans le domaine de la formation ayant impliqué des chorégraphes spécialistes de l’improvisation et portée par l’Université Grenoble Alpes, notre propos est de nourrir la pédagogie par la recherche et de développer des dispositifs de formation transférables dans les organisations. This contribution takes place into the field of researches that question the communication skills training for future managers (communication professionals and managers). It highlights importance of nonverbal communication in cooperative work and questions the models taught about the role of this type of communication for building a collective project. By the report and analysis of an original educational proposal entitled « Org’impro « , an action research in the field of training that involved specialists choreographers of improvisation and managed by the University of Grenoble Alpes, our purpose is to increase the pedagogy research and develop training devices transferable in organizations.