Improvisation - a big word. What does it mean in our daily lives? Well neuroscientist/musician Andrew Goldman and a scientific historian Annapurna Mamidipudi debated this morning at Columbia University as part of the Society for Science and Culture's conference on Weaving, Cognition and Technology.
Ms. Mamidipudi explored the tacit knowledge of Jamdani handloom weavers in Indian, in terms of pattern making and innovation. She compared their abilities to those of Karnatic musicians in Southern India where in both crafts they spoke of "Saadhana" or skill and "Manodharma" or creative expression. The idea of innovation is actually an anathema to these artist who see it as immodest, egoistic and "taboo." They speak rather of the practicing skills, following rules and imitating mentors, then becoming fluent in their craft so they can enact small changes. This leads to the ability to perform their craft and the small "leaps of faith" or unconscious moments of uncertainty called creative change. There is a sense of being in a flow with craft skill that is meditative and perhaps spiritually guided that brings about creative change.
Mr. Goldman, a pianist and improvisor, took a slightly different tack, but essentially said the gaining and practicing of skills in music was essential to being able to bend them in improvisation. He did studies testing musicians who had been trained classically (e.g. following an expected set of musical notes) to those who were trained in improvisation (expected to change the notes or chords as they go). His findings, not surprisingly, showed that improvisors are more adept at playing unexpected musical combinations than more traditional musicians. But even improvisors like jazz musicians have more physical flexibility or tacit/embodied knowledge (skill, ability, whatever you wish to call it) when they play chords and keys they are familiar with.
The consensus was that solid skills foundation in a given craft aides in more flexibility when performing that task no matter if it be weaving or playing music or riding a bike or cooking. But flexibility from a given set of skills - like with the weavers in learned patterns can lead to innovations which create more productivity - and with a musician to accidental tonal qualities that may be incorporated.
In essence the combination of structured skills sets as well as the mastering and ability to bend the rules leads to innovation and change.
What if that innovation is the creation of "smart" woven fibers that learn to sense our body's meridians for energetic changes in organ function? What if innovation means fiber optics art which responds to our words, texts, or even mood states? What kind of improvisation occurs when the cloth we weave or the music we make senses us and responds to us a creator before we begin? This is the kind of mind bending stuff that I have crammed into my head after two days of conference at the Society for Science and Culture in a room filled with artisans, historians, fabric artists, traditional weavers, neuroscientists, curators, musicians, activists, theorists, etc...
Ms. Mamidipudi explored the tacit knowledge of Jamdani handloom weavers in Indian, in terms of pattern making and innovation. She compared their abilities to those of Karnatic musicians in Southern India where in both crafts they spoke of "Saadhana" or skill and "Manodharma" or creative expression. The idea of innovation is actually an anathema to these artist who see it as immodest, egoistic and "taboo." They speak rather of the practicing skills, following rules and imitating mentors, then becoming fluent in their craft so they can enact small changes. This leads to the ability to perform their craft and the small "leaps of faith" or unconscious moments of uncertainty called creative change. There is a sense of being in a flow with craft skill that is meditative and perhaps spiritually guided that brings about creative change.
Mr. Goldman, a pianist and improvisor, took a slightly different tack, but essentially said the gaining and practicing of skills in music was essential to being able to bend them in improvisation. He did studies testing musicians who had been trained classically (e.g. following an expected set of musical notes) to those who were trained in improvisation (expected to change the notes or chords as they go). His findings, not surprisingly, showed that improvisors are more adept at playing unexpected musical combinations than more traditional musicians. But even improvisors like jazz musicians have more physical flexibility or tacit/embodied knowledge (skill, ability, whatever you wish to call it) when they play chords and keys they are familiar with.
The consensus was that solid skills foundation in a given craft aides in more flexibility when performing that task no matter if it be weaving or playing music or riding a bike or cooking. But flexibility from a given set of skills - like with the weavers in learned patterns can lead to innovations which create more productivity - and with a musician to accidental tonal qualities that may be incorporated.
In essence the combination of structured skills sets as well as the mastering and ability to bend the rules leads to innovation and change.
What if that innovation is the creation of "smart" woven fibers that learn to sense our body's meridians for energetic changes in organ function? What if innovation means fiber optics art which responds to our words, texts, or even mood states? What kind of improvisation occurs when the cloth we weave or the music we make senses us and responds to us a creator before we begin? This is the kind of mind bending stuff that I have crammed into my head after two days of conference at the Society for Science and Culture in a room filled with artisans, historians, fabric artists, traditional weavers, neuroscientists, curators, musicians, activists, theorists, etc...
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