A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.

What would improvisation that’s both conceptually rigorous and affectively (emotionally) challenging sound like, feel like? How can we get beyond the tired ideas of improvisation as based on refined sensibility and taste (appreciating great timing or unusual sounds etc), or conceptualism (totally abstracted from the real world)? Maybe through an engagement with all of the conditions and possibilities of music and its situation (the people in the room, the kind of location)? What’s really at stake here? And how can we put more at stake?