Strophe

As writers and artists, we are all driven by an improvisatory impulse, even if it is unacknowledged. However, audiences commonly focus on the temporary and performative aspects of improvisation, not on its limitless potential as a critical invention that provokes further conceptual considerations.

More than just a gesture, improvisation is a sort of aesthetics of existential responsiveness. It is process and not just result, one that constitutes both cognitive and kinetic experience.

If indeed everything does bend, and no creation is fixed, static or predictable, then how far can we explore and stretch the possibilities of a practice consciously engaged with improvisation?