Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ACKNOWLEDGMENTS vii
4. Introduction WHAT IS SOCIAL AESTHETICS? 1
5. I • The Social and the Aesthetic
6. Chapter 1 AFTER RELATIONAL AESTHETICS Improvised Music, the Social, and (Re)Theorizing the Aesthetic 33
7. Chapter 2 SCRIPTING SOCIAL INTERACTION Improvisation, Performance, and Western “Art” Music 59
8. Chapter 3 FROM THE AMERICAN CIVIL RIGHTS MOVEMENT TO MALI Reflections on Social Aesthetics and Improvisation 78
9. Chapter 4 FROM NETWORK BANDS TO UBIQUITOUS COMPUTING Rich Gold and the Social Aesthetics of Interactivity 91
10. II • Genre and Definition
11. Chapter 5 THE SOCIAL AESTHETICS OF SWING IN THE 1940S Or the Distribution of the Non-Sensible 113
12. Chapter 6 WHAT IS “GREAT BLACK MUSIC”? The Social Aesthetics of the AACM in Paris 135
13. Chapter 7 KENNETH GOLDSMITH AND UNCREATIVE IMPROVISATION 160
14. III • Sociality and Identity
15. Chapter 8 STRAYHORN’S QUEER ARRANGEMENTS 183
16. Chapter 9 WHAT’S LOVE GOT TO DO WITH IT? Creating Art, Creating Community, Creating a Better World 213
17. Chapter 10 IMPROVISATION IN NEW WAVE CINEMA Beneath the Myth, the Social 233
18. IV • Performance
19. Chapter 11 SOCIAL AESTHETICS AND TRANSCULTURAL IMPROVISATION Wayde Compton and the Performance of Black Time 255
20. Chapter 12 DEVICES OF EXISTENCE Contact Improvisation, Mobile Performances, and Dancing through Twitter 268
21. Chapter 13 THE DRAMATURGY OF SPONTANEITY Improvising the Social in Theater 288
22. REFERENCES 309
23. CONTRIBUTORS’ BIOGRAPHIES 335
24. INDEX 339