As a special journal issue, the guest editors continued their study on (anti)blackness within K-12 schooling and teacher preparation programs. Through the introduction’s white space, the guest ...editors attempt to theorize and center (anti)Blackness. Moreover, they existentially critique the “ordinary” assumptions about who can be a human and explain why Black existence continues on despite their collective suffering. The introductory article is organized as follows: (1) a thorough explanation of bad faith and antiblackness, (2) an illustration of antiblackness’ manifestations in K-12 schooling, and (3) the importance of using jazz as an analytic frame to curate the contributors’ scholarship.
Sounding Affective Consensus Benjamin Barson
Journal of Extreme Anthropology,
12/2023, Letnik:
7, Številka:
1
Journal Article
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This paper explores how New Orleans Black dockworkers created affective communities by utilizing brass bands, as evidenced by newspapers, union records, and testimonies from jazz musicians. In an ...attempt to weave together congruences between ‘history from below’, the affective turn, and theorists of the Black radical tradition, I argue that the nation’s largest Black Union in the late nineteenth century, the Longshoremen’s Protective Union Benevolent Association of New Orleans, successfully intervened in this port city’s economy by building a mass movement. They did so not only because of their strategic location in relation to capital and a modernizing logistics industry, but also because these dockworkers successfully struggled to control the affective modalities and temporalities of daily life. It was in this latter strategy that polyphonic brass bands and collective singing traditions played important roles in struggling for bodily autonomy and new social relations formulated in opposition to the profit motive. I coin this felt solidarity ‘affective consensus,’ which was a consensus-based decision-making process activated by agreed-upon musical conventions. Its power lies in its historical connections between democratic traditions of assembly, workplace struggles, and forms of participatory music making--all emblematic of late nineteenth-century Black New Orleans.
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Current creativity research reveals a fundamental disagreement about the nature of creative thought, specifically, whether it is primarily based on automatic, associative (Type 1) or executive, ...controlled (Type 2) cognitive processes. We propose that Type 1 and Type 2 processes make differential contributions to creative production depending on domain expertise and situational factors such as task instructions. We tested this hypothesis with jazz pianists who were instructed to improvise to a novel chord sequence and rhythm accompaniment. Afterward, they were asked to perform again under instructions to be especially creative which, via goal activation, is thought to prompt the musicians to engage Type 2 processes. Jazz experts rated all performances. Overall, performances by more experienced pianists were rated as superior. Moreover, creativity instructions resulted in higher ratings. However, there was an interaction between instructions and expertise, revealing that explicit creativity instructions significantly improved improvisation ratings only for the less experienced musicians. We propose that activating or reconfiguring executive Type 2 processes facilitates creativity for less experienced musicians, but does not improve creative performance significantly for more experienced ones because the latter have largely automatized the processes responsible for high-level improvisation or because they have achieved a near-optimal balance between associative Type 1 and executive Type 2 processes. Thus, increasing controlled Type 2 processing is unlikely to help, and may sometimes even diminish, the creativity of experts' performances.
Jazz improvisation offers a model for creative cognition, as it involves the real-time creation of a novel, information-rich product. Previous research has shown that when musicians improvise, they ...recruit regions in the Default Mode Network (DMN) and Executive Control Network (ECN). Here, we ask whether these findings from task-fMRI studies might extend to intrinsic differences in resting state functional connectivity. We compared Improvising musicians, Classical musicians, and Minimally Musically Trained (MMT) controls in seed-based functional connectivity and network analyses in resting state functional MRI. We also examined the functional correlates of behavioral performance in musical improvisation and divergent thinking. Seed-based analysis consistently showed higher connectivity in ventral DMN (vDMN) and bilateral ECN in both groups of musically trained individuals as compared to MMT controls, with additional group differences in primary visual network. In particular, primary visual network connectivity to DMN and ECN was highest in Improvisational musicians, as was connectivity between ECN and DMN; in contrast, connectivity between vDMN and frontal pole was highest in Classical musicians. Furthermore, graph-theoretical analysis indicated heightened network measures in both musician groups, with betweenness centrality, clustering, and local efficiency showing highest levels in Classical musicians, and degrees and strengths showing highest levels in Improvisational musicians. Taken together, results suggest that heightened functional connectivity among musicians can be explained by higher within-network connectivity (more tight-knit cortical networks) in Classical musicians, as opposed to more disperse, globally-connected cortical networks in Improvisational musicians.
•Music training is associated with higher resting state connectivity.•Higher connectivity in Improvisational musicians from visual network to ECN and DMN.•Classical musicians show higher vDMN within-network connectivity.•Improvisation and divergent thinking performance correlate with similar connectivity patterns.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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