Book chapter, Forthcoming

Chaotizing Co-Creation and Attuning to the Blur

An artist’s practice of improvising otherwise

A chapter about the phase before form: the blur in which a group improvising together does not yet know what it is making. Drawing on years of practice in Music in Disorder and AMIS, it asks how concepts can loosen thinking rather than fix it, how structures in music can be held lightly enough to stay open, and what it means to listen and play when no one controls the whole.

Klas Nevrin, “Chaotizing Co-Creation and Attuning to the Blur: An Artist’s Practice of Improvising Otherwise.” In Benjamin Dwyer (ed.), Orientations in Music Improvisation: Praxis, Theory, Impact. Routledge, forthcoming. Peer-reviewed.

From the chapter

This is to begin from where we are entangled: in the cracks of the given. Chaotizing is not a method, it’s a mode of attunement, a way of staying close to the wild edges where knowing resists capture. As a glitch in the research apparatus, it disorients dominant logics of control and resolution—not to dismantle entirely, but to open fields toward livable dissonance. As an art of quiet attention to the almost imperceptible ‘infra-thin’ that artist Marcel Duchamp gestured towards, this is a practice of thinking-feeling with the world’s unfolding—a presence alongside its mysteries, rather than mapping it from a distance.

From “Concepts Adrift”

The problem is not the grid as such but a certain temperature at which it circulates: the grid gone cold, treated as separable from the fluid connections it was extracted from, transmitting its divisions as if they ground the event itself. The same grid can run warm — held as one abstraction among others, interruptible, still in touch with what exceeds it. A grid held warmly is less able to mistake itself for the territory. What this chapter resists, then, is not ‘structure’ per se, but the cooling by which structure forgets it was ever an act.

From “The Shimmering Mist”

Contents

  1. Concepts Adrift
  2. Weaving Across Worlds
  3. Holding Difference, Feeling Relation
  4. The Shimmering Mist
  5. Pitch as Affective Force
  6. Modes of Listening
  7. Crippled Symmetry and Shimmering Complexity
  8. Improvising Otherwise
  9. Fugitive Practice & Mutual Empowerment
  10. The More-Than-Human

The chapter moves between philosophy and the practice room, with examples from composed and improvised music, and passages from the author’s own practice notes at the piano.

Background

The concepts in the chapter were developed in the research project Music in Disorder (2016–19) and carried into organisations in AMIS (2024–26).