INDEX
Abrams, Muhal Richard, 149
abstract expressionism, 11–12, 17
action painting, 11–12
Activision, 103, 108
Adorno, Theodor, 29n12, 29–30n14,
42, 65, 73, 123, 232n18
African American: improvisation, 46,
50–51; jazz, 80, 115; music, 117–18,
120–21, 124–25, 130
agency, 299; nonhuman, 99–100, 105;
and subjectivity, 101
algorithmic symbolism (As), 103–4
Amm, 48–49
“Anal Magic with Kenny G,” 160,
173–74
Anderson, Cat, 190–92
Anderson, Edmund, 196, 210n22
Anderson, Ivie, 187, 196
anesthetic, 268, 274, 281–83
anticipation: as mode of improvisa-
tion, 271, 273–74, 280
architecture, 218–19; and social rela-
tionships, 67–69
Armstrong, Louis, 63, 141, 214
arranging, 20, 187–88; relationship to
composition, 187–89
art: and agency, 221; anthropology of,
5–6; anti-aesthetic, 6–7; concep-
tual, 6, 36; contemporary, 34, 39;
vs. craft, 218–19; democratization
of, 217; as emancipatory, 82–83,
200; expansive definition of, 5; as
functionless, 3; legislative, 38; par-
ticipatory, 7, 35–36; politics of,
214–15; postconceptual, 29nn11–12;
process, 168; relational, 35–36,
99–100, 103, 105, 270–71, 278;
role in black communities, 215–21;
socially engaged, 13, 37–39, 41; and
social identity, 213; as social rela-
tions, 293; and spirituality, 222; as
transformative, 220
Art Ensemble of Chicago (Aec), 13,
52–53, 55, 135–37, 139–40, 150–56,
157n1
Arthur Freed Unit, 186, 199–200, 202,
209n5, 211n27
artificial intelligence (Ai), 91, 99–100,
104, 109n10
Artist Placement Group (ApG), 13,
34–37
Art on My Mind, 213–14, 216–17, 219,
221
Association for the Advancement of
Creative Musicians (AAcm), 13,
51–53, 135–36, 139, 148–50, 157n2,
158n6; and black radical politics,
18, 154–56; as challenging genre, 18,
156–57; in Paris, 136, 140–45, 153–
54, 157–58n3, 159nn18–19
audience, 24, 35, 278–79, 290–94,
297–98; as improviser, 269, 271; mo-
bility of, 269; as participant, 269–
74, 289, 300–305; role of, 45, 82
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