Trichotomy Between Instinct Intuition and Improvisation
The Trichotomy Between Instinct, Intuition and Improvisation
There’s a clear distinction between instinct, intuition and improvisation, they’re generally used interchangeably and out of context, however they’re mutually exclusive and contrasting in their impulsive attributes. Such misconceptions are also pervasive in metaphor, analogy, hyperbole and metonymy; dramatic, verbal, tragic and socratic irony; serendipity, synchronicity and situational irony, and many other abstract concepts that share a partial common denominator.
The ubiquitous disparity becomes prevalent when an improviser struggles with standup comedy and fails miserably, while an intuitive comedian battles with improvisation. However, there are vice-versa exceptions to this rule. You’d assume since both art-forms rely on unconscious reasoning, conflating both expressions would seem effortless. Improvisation taps into your intuition while placing a major constriction on ingenuity and innovation. The problem with instinct, intuition and improvisation is the fact that they all elicit a premeditated and external stimulus schema of ambiguity, meaning there are no preconceived notions prior to the instantaneous events, hence the differentiating factors between instinct, intuition and improvisation can seem fuzzy, and difficult to perceive in clarity.
Improvisation is centered around an unreflective urge or desire for spontaneity that’s governed by a set of principles and guidelines for your impulse to flourish; hence, the framework centered around the art-form contextualizes intuition with constrictions and restrictions. These conditions limit your measures of exploration, sabotaging the authentic essence of what intuition is truly contingent on. Arguably, and invariably, improvisation provides a set of prerequisite to challenge intuition beyond its comfort-zone of immediacy, and forces innovation without conscious reasoning to embark and build upon an established set of explicit principles.
The reason why improvisation is attributed to intuition or instinct is a problem deriving from semantic ambiguity, syntax, and the connotative evolution of the word “improvisation,” which needs to be clarified and put into better perspective. I’ll use jazz as an example to highlight the intuitive and improvisation aspect of music. Consonance and dissonance is the disparity between chord relationships in jazz, and although this irregularity and sequence of chord changes has no traditional relationship with each other, they’re contextually within a musical framework; such as key, scales and time signature.
There’s a clear distinction between dissonance and atonality in music; the former being a chain of suspension or clashing of notes: F transitions to F#, semitones apart; and the latter lacks musical order, absence of key or tonal center. Although both musical ambiguities are interrelated, they’re differentiated by their syntax. There’s two sorts of musical dissonance, a tension or clash deriving from the chord itself, and the untypical sound within the lack of relationships between chords transition. It seems improvisational since we hear the disparity between chord transitions, but the overall sound is within the context of a theoretical framework.
The perfect metaphor to encapsulate the distinctions between improvisation and intuition is the correlation and disparity between verbal irony and verbal sarcasm. The correlation between both figurative devices is their literal statements having contrasting interpretation, opposites of which derives from the tonal aspect of the sentence, and not the words in the sentence themselves. The disparity occurs between what the contrast of verbal irony and verbal sarcasm entails. Verbal irony is innocuous and benevolent in meaning, whereas verbal sarcasm is disparaging and contemptuous in nature. The conflation is in their contrast interpretation and the disparity is in their underlying meanings.
Another example is the denotational and connotational meaning of words; the former is the fundamental or primarily meaning of a word, while the latter explores the evolutional or implicit meaning of in addition to its literal interpretation. The dictionary is not an authority on words, lexicographers compile and edit words as they evolve and become engrained as part of a contemporary social dialect. Hence, words like “bad” is a semantic paradox, because “bad” literally means negative, defective or unwelcoming, and also “good” as in the quintessential or highly desired. Example; “that new Ferrari is “bad” ass!”
The polarity between “bad” derives from the literal denotation and its figurative connotative evolution; improvisation and standup comedy differentiation falls within these context, because denotationally speaking, improvisation was antiquated with an instinctive immediacy to materialize concepts vividly. Ironically, it’s taken on a new connotative meaning by metamorphosing into a contemporary art-form, falling within a compositional formation governed by musical keys and time signatures.
“Here’s two examples of instinct and intuition; “a dynamite descends amid a social-circle, the gathering scatters to safety, confounded; that’s instinct. Instinct which is equatable to our defense mechanism precedes back to our primordial era, homosapien survival mechanisms were contingent on instinct to hunt, evade predators and form social gatherings. “A balloon descends amidst a social-circle and there’s a lit candle on top,” the gathering instinctively flinches in shock; one person utters sporadically; “Well Joe! Happy Birthday.” That’s Intuition.
These examples involve the same set of rudimentary principles, they occur naturally without intent. Instinct is an evolutionary reaction, a process deriving from environmental factors and biology; Intuition within the context of immediacy and without conscious reasoning is less restrictive than improvisation, allowing intuition to flourish without confinement. Improvisation is a theatrical technique that constricts intuition into a syntax, challenging ingenuity within the context of a framework. Although instinct, intuition and improvisation are all contingent on inner impulse or inclination without premeditated reasoning, the disparities exist between a biophysiological reaction, spontaneous decisional attributes and theatrical restrictions.
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