Page 117 - Composing Processes and Artistic Agency

106 Orchestrating different forms of knowledge
tacit knowledge: tool-centred, environment-centred, personal relation-centred, and
social institution-centred (Szivós 2014a: 24–27). For an analysis of the meaning of
“tacit”, see also Neuweg 2004: 12–24; 2006.
2 Clearly, at times it is also possible to compose without using instruments. This
method is even quite common “because you have that wealth of experience. You’ve
got certain recordings of split sounds or things that work well. That’s something
you also learn over the years,” according to Christof Dienz.
3 Generally speaking, an abductive procedure is characteristic of creative and experi-
mental thinking. It forms evidence-based, ad-hoc hypotheses out of existing
empirical data, knowledge and clues. Such ad-hoc hypotheses are generative since
they create paths for further research. During such an exploration, several ad-hoc
hypotheses can be developed, expanded or discarded on the basis of new data and
clues. The exploration is concluded when an explanation based on these hypotheses
has been found that integrates the available empirical data in line with a purpose.
4 Mihály Szivós (2014b) elaborates four types of acoustic attention: unconscious
hearing, background hearing, hearing with a distal awareness, focal attention.
5 Intuition, however, has several meanings: intelligibility without concepts (Kant),
empathy (Bergson, Lipps), a way of seeing the world, e.g. aesthetic experience
(Gadamer), non-conceptual understanding (Wittgenstein), sensing (Heidegger),
anticipation of thought (Polanyi), a situative corrective to schematic identification
without claim to real cognition (Adorno).
6 For a critique of the applicability of the Dreyfus model to artistic professions, see
Zembylas & Dürr 2009: 142–144; on the concept of quality in art, see Zembylas
2004: 205–219; on the contingency of aesthetic assessments, see Zembylas 1997.

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