To some extent, they are almost always creative responses to dramatic situations (cf. The actions, gestures, and utterances of human beings in everyday life are far from mindless routines. 4 In “The Development of American Pragmatism” (1925), Dewey insists: “reason, or thought, in its most (.)Ģ Paradoxically, such creativity is commonplace.3 “Tradition and custom, especially when emotionally charged, are a part of the habits that have beco (.).In doing so, he hopes to illuminate the inherently creative dimension of human action, wherever it unfolds. After exploring what is entailed by an appeal to experience, when conjoined to what Cavell identifies as the task of checking one’s experience, the author turns to our quotidian experience as improvisational actors and, ultimately, to the rather singular achievements of jazz improvisers. What Cavell asserts regarding checking one’s experience, as a way of rendering it trustworthy, is of the utmost critical importance for the present inquiry. Accordingly, the appeal to experience is here interrogated with the aid of what pragmatists but also perfectionists such as Stanley Cavell say about it. But since our inquiry into this range of considerations turns on appealing to our experience as improvisational actors in the overlapping situations of everyday life, this appeal itself needs to be considered.
Peirce calls “a wonderfully perfect kind of sign-functioning” ) provides us with an extremely useful model for understanding other forms of “unrehearsed intellectual adventure” (Oakeshott 1991: 490), not least of all jazz improvisation. The characteristic form of human action is an extemporaneous performance or improvisational exertion.
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