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The purpose of the present article is to contribute to the development of a socio-material, situated conceptualization of creativity, in exploring music making as it becomes meaningful in performative emergence processes of the digital age. It uses the creative practices of musicians to analyse and discuss the qualities of ‘digital materials’ in a creative setting, today very often playing a critical role in the production and performance of music. Methodologically, the analysis is based on interviews with professional musicians performing at Roskilde Festival and observations inspired by the autoethnographic approach. The study concludes that creative musical emergence in performance situations of the digital age depends on an openness towards a fragility, imperilling the situation and ‘cracking’ the digital materiality. [ABSTRACT FROM AUTHOR]

Western philosophy has been greatly influenced by visual metaphors. Knowing something has commonly, yet implicitly, been conceptualized as seeing something clearly, learning has been framed as being visually exposed to something, and the mind has been understood as a ‘mirror of nature’. A whole ‘epistemology of the eye’ has been at work, which has had significant practical implications, not least in educational contexts. One way to characterize John Dewey’s pragmatism is to see it as an attempt to replace the epistemology of the eye with an epistemology of the hand. This article develops the epistemology of the hand on three levels: A level of embodiment and metaphors, of craftsmanship and social practices, and of schooling and education. [ABSTRACT FROM AUTHOR]