"There's all sorts of fantastic things in the music, but if we think about the music as a model for social form or interaction, it lets one get away from fixed assumptions about the present and the future and attunes one to other people.You're not dependent upon, if you follow a jazz model, a fixed conception of progress or a calendar, but rather other people. And other people are flexible—sometimes disappointing, but sometimes surprising in fantastic ways. If you take this model of jazz temporality and coordination, it suggests another way of organizing social life. One that is important and productive in all sorts of different ways."Bruce Evan Barnhart is an associate professor of American literature and culture at the University of Oslo and co-director of the project Literature, Rights, and Imagined Communities. He is the author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture. His work has appeared in African American Review, Callaloo, and Novel. His latest publications are Temporal Experiments: Seven Ways of Configuring Time in Art and Literature, co-edited with Marit Grøtta, and LeRoi Jones, Jazz, and the Resonance of Class. His research interests include African American literature, post-Marxist theory, jazz, and Caribbean aesthetics.www.hf.uio.no/ilos/english/people/aca/brucebwww.routledge.com/Temporal-Experiments-Seven-Ways-of-Configuring-Time-in-Art-and-Literature/Barnhart-Grotta/p/book/9781032350240https://www.hf.uio.no/ilos/english/research/groups/temporal-experiments/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast