In open-form musical improvisation, the emphasis is on the dynamics of ensemble feedback in the moment of performance instead of centralized control; a far-from- equilibrium system (one that invites extremely risky moments of positive or “runaway” feedback). Somewhat paradoxically, however, this far-from-equilibrium “openness” is made possible by enacting a type of cybernetic “closure.” Improvisers working in these domains usually seek to develop a very personal—at times iconoclastic— approach through what we might call a process of “attunement” between agent and sound-producing tools rather than learning a musical “language” per se. In doing so, they separate internal interdependencies (their closure) from system/ environment interdependencies (their openness), while also relating both to each other.