 In “Taken by Surprise: Improvisation in Dance and Mind”, Susan Leigh Foster (2003) shares Goldman’s view that it is the moment right before an actual dance movement within a performance that matters to the special aesthetic experience of dance improvisation. She says, “it is this suspense-filled plenitude of the not-quite-known that gives live performance its special brilliance” (2003: 4). Her essay also contains a phenomenological account of the agency involved in improvisation, equating the lived experience of improvisation with a “middle voice”, in which a dancer finds herself in a flow of movement that takes the middle position between deliberative choices and passive direction.