If the transcendental relates to the structures and principles that ground, organize, constrain, and regulate experiential practice as its conditions of possibility, then the transcendental signifies the normativity of experience. When this normativity is understood in Kantian terms – as the ensemble of a priori structures of experience – improvisation, as a human practice particularly significant in the artistic realm, stands as its direct counterpoint. Yet, if one understands the transcendental in the genetic sense, as exemplarily expounded by Fichte, improvisation can be regarded as a performance of the aesthetic reflective judgement. Consequently, it becomes paradigmatic for normative practices, the transcendental principles of which are shaped through their concrete and situated free enactment.