The third dimension of the Distributed Free Improvisation Model is developed in Chapter 5. In this chapter, the notion of perspectivism and reflexivity (in Glăveanu’s terms, 2015) is the basis of our proposal. Glăveanu was guided by the Vygotskian conception of internalization and externalization processes in his attempt to theorize the relationship between the Self and the Other. However, he will argue that what is being internalized is the cultural content and the perspective of others in relation to the Self. According to (Glăveanu, The Journal of Creative Behavior 49:165–180, 2015), our existence as subjects can be understood as a process of differentiating and coordinating perspectives in (inter)action. ( Denora, T. (2010). Emotion as social emergence: Perspectives from music sociology. Part 2. In. N. P. Juslin & A. J. Sloboda (Eds.), Music and emotion theory, research, applications. (pp. 159–186). Oxford University Press Inc.) highlights that music, as part of continuous social existence, serves as a means to constitute a Self with multiple perspectives since music enables musicians to elaborate for themselves and for others the modes of agency and subjective postures and identities that are structured in action. The chapter discusses that the specificities of each musician, the social and material world, when tensioned, operate together, generating an abundant source of possibilities. The more this tension happens, the more the potential of free improvisation performance expands. These tensions reflect the joining of multiple fragments that come from different parts and originate the creative process. Subjectivity is instituted in the improvised performance through this game of forces in tension, which makes up the arena of the different voices operating during the improvisation. Moreover, it is through these idiosyncrasies that the improvised creation will emerge and take shape.