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Rhythm and Critique presents 12 new essays from a range of specialists to define, contextualise and challenge the concepts of rhythm and rhythmanalysis. It includes newly translated materials from Rudolf Laban and Henri Meschonnic. The book begins with a genealogy of rhythm as it occurs through critical theory literatures of the 20th century, enabling the reader to situate philosophical and contemporary readings that further define rhythm as a critical term and mode of analysis.
Rhythm and Critique presents 12 new essays from a range of specialists to define, contextualise and challenge the concepts of rhythm and rhythmanalysis. It includes newly translated materials from Rudolf Laban and Henri Meschonnic. The book begins with a genealogy of rhythm as it occurs through critical theory literatures of the 20th century, enabling the reader to situate philosophical and contemporary readings that further define rhythm as a critical term and mode of analysis.
Rhythmanalysis displays all the characteristics which made Lefebvre one of the most important Marxist thinkers of the twentieth century. In the analysis of rhythms -- both biological and social -- Lefebvre shows the interrelation of space and time in the understanding of everyday life.With dazzling skills, Lefebvre moves between discussions of music, the commodity, measurement, the media and the city. In doing so he shows how a non-linear conception of time and history balanced his famous rethinking of the question of space. This volume also includes his earlier essays on "The Rhythmanalysis Project" and "Attempt at the Rhythmanalysis of Mediterranean Towns."
A rigorous and imaginative inquiry into rhythm’s vital importance for film and the moving image Focusing attention on a concept much neglected in the study of film, The Rhythm of Images opens new possibilities for thinking about expanded perception and idiosyncratic modes of being. Author Domietta Torlasco engages with both philosophy and cinema to elaborate a notion of rhythm in its pre-Socratic sense as a “manner of flowing”—a fugitive mode that privileges contingency and calls up the forgotten fluidity of forms. In asking what it would mean to take this rhythm as an ontological force in its own right, she creatively draws on thinkers such as Giorgio Agamben, Roland Barthes, Gilles Deleuze, and Luce Irigaray. Rhythm emerges here as a form that eludes measure, a key to redefining the relation between the aesthetic and the political, and thus a pivotal means of resistance to power. Working with constellations of films and videos by international artists—from Michelangelo Antonioni, Jean-Luc Godard, and David Lynch to Harun Farocki and Victor Burgin, among others—Torlasco brings to bear on them her distinctive concept of rhythm with respect to four interrelated domains: life, labor, memory, and medium. With innovative readings of artworks and critical texts alike, The Rhythm of Images fashions a vibrant, provocative theory of rhythm as the excess or potential of perception. Ultimately, the book reconceives the relation between rhythm and the world-making power of images. The result is a vision of cinema as a hybrid medium endowed with the capacity not only to reinvent corporeal boundaries but also to find new ways of living together.
An investigation into the affective modes of perception, temporality, and experience enabled by experimental new media sonic art. The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and events. In The Rhythmic Event, Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience. Ikoniadou draws on media theory, digital art, and philosophical and technoscientific ideas to work toward the articulation of a media philosophy that rethinks the media event as abstract and affective. The Rhythmic Event seeks to define the digital media artwork as an assemblage of sensations that outlive the space, time, and bodies that constitute and experience it. Ikoniadou proposes that the notion of rhythm—detached, however, from the idea of counting and regularity—can unlock the imperceptible, aesthetic potential enveloping the artwork. She speculates that addressing the event on the level of rhythm affords us a glimpse into the nonhuman modalities of thought proper to the digital and hidden in the gaps between strict definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real). Operating at the margins of perception, the rhythmic artwork summons an obscure zone of sonic thought, which considers the event according to its power to become.
In Rhythmanalysis, Henri Lefebvre put forward his ideas on the relationship between time and space, particularly how rhythms characterize space. Here, leading geographers advance and expand on Lefebvre's theories, examining how they intersect with current theoretical and political concerns within the social sciences. In terms of geography, rhythmanalysis highlights tensions between repetition and innovation, between the need for consistency and the need for disruption. These tensions reveal the ways in which social time is managed to ensure a measure of stability through the instantiation of temporal norms, whilst at the same time showing how this is often challenged. In looking at the rhythms of geographies, and drawing upon a wide range of geographical contexts, this book explores the ordering of different rhythms according to four main themes: rhythms of nature, rhythms of everyday life, rhythms of mobility, and the official and routine rhythms which superimpose themselves on the multiple rhythms of the body.
A sociologist and pop-culture expert offers a balanced engagement of hip-hop and rap music, showing God's presence in the music and the message.
What is the relationship between music and time? How does musical rhythm express our social experience of time? In Groove: An Aesthetic of Measured Time, Mark Abel explains the rise to prominence in Western music of a new way of organising rhythm: groove. He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components which make it work. Tracing the influence of key philosophical arguments about the nature of time on musical aesthetics, Mark Abel draws on materialist interpretations of art and culture to challenge those, like Adorno, who criticise popular music’s metrical regularity. He concludes that groove does not simply reflect the temporality of contemporary society, but, by incorporating abstract time into its very structure, is capable of effecting a critique of it.
Among the nearly 90,000 Cubans who settled in New York City and Miami in the 1940s and 1950s were numerous musicians and entertainers, black and white, who did more than fill dance halls with the rhythms of the rumba, mambo, and cha cha cha. In her history of music and race in midcentury America, Christina D. Abreu argues that these musicians, through their work in music festivals, nightclubs, social clubs, and television and film productions, played central roles in the development of Cuban, Afro-Cuban, Latino, and Afro-Latino identities and communities. Abreu draws from previously untapped oral histories, cultural materials, and Spanish-language media to uncover the lives and broader social and cultural significance of these vibrant performers. Keeping in view the wider context of the domestic and international entertainment industries, Abreu underscores how the racially diverse musicians in her study were also migrants and laborers. Her focus on the Cuban presence in New York City and Miami before the Cuban Revolution of 1959 offers a much needed critique of the post-1959 bias in Cuban American studies as well as insights into important connections between Cuban migration and other twentieth-century Latino migrations.
Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience.