Rhythmanalysis

An old saying claims that the soul takes longer to move than the physical body -or at least that it moves according to other laws. This is felt when travelling in a landscape like the Icelandic one, when our frames of reference have not yet broken in and we find ourselves in limbo, not fully understanding our context. Without our familiar social codes, everyday rhythms and points of orientation, we seem to glide in a strange space-time, an "inbetween". Thus, new freedom of personal interpretation arises, whether we have prepared ourselves for the voyage or not. Nothing would fully prepare us as we glide into this rare state of being. This heterochronic situation seems to give us the peace to find ourselves in an almost pure state of mind. Can it be that the traveller, being faced with a quantum leap of scale -between the miniscule self in the vast landscape and its powers -is not only faced with the dynamics of the landscape as such, but also, and no less, with herself ? This paper argues that in the essence of this extraordinary nature lies a rare possibility of meeting with the one thing that is so miraculously ordinary: Being in itself.

Many of Alexander Scriabin's preludes feature quixotic or rhythmically inaccurate notation, including time signatures that do not correlate with rhythmic events in the foreground. From the standpoint of performance practice, I introduce an interpretive approach that focusses on rubato as a causal factor of Scriabin's notational idiosyncrasies and argue that they represent an act of selfanalysis, pointing to a conscious imprint of pre-compositional planning on the final product in the choice of metric notation. In this study, preludes are classified according to two criteria: (1) the type of primary metrical dissonance they engender, which includes Type A rubato, i.e., an expressive anticipation or ornamentation of the melodic line against the accompaniment in strict time, and Type B rubato -temporary displacement of the entire texture; and (2) the type of approximation in time signature notation. The focus of this study are the early preludes (up to 1903) as Scriabin's attention in the later preludes appears to increasingly turn toward the harmonic dissonance and away from rubato and hand synchronisation issues. I present notational variants to three preludes from op. 11 that serve as an investigative tool into Scriabin's compositional process. Finally, I offer suggestions regarding performance considerations as well as the historical evaluation of Scriabin's oeuvre in light of the analyses presented in this study.

Stoyan Dzhudzhev, rhythmic protozoa and ethnomusicological myths.
Stoyan Dzhudzhev (1902-1997) – Bulgarian ethnomusicologist and supporter of diachronic folkloristics – claimed the existence of rhythmic one-celled primitive-protozoa. He presented the example of a Bulgarian carol, whose structure is based on the exact repetition of an iambic rhythmic formula and therefore, according to him, is evidence of an elementary human creative capacity. This thesis is challenged by the author of the present article. Based on analysis of melodics of the same song and its connections with other genres and ethnic traditions with the same rhythmic formula, he claims the foundational absence of rhythmic protozoa. Musical primitive is a musicological myth: where there is art there is always complexity.
Key words: Stoyan Dzhudzhev, rhythmic one-celled pseudoprimitive, Bulgarian carol (“koledarska”), the initial complexity of the arts.

This chapter locates the practice-inspired approach to rhythm of choreographer and movement-thinker Rudolf Laban (1879-1958) in the wider context of critical theory focusing on rhythm and rhyth-manalysis. In doing so, its aim is both to add a signifi cant and overlooked voice to the ongoing debate on rhythm which has unfolded in Western thought, and to argue for the value of a practitioner's insight into this prominently if not exclusively theoretical arena. Laban's attempts to defi ne, analyse and understand rhythm are here discussed in relation to his artistic output and his philosophy through an exploration and analysis of unpublished manuscripts and drawings held at the National Resource Centre for Dance at the University of Surrey in the United Kingdom. Anticipating what Henri Lefebvre famously argued in Rhythm-analysis (2004), rhythm is for Laban at the same time a quantifi able phenomenon (Takt) unfolding in space and a qualitative variable (rhythm itself), suggestive of what Lefebvre would later describe as 'what is least rational in human being: the lived, the carnal, the body' (9). Laban studied rhythm's intensities in his 'Effort theory' in English factories in the postwar period. This work resonates with but at the same time differs from Taylor's project of time-motion studies, in that rhythm plays the central role of resisting the impact of machine work on individual workers. Rhythm's effects on space and its impact on the dynamics of the moving body are also explored by Laban in his Choreutic theory, of which several models in the form of sketches and drawings are discussed in this chapter. In order to understand and reconcile the inner (Effort) and outer (Choreutics) study of rhythm, Laban, later in life, relied on topological structures such as knots and Mobius strips to devise his theories, something that resonates with the work of Gilles Deleuze and Félix Guattari, Jacques Lacan and Michel Serres.

The musical legacy of J Dilla continues to be felt eight years after his untimely death from lupus at the age of thirty two. During his lifetime Dilla produced dozens of albums for many influential hip hop artists while also producing his own albums and hundreds of individual compositions that are still unreleased. His influence has been felt by tens of
millions of people around the globe, the tools he used to create his compositions are held by the Smithsonian, and yet there are no academic studies analyzing his music. This paper will serve as a beginning, and will examine how Dilla approached production and composition through an analysis of the track “Workinonit” from his 2006 release, Donuts. How did Dilla make his beats and choose to arrange the samples that he used?
For example, in bars 74-81 of “Workinonit” Dilla loops a sample in which the vocals declare “Fade me,” taken from 10CC’s track the “Worst band in the world.” Perhaps due to pitch manipulation, the “F” sound has turned to an “S”, and to my ears, it sounds like the vocals are saying “Save me.” However, upon closer examination of the 10CC track, one finds that at 2:20, the vocals do indeed sound like this, and it is this part that Dilla has
chosen to loop, leaving one to wonder if he chose this section precisely because of it’s vocal ambiguity. This is especially relevant when one considers that the other repetitions
of “Fade me” on the 10CC track all have clear diction along with the same drum rhythm and guitar parts. Clearly, using this particular sample was a conscious aesthetic choice by
Dilla. The paper will look at more examples like this in order to better understand his compositional process.

Title of my PhD-dissertation:
"Unregulated spaces: a study of self-organized ways to use the city·"
The dissertation examines how people make use of the city, with a focus on the practices people use to organize themselves in unregulated spaces. Based on a two-year, anthropological, multi-sited fieldwork in the two Danish cities, Horsens and Aarhus, I have examined 38 peoples’ ways of thinking about, using and experiencing the city. Their different stories, actions, photographs, and ways of using different urban spaces provides insight into what gives the city potential for self-organized practices. The dissertation does not analyze one embodied practice, such as street football or urban phenomenon like parkour and roofing, but develops an analytical approach that makes it possible to analyze multiple places and informants in order to explore various degrees of being self-organized and hereby conceptualize self-organization as an urban phenomenon.
Not all of the informants that where studied know each other and the places they made use of where all different. Their perspectives on the city are selected because they provide important insight into the ways in which some urban spaces can be heavily predetermined while others are less regulated and, therefore create opportunities for reinterpretation and alternative use. The informants all searched for places that were not fixed and established in advance, but where instead characterized by unpredictability, fewer social obligations and less responsibility. These spaces are defined in the dissertation as unregulated space / matrikelløse rum and they are characteristic by the fact that people can organize time, space, body and the social relations themselves. Self-organization is the analytical research optic applied to explore how the city is used.
The informants’ self-organized use of the city is not based on criminal, political, reactive or countercultural intentions, but is rooted in a curiosity and desire to redefine established meanings and the trivial rhythms that shape everyday life in the city. Their use of the city, moreover, is not radically different from other urban users, but they search far more explicitly for playful ways to use the city and push the boundaries of how the city can be conceptualized. They consciously maintain a balance between what is legal and illegal.
The dissertation is based on an interdisciplinary theoretical framework and its primarily theoretical approach is an integrated reading of the French philosopher Michel de Certeau's (1984) concept of practice and the French neomarxist Henri Lefebvre's (1991) theory of the dialectic of space and everyday life. A central argument of the dissertation is that informants `play ball against´ everyday spaces that are structured and create self-organizing tactics by negotiating the interplay between: the organized and informal, the predictable and unpredictable, and pre-established and unregulated spaces.
The self-organized use of the city is analyzed through four separate chapters that can be divided into four analytical themes: place and materiality, body and rhythms, social mobile relations and the organization of time and space. The first chapter, Characteristics and the potentials of place, examines place as form and materiality, as well as place in relation to the urban surroundings. The narratives of the informants illustrate how the value of a place is not just material, but that the social dimensions of the place influence the potential and limitations of the place (Gibson 1977). The chapter also discusses how the informants create a playful framing of the city, insofar as they play with the logics of the planned environmental and implement them in new structures of meaning (Bateson 1972).
The second chapter, Doing city, describes the physical ways in which places are used. Henri Lefebvre’s (2004) rhythmanalysis is used as a theoretical framework because it provides a nuanced way of examining how the embodied use of the city is about a sensory experience of the city as well as its temporal structures, practices, everyday routines, sounds, lights, etc. In order to grasp the unpredictable nature of the city, the informants improvise as a part of their self-organized practices. By combining observations of a musical jamsession with the city's unpredictable spatiality I argue that informants improvise and jam with rhythms of the city. They create new representations of the city by letting the rhythms of the city and its materiality play together in new formations.
The third chapter, Mobile social relations, examines the type of relations that are formed when people do not meet because of an institution, an age group or a one specific leisure activity. The Danish anthropologist Henrik Vigh’s (2006) concept of social navigation is used in order to understand how people navigate socially in everyday spaces that are constantly moving and mobile. In these types of mobile social relationships, likeminded individuals have in common that, in their everyday life, they have similar social orientations and seek similar social spaces in the city - particular spaces - where they define their own social connections and boundaries. Likeminded individuals therefore actively search for unpredictability, which marks a contrast to the social categorizations that a large part of everyday life and the institutionalized spaces that typically forms its basis.
The theoretical framework of the fourth chapter, The city - a space for self-organization?, is the dialectic of everyday life rooted in Henri Lefebvre’s critique of modernization as well as in Danish and German pedagogical discussions of the segregation of everyday life. The aim of the chapter is to explore what dimensions of the city and everyday life the informants experience as supportive or limiting for their self-organized use of the city.
The informants experiences unregulated spaces / matrikelløse rum in different ways to negotiate norms, values, temporal structures and social framings. The practice stands in contrast to regulated and institutionalized spaces, such as the youth club, school, the formalized city and the established music scene.  The contrast between spaces can be found in the degree to which people can take ownership and define: when, where and with whom. Not all people are able to manage the unpredictable nature of the city and therefore some people seek spaces that are more regulated. The dissertation stresses the importance of having social spaces with varying degrees of self-organized and formalized framework phrases, in everyday life.
The dissertation is about self-organized use of the city. The dissertation contributes to knowledge about how self-organized practices are a form of organization that arises with and in the city. In unregulated spaces/matrikelløse rum people can question the formalized framing of the city and negotiate dimensions of everyday life that, in principle, are not negotiable. The dissertation develops and presents concepts of gray oases, unregulated spaces/matrikelløse rum, likeminded individuals and spatial jamsession. The concepts provide insight into creative forces that may be more widespread than we know of and helps to raise a question of what good urban spaces are and who defines when a space is good. The dissertation contributes to a discussion on how society and pedagogical institutions create concepts of leisure, social space, social relations and participation.

A treatise for the Summer 2015 issue of Chilean sound art journal AURAL on the ways that sound shapes our experience of living.

Upon developing an acute awareness of the psycho-social effects of atmosphere, we become what 20th century philosopher Henri Lefebvre (and Gaston Bachelard and Pinheiro dos Santos before him) termed “rhythmanalysts”: “Everywhere there is interaction between a place, a time, and an expenditure of energy there is rhythm”...[The rhythmanalyst] is capable of listening to a house, a street, a town as one listens to a symphony…”

Busking and street performance while generally subject to positive responses have been rendered as trivial or at worse, a purely commercial pursuit. While there is truth in such feelings, it is by no means the full picture and such a “triviality barrier” should be broached. In so doing so, the cultural importance of busking and the contribution it makes to the cultural scene of urban areas can be revealed and acknowledged.

In this thesis I hope achieve two aims. One; to give busking the respect I believe that it deserves and two; to use busking as a lens or theoretical example to contribute to the construction of a new theoretical discourse highlighting the importance of performance and rhetoric in culture.

В книге М.Аркадьева «Фундаментальные проблемы музыкального ритма и «незвучащее». Время, метр, нотный текст, артикуляция» исследуются основы метроритмического (хроноартикуляционного) языка западноевропейской музыки XVIII - первой трети XX вв. Автор обосновывает новое понимание новоевропейского метра как «незвучащей», неакустической и экспрессивной основы музыкального ритма. Любой
аналитический результат данного исследования трактуется как профессиональная исполнительская рекомендация, и наоборот. Таким образом, теоретическая и практическая составляющие работы образуют собой нерасторжимое целое.
The musical discourse is analysed in terms of relationship of two groundworks, the sounding one and the non-sounding, non acoustic one. А new object of investigation is specified: the musical time in a special sense as the second (“non-sounding”, non acoustic) groundwork of musical discourse in its intentional realization in the course of performance. The problem of musical time is regarded in connection with the problem of articulation (in a broader, as well as in a special sense) of musical tissue.

Le court terme hurlant ne doit pas occulter le long terme silencieux Edgar Pisani Le temps « synthèse progressive d'un haut niveau de complexité » (Elias, 1996) est longtemps resté une dimension peu abordée dans l'action publique urbaine et les politiques publiques en général. Il s'agit ici d'aborder les interactions entre les évolutions temporelles de ce dernier quart de siècle et l'action publique urbaine. L'approche concerne à la fois la modification du rapport au temps sur le long terme et la prise en compte du temporaire dans un contexte de « territorialisation » des politiques publiques (Faure, Négrier, 2007), de transition et d'incertitude (Chalas, Soubeyran, 2009).

An analysis of Harrison Birtwistle’s Gigue Machine (2011) attempts to answer the following questions, regarding the composer’s influence of early music and my reaction to this aesthetic approach in composition. The first question it attempts to answer, based on this essay’s score analysis: (1) How does Harrison Birtwistle’s most recent piano work, Gigue Machine, relate to the gigue dance form that is part of the Baroque suite? (2) In your own practice as a composer, under which conditions would you allow references to music of the past (if at all)? In this essay, the analysis will attempt to trace early music influences in Birtwistle’s score—specifically some (i) rhythmic materials that connect to the gigue movement (from a Baroque dance suite), as well as (ii) imitative counterpoint/materials, which is also a feature of a gigue. Additionally, this analysis will explore the structure of the piece, due to the composer’s description: “I’m thinking of it like a fantasia in two parts, but it’s two musics, not two voices. It’s an interplay between something linear and sonorous and something else that is very staccato.”  The “interplay” between the “staccato” and the “linear” will therefore be examined, within the context of its rhythmic features—and thus, by tracing these features, my essay aims to compare and discuss the connections of the gigue into this twenty-first century work. I will provide my answers to said questions in the conclusion of this essay.

The translation of Rudolf Bode’s 'Rhythm and its Importance for Education' and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm.

This article assesses some potential approaches to museums and cities propelled by a theoretical preoccupation with modernity as a condition of speed. Here, one can extrapolate two variants in the writings and interventions of Marinetti, Simmel, Virilio, and writers in the postmodern tradition: (a) the museum is slow, it is a brake on modernity, it is modernity’s sedentary other and (b) the museum is fast, it is as quick as the city, reflecting modernity’s impulse toward acceleration. To finesse these approaches, the article will move toward the method of rhythmanalysis and an emphasis on time—space considerations. It is Lefebvre’s teasing last snippets on the concept of rhythm, the article will argue, presaged by Benjamin’s approach to the variant tempos of modernity in The Arcades Project, that point to a fuller and more advanced approach to urban—museological relations and the multiple rhythms that feature in both.

"Mots clés : métropolisation du temps, rythme social, rendez-vous collectif, urbanise temporaire, urbanité événementielle
Si la métropole est polychronique, l'isolement d'un de ses rythmes permet de nuancer les théories de la modernité liquide et de la ville en continu. A travers l'étude diachronique de trois événements festifs métropolitains à Paris et Bruxelles, nous proposons une lecture de l'histoire des villes par ses temps partagés, une description des mécanismes par lesquels les rythmes sociaux émergent et une analyse du rôle qu'ils jouent dans la production de l'espace et de la société.

Réinterrogé par le concept de rendez-vous collectifs, les rythmes sociaux urbains apparaissent comme une co-production entre un urbanisme temporaire et une urbanité événementielle. Ces deux éléments forment le couple explicatif du rôle spatial et social des rythmes événementiels dans la métropole. Les institutions municipales instrumentalisent l'urbanisme temporaire pour signifier des unités du temps social qui permettent d'organiser le rassemblement et de produire matériellement du lieu. L'urbanité événementielle est le résultat collectif des interprétations individuelles des événements comme signe temporel. Elle produit du lien social et construit un sens commun des lieux. La répétition calendaire de la rencontre entre l'urbanisme temporaire et l'urbanité événementielle provient d'une part, de la décision politique de maintenir et d'instrumentaliser le rendez-vous dans l'organisation de la métropole, d'autre part de la synchronisation rythmique des individus qui organisent leurs temps sociaux pour participer au rassemblement. La rationalité axiologique qui anime les participants est motivée par la valorisation des interactions de face-à-face et la production de liens sociaux associatifs, dans une société interrogée par la différenciation et la désynchronisation des modes de vie quotidiens. L'individu ne se passe toujours pas de rassemblements rituels, dans des lieux précis et selon des temporalités saisonnières.

En dépit de leurs racines historiques profondes, ces rythmes collectifs sont adaptés à la métropole, à la complexification de ses territoires, à l'hybridation de ses représentations culturelles et à l'individualisation de ses temporalités sociales. Au-delà, le concept de rythme est une théorie de morphologie sociale qui rend compte du fonctionnement des sociétés de façon multiscalaire et dynamique. Cette approche rythmique s'inscrit dans les théories sociologiques intermédiaires qui lient l'individu et le collectif, l'usager et l'habitant des villes et ses institutions, la morphologie spatiale et temporelle de groupements humains de toutes tailles. Le fait métropolitain, influençant et influencé par l'individu et le global, constitue une échelle mésociale heuristique pour l'analyse des sociétés modernes.

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Keywords: metropolization of time, social rhythms, planned gatherings, temporary urbanism, event sociability

The city is polychronic. We qualify liquid modernity theory and the twenty-four hour city model by isolating one of its rhythms. Based on a diachronic study of three festive urban events in Paris and Brussels, we propose a new reading of urban history through planned gatherings, a description of the mechanisms by which social rhythms emerge and the role they play in building urban space and society. The planned gathering concept is applied to urban social rhythms, which are seen as the product of an interaction between temporary urbanism and event sociability. Institutions instrumentalise temporary urbanism to signify units of social time, and implicitly plan gatherings by producing a conducive physical place. Event sociability is the collective result of individual interpretations of this sign, which produce social ties and create a corresponding social place. These places become periodic through political decisions to reproduce the sign, as well as individuals' efforts to organize and synchronize their time to participate. The resultant planned gatherings are in turn instrumentalized to organize the metropolis.

In a society whose groups are increasingly differentiated and desynchronized, face-to-face interaction and the production of discretionary social ties are highly valued. Individuals apply value rationality and thus continue to participate in ritual, seasonal gatherings at fixed places and times. Despite historical continuities, these rhythms are specifically modern in that they have adapted to the contemporary city's territorial complexity, cultural hybridization, and idividualized temporality. Using the semantic duality of rhythm (flowing / periodic) we outline a more general theory of social morphology which provides a multiscale, dynamic account of societies, covering interactions between the individual and the collective, inhabitants and institutions, the spatial and temporal patterns in human groups of varying size. The mesosocial metropolitan scale is situated between the indivual and the global."

L'article  esquisse une rythmologie philosophique dont il énonce les règles "arythmétiques". Je propose le mot-valise “arythmétique” pour désigner le système deleuzien de la répétition complexe. Premièrement, ce terme rappelle la fusion proprement pythagoricienne entre arithmos et rhuthmos : comme dit Deleuze, « le nombre nombrant est rythmique ». Deuxièmement, ce mot-valise suggère l’idée paradoxale suivant laquelle l’arythmie est la source du rythme : « le rythme est l’Inégal ou l’Incommensurable ».

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at [email protected]
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

Due to the 20th century mathematical and scientific developments of Georg Cantor, Max Karl Planck, Albert Einstein, and Werner Heisenberg, concepts once relegated to obscurity, such as irrationality, infinity, insolvability, and chaos, were brought to mainstream attention, ultimately changing the course of technological and scientific development into the 21st century. Before these seminal thinkers, concepts like numerical irrationality and infinity were considered by many to be worthless if not amoral; such attitudes can be found persisting back to the ancient Greeks under the Pythagoreans. Interestingly, the aesthetic of irrationality follows a similar historical trajectory, mostly finding relegation in peripheral movements and specific artists before the 20th century. However, the 20th century has seen the greatest and longest persisting resurgence in mathematically irrational thought within the arts. This paper compares the visual and musical experiments in irrationality, incommensurability, and infinity in the works of MC Escher and Conlon Nancarrow during the early and mid-twentieth century, showing a correlation between contemporary mathematical and physical innovations and specific aesthetic pursuits in art and music.

This dissertation investigates cabdriving as a form of spatial work, involved in the production and reproduction of social space through three interrelated products: physical movement from place to place; the experience of movement, of connection made between places; and the articulation of these places, movements, and experiences with visions of society and the social. The particular forms of knowledge involved in this work, and the politics in which taxicabs are imbricated, are explored through fieldwork conducted in two very different cities: Mexico City and San Francisco, California. The political context of cabdriving knowledge changes as new technologies are introduced into the cab to reframe the relationship between the interior of the cab (where passengers and drivers interact) and the exteriors (urban and informational spaces) through which it passes.

In Mexico City, interviews with libre, base, and sitio cabdrivers about their knowledge and work strategies revealed three aspects of cabdriving as a rhythmanalytical practice  1) the points of confluence, or the geographic mode of intersection or confluence by which drivers link up with passengers; 2) the temporal and monetary patterns of constraint the occupation puts on drivers; and 3) the sense of the city which emerges, as this is described by drivers. Each form of taxicab has different patterns of movement, and different spatial and technological means of establishing contact with customers, which results in differing experiences and strategies elaborated by drivers.

In San Francisco, interviews were conducted with taxi, limousine, and “ridesharing” drivers on the impact of smartphone-enabled “e-hailing” technology. The term allegorithm (the productive co-deployment of a socially relevant allegorical script and a software-mediated algorithm) is borrowed from gaming studies to describe how interfaces reframe the cab-riding experience. Of particular interest is the emergene of “ridesharing,” or the overcab (a cab-riding experience which is superior to the experience of riding in a cab). The effectiveness of the overcab’s reframing project depends on the acceptance and performance by participants of the “overcab” narrative. There are indications that the transcendence of the overcab is fragile, and that cracks are developing in the experiences of both drivers and passengers, due to continuing tensions which the overcab has failed to resolve, or which have been introduced as part of its regulating mechanism.

Freelancers work for companies, but also apart from them - at home, on site, or in shared workspaces. This chapter examines how clients and freelancers manage and organise the employment relationship at a distance. Utilising interview data with freelancers working in the Dutch creative industries, Henri Lefebvre’s method of ‘rhythmanalysis’, Nitzan and Bichler’s theory of ‘capital as power’, and John Holloway’s understanding of human creativity as ‘doing’, the chapter examines the conflicting rhythms of freelance creative work. It shows that freelancers remain subject to traditional workplace-oriented structures of control, particularly in creative agencies. Freelancers’ use of time must correspond to client processes of measurement and valuation. Different client relationships, and the proximity they imply, produce different rhythms of work.

Taking as its starting point the spatiotemporal rhythms of landscapes of hyper-mobility and transit, this paper explores how the process of ‘marooning’ the self in a radically placeless (and depthless) space – in this instance a motorway traffic island on the M53 in the north west of England – can inform critical understandings and practices of ‘deep mapping’. Conceived of as an autoethnographic experiment – a performative expression of ‘islandness’ as an embodied spatial praxis – the research on which this paper draws revisits ideas set out in JG Ballard’s 1974 novel Concrete Island, although, unlike Ballard’s island Crusoe (and sans person Friday), the author’s residency was restricted to one day and night. The fieldwork, which combines methods of ‘digital capture’ (audio soundscapes, video, stills photography, and GPS tracking), takes the form of a rhythmanalytical (Lefebvre 2004) mapping of territory that can unequivocally be defined as ‘negative space’. Offering an oblique engagement with debates on ‘non places’ (Augé 1995) and spaces of mobility, the paper examines the capacity of non places/negative spaces to play host to the conditions whereby affects of place and dwelling can be harnessed and performatively transacted. The embodied rhythmicity of non places is thus interrogated from the vantage point of a constitutive negation of the negation of place. In this vein, the paper offers a reflexive examination of the spatial anthropology of negative space.

In what follows I want to use a notion of rhythmanalysis for attending to certain aspects of everyday life in nineteenth-century London (for instance, the languid yet agile rhythms of street traders). Necessarily this will entail a much more circumscribed account of urban rhythms than Lefebvre promoted, and it also means approaching material less available for the kind of sensory immersion that he had in mind. A number of issues emerge when rhythmanalysis is set to work on historical material. Rhythmanalysis, as practiced by Lefebvre and to a certain extent by de Certeau, enlists the sense of sound and smell as well as sight to register the rhythms of contemporary life. Yet to recruit rhythmanalysis for historical work on nineteenth century London means being limited to observing observations, listening to what has already been listened to.

Directly inspired by Philip Ethington's proposal on "placing history", my dissertation offers a spatial approach to the history of advertising in modern Shanghai (1905-1949). Based on various materials (press, archives, photos, sketches, graphs, maps, trees), this spatial trend aims to shift the gaze from mainstream cultural approach (focused on representations visible on press advertisements) to a spatial and material approach of advertising, with a genuine concern for the physical aspects of advertisements. The first part (chapter 1 and 2) is devoted to mapping and measuring the populations and territories of advertising in Shanghai, both in the local press (Chinese newspaper Shenbao and British North-China Daily News), as well as within the city. The second part examines the actors who made and inhabited these spaces, namely the emerging advertising profession (chapter 3) and the actors involved in the production or consumption of advertised products (advertisers/manufacturing companies, brands/products, markets/consumers) (chapter 4). Chapter 5 is devoted to advertising “landscapes” - a term that I used as an operative concept to replace the overused, and often misused, notion of representation - in order to cover every dimension of advertisements (their physical environment at various scales, the copy surface, the discourses they carried). Chapter 6 offers to take advertising spaces as an ideal observatory for examining tensions, conflicts and other forms of relationships surrounding advertising, as well as a "laboratory" for inventing urban modernity – that is, new ways of conceiving and living the city in modern Shanghai. As spatial approaches are often blamed for “freezing” history, my dissertation eventually attempts to trace the circulations and rhythmic patterns between the printed and urban spaces, within and outside Shanghai (chapters 7 and 8). Beyond the "terrain", my dissertation strives to take advantage of the new resources available to historians in the digital age. The digital platform MADspace (http://madspace.org/), which has been especially designed as a digital companion to this PhD project, makes the assumption that the digital ecology offers unexpected opportunities for renewing research questions and methodologies in the field of (Chinese, urban) history.

Morris's Arc (1988) for String Quartet flows; it flows with substance, and with purpose. By flowing, I don’t just mean in the trivial sense that all music flows because it is unfolding in time and time flows. Rather I mean that there is continuity to its various surges of eventfulness; these surges are not disjunct or sudden. And by substance I mean both that its sound is as a sensuous fluid material and that the unfolding of its constituent events presents a coherent organization, thus binding together into a statement that seems meaningful in retrospect. By purpose I mean not only that there is a local logic to the consequence of one note following another, but also that the flow of events enables the material to organize into processes that forge a trajectory toward a goal.
    The analysis first focuses on local details considered in terms of pitch and pitch-class formations as arising from twelve-tone rows; then it delves into aspects of form, process, and texture. These are considered in terms of emergent properties in flux. The modeling of these properties and their flux employs some mathematical formalisms, but the reader can rely on the fact that every mathematical definition and formula is described carefully in prose as well.
    In Arc, the twelve-tone pitch class details and the surging emergent qualities projecting form are not completely separate from each other. Rather, all these features interact. Thus not only does the article weave together connections between such facets as form, process, and texture, but it also connects these to the twelve-tone rows and pitch-class configurations that are more straightforwardly part of the compositional plan (and more usual in analyses) of Morris’s music.

[Download the pdf below, or contact the author [email protected], for a digital offprint. It can also accessed through JSTOR: www.jstor.org/stable/10.7757/persnewmusi.52.2.0249 ]

In this research some aspects of the language, style, music, and sounds of the holy Qur'an will be analyzed in order to prove that it is a miracle. The word "miracle" expresses an event that is beyond the capacity of the men or the society. So greater the impossibility, greater the miracle will be . This research focuses on the subtleties of the Qur'an and its beauties. The Qur'an contains literary gems in every Ayah, Passage and sura and this is one of its miraculous sign. It surpassed the high level of classical Arabic eloquence and has its own style, unique layout, features and a uniquely powerful message which inspire men to change their whole lifestyle and entirely guide them.

Their eyes glimmering with a high-tech future, the leaders of the South Indian metropolis of Hyderabad have spent the last two decades launching it onto the globalizing stage. The centerpiece of this effort has been the western periphery of the city, aspirationally christened “Cyberabad.” The area has since been rapidly transformed, and its villages, farms, and wildlands have been swiftly inundated by a tide of urbanization. And a new, relatively affluent class of infotech workers—known locally as “techies”—has arrived from across India to dwell amidst the built expressions of the visions of planners, developers, and information technology corporations. In this dissertation, based on eighteen months of ethnographic field research in and around Cyberabad, I consider the transformed and transforming lives of these techies. In so doing, I enter an anthropological conversation regarding the often fraught relationships between, on the one hand, planners and developers who shape spaces using a modernist model of top-down planning and, on the other, the people who come to reside in these spaces and who remake them materially and conceptually through their day-to-day activities.

The shifting urbanscape of Cyberabad is a field on which changing experiences of space and time play out. This is particularly true for techies, who travel abroad and across India in greater numbers and with less difficulty than previous generations; change jobs more frequently and easily than previous generations; earn and consume more than previous generations; and move about an ever-expanding city more effortlessly than previous generations. These interlinked experiences find a key point of articulation in the concept of mobility. While I consider all of these experiences and a number of ways in which they intersect, I most specifically focus on mobility practices in the urban landscape, where techies have filled expanding, densifying road networks with a burgeoning fleet of private cars and motorbikes. As they increasingly rely on private vehicles to shuttle between distant locations within the city—from high-rise flats to corporate campuses to shopping malls—techies experience new daily rhythms of life. These rhythms are subject to global corporate logics, the ideological interests of state authorities, and the simultaneously enabling and limiting materialities of the city’s transportation system. The recent and dramatic flourishing of vehicles on Cyberabad’s roads has also led to a driving culture where motorists tend to ignore symbolic controls such as signs and lights, leading planners to rely heavily on concrete measures such as barricades, medians, and speed bumps to control traffic. Even then, drivers often find ways to subvert planners’ intentions.

Cyberabad’s techies have willingly entered and occupied specific state visions of modernity, progress, and the future, and have made these spaces their own. By attending to the lives of these men and women as they work, play, and travel, I extend anthropological literatures and social science scholarship about cities, new middle classes, globalization, modernity, urban planning, and mobility.

Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of ‘Rhythmic Gymnastics’. Bode engages with the work of his contemporaries, such as Emile Jaques-Dalcroze, Karl Buecher and Ludwig Klages, and comes to identify rhythm with a continuum devoid of rationality. The text is unique in its ability to meaningfully connect such diverse fields as philosophy, gymnastics, anthropology and politics and shows, in this way, the potential of ‘rhythmanalysis’.

This article examines rhythmanalysis within the context of Henri Lefebvre’s critique of everyday life and identifies gaps in his framework from the vantage point of intersectional feminist scholarship. Intersectional rhythmanalysis, I argue, provides a framework through which to conceptualize the braiding together of rhythms, social categories of difference, and power on non-essentialist bases. I interweave findings from doctoral research on migrant farmworker rhythms in rural southern Ontario, Canada. The paper argues that rhythms reflect unequal subject positions of migrants in Canada, yet also represent lived uses of space and times which permit transgressions of racial, gender, and class boundaries.

Focusing on three dance works and an autoethnographic account of a site-specific performance in Manchester, UK, this paper explores how contemporary site-specific dance can alter the meaning, practice, and feeling of urban spaces. Philippe Saire's Cartographies (2012) reveals the ludic and sensual potentialities of the city, Wayne Sables's Traffic (2004) foregrounds urban rhythms of place, and a piece by the Guerilla Dance Project (2010) highlights overlooked habitual practices in familiar space. To draw out these themes, we discuss a performance devised by Caitlan in Manchester's Piccadilly Gardens.

The paradigm shift into an ontological-epistemological (OE) reality of quantum resonance has created the crisis of planetary extinction due to the use of false research premises; i.e., the fundamental research parameters—rational materialistic objectivity—that are still requirements for scientific research have become false premises that generate false conclusions. A primary reason that human cultural “personae” have become psychotic is that they are wandering between paradigms without definitive direction. Reality has become “false news”. It is well-known that organisms survive only if they understand their environment, and—due to radical changes into the quantum field worldview that is controlled by its “preternatural” media inhabitants—human perceptions of their sentient energy environment must be updated. The Individuated True Self must be carefully defined.  In a QFT “reality”, the mystical concept that “humans are made in the image of God” (As above, so below) must be transformed from a vague “childish” sense of “personal privilege” to a mature sense of “responsibility” for all creation. Maturity may be gauged according to a scaled  spectrum of “Intention”—degrees of coherent entrainment between First Cause and Human systems. Another way to understand coherence of collective behavior is “harmony of rhythm” in a musical composition. Forms of this OE cultural transformation may be seen in human agency that—consciously or unconsciously—is based in the algorithms of a rhythmic “source code” that includes harmonious dynamics of asymmetrical mathematics (Pope, R., 2019a), Jungian Compensation leading to Individuation (Jung, C., 1933), and Coherent Heart Entrainment (McCraty, R., 2015). This transformational dynamic can be understood in terms of “coherent entrainment of First Cause and human intentional creativity” and “Reframing the Moral/Economic Narrative with Sentient Media”.

One challenge for ecological thinking today is how to disentangle our understandings of time from the colonial and European cosmology that takes clock time as absolute, the linear progression of measurable horizontal time as the basis for an entire way of life. Indeed, the founding myths of Western civilization are based upon the development of the linear model in direct opposition to cyclical and rhythmic place-based cosmologies (Abram 194-195). As is well known, this way of life remains present to us in the extractive and destructive relationship to the non-human world dominant today. If cosmology is to be understood as a set of beliefs and practices that reflect upon the totality of the universe and its meaningful relation to human life (Toulmin), how might a renewed philosophy of time inform an ecological cosmology?

This collection brings together new and original research on the concept and practice of ‘rhythmanalysis’ in urban sociology as a means to analyse the relationship between the time and space of the city. It offers a context and introduction to rhythmanalysis and presents a range of studies which use it to analyse – and animate - urban life across Europe and the Americas.

Originally proposed by French philosopher and urban scholar, Henri Lefebvre and his collaborator, Catherine Régulier, in the twentieth century, rhythmanalysis continues to capture the attention of urban scholars today. This volume includes in-depth analyses of the rhythms of place-making from the City of London to the Caminito of Buenos Aires. It explores the production of rhythm on the move – in cars and on the street - in relation to urban atmospheres and the implications of mobility for climate emergency. It considers what happens when everyday urban rhythms are disrupted and reconfigured, as in the extended disaster of an earthquake or through tourism and migration. And it delves into the mobilisation of the body, materials and technologies to make and detect rhythm whether in the spontaneous interactions of arts festivals in the UK or a multi-ethnic dance space in Germany.

The collection seeks to spark new interest in using rhythmanalysis as a mode of sensing and making sense of the complex entanglements of time and space at the heart of everyday urban life. It will be of interest to scholars and students in urban sociology, social and cultural geography, mobilities studies, and the sociology and philosophy of time.