
Contents
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Body + Movement + Irregular Matter → Rhythm Body + Movement + Irregular Matter → Rhythm
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Discretised Rhythm: Tapping, Clapping, Beats Discretised Rhythm: Tapping, Clapping, Beats
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The Rhythm Kit: Gradus ad Rhythmus The Rhythm Kit: Gradus ad Rhythmus
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Textural Rhythm Textural Rhythm
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Rhythm and the Felt Experience Rhythm and the Felt Experience
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Coming Togetherness: Ensembles and Entrainment Coming Togetherness: Ensembles and Entrainment
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Correlation of Orientation (Togetherness) Correlation of Orientation (Togetherness)
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Balloons, Lanterns and Rhythmic Ensembles Balloons, Lanterns and Rhythmic Ensembles
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Textural Subject Textural Subject
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Acknowledgements Acknowledgements
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Notes Notes
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References References
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3 Rhythm and Textural Temporality
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Published:August 2020
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Abstract
This chapter opens up a posthumanist and radical empiricist approach to rhythm. This approach suspends commitment to a particular notion of the anthropic subject, whether phenomenological, psychological or cognitive. In this sense, it shares with pragmatism and process philosophy the proposition of experience without a subject. The chapter presents a set of examples from the work produced by the Topological Media Lab and the Synthesis Centre at Arizona State University in order to offer a definition of rhythm ‘without a subject’. Rhythm requires variation of matter – in a perfectly homogeneous experience of a perfectly homogeneous world there can be no rhythm. Furthermore, rhythm as a feature of experience (rather than an abstract pattern) arises from a body encountering variation in matter – in other words, movement. Thus, corporeal movement and irregularities in matter are necessary to rhythmic experience. Moreover, rhythm is a feature of lived experience, and thus inextricably a part of phenomena rather than data.
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