Rhythm and Harmony in Poetry and Music is an unchanged, high-quality reprint of the original edition of 1895. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare (...) and historical knowledge for the future. (shrink)

Let's make a rhythm -- The beginnings of rhythm -- Varying rhythms -- Sources of rhythm -- The rhythms of nature -- Rhythms of music -- Rhythm and words -- Some mysteries of rhythm -- Athletics -- Broken rhythms -- Machines -- Rhythms may be felt--and smelled -- Unseen rhythms -- Rhythms in daily life -- Furniture -- How rhythms take shape -- This wonderful world.

This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or be completely independent of music, though (...) natural or internal bodily rhythms can underpin both. Finally, it asserts the existence of dance that might be naturally rhythmic, but not in a way essential to dance qua dance. (shrink)

B. Kowalzig, « Broken Rhythms in Plato's Laws. Materialising Social Time in the Chorus » in A.-E. Peponi, Performance and Culture in Plato's Laws, Cambridge, Cambridge University Press, 2013. Le texte de Barbara Kowalzig est en partie accessible en ligne ici. - Philosophie – Nouvel article.

can highlight how everyday rhythms complicate chronological orderings of past and present and how what appears 'utterly changed' repeats in fascinating ways ...

_ Source: _Volume 47, Issue 1, pp 60 - 84 This article takes up Heidegger’s commentary on Rimbaud’s _Lettres du voyant_ as the starting point for an exploration of the question of rhythm in Heidegger’s thought, and an attempt to situate it within his understanding of technics and Being. Besides pursuing a historical study of the concept of rhythm in Heidegger’s work, this article proposes to understand rhythm through the concept of individuation. It responds to the French philosopher Jacques Garelli’s (...) critique of Heidegger that the latter ignores the question of individuation and always starts with beings that are already individuated. On the contrary, this article attempts to sketch a theory of individuation of rhythm in Heidegger’s proper thinking through a re-interpretation of the _Fug_—a word he used to translate the Greek word δίκη and words derived from it: joint, structure, submission, etc. (shrink)

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. (shrink)

This innovative study argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance.

Pulmonary ventilation and respiration are considered to be primarily involved in oxygenation of blood for oxygen delivery to cells throughout the body for metabolic purposes. Other pulmonary physiological observations, such as respiratory sinus arrhythmia, Hering Brewer reflex, cardiorespiratory synchronization, and the heart rate variability (HRV) relationship with breathing rhythm, lack complete explanations of physiological/functional significance. The spectrum of waveforms of breathing activity correlate to anxiety, depression, anger, stress, and other positive and negative emotions. Respiratory pattern has been thought not only (...) to be influenced by emotion but to itself influence emotion in a bi-directional relationship between the body and the mind. In order to show how filling in gaps in understanding could lead to certain future developments in mind–body medicine, biofeedback, and personal health monitoring, we review and discuss empirical work and tracings to express the vital role of bodily rhythms in influencing emotion, autonomic nervous system activity, and even general neural activity. Future developments in measurement and psychophysiological understanding of the pattern of breathing in combination with other parameters such as HRV, cardiorespiratory synchronization, and skin conductivity may allow for biometric monitoring systems to one day accurately predict affective state and even affective disorders such as anxiety. Better affective prediction based on recent research when incorporated into personal health monitoring devices could greatly improve public mental health by providing at-home biofeedback for greater understanding of one’s mental state and for mind–body affective treatments such as breathing exercises. (shrink)

Rhythm: definition and philosophical accounts.

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

Rhythm is key to language acquisition. Across languages, rhythmic features highlight fundamental linguistic elements of the sound stream and structural relations among them. A sensitivity to rhythmic features, which begins in utero, is evident at birth. What is less clear is whether rhythm supports infants' earliest links between language and cognition. Prior evidence has documented that for infants as young as 3 and 4 months, listening to their native language supports the core cognitive capacity of object categorization. This precocious link (...) is initially part of a broader template: listening to a non-native language from the same rhythmic class as and to vocalizations of non-human primates provide English-acquiring infants the same cognitive advantage as does listening to their native language. Here, we implement a machine-learning approach to ask whether there are acoustic properties, available on the surface of these vocalizations, that permit infants' to identify which vocalizations are candidate links to cognition. We provided the model with a robust sample of vocalizations that, from the vantage point of English-acquiring 4-month-olds, either support object categorization or fail to do so. We assess whether supervised ML classification models can distinguish those vocalizations that support cognition from those that do not, and which class of acoustic features best support that classification. Our analysis reveals that principal components derived from rhythm-relevant acoustic features were among the most robust in supporting the classification. Classifications performed using temporal envelope components were also robust. These new findings provide in principle evidence that infants' earliest links between vocalizations and cognition may be subserved by their perceptual sensitivity to rhythmic and spectral elements available on the surface of these vocalizations, and that these may guide infants' identification of candidate links to cognition. (shrink)

The present article proposes a reflection on the relation between music and language setting out from the experience of listening to words and listening to music. It relies to a certain extent upon an existential-phenomenological approach and develops the distinction between the sounding of sounds and the sound of sounding. From this distinction, a redefinition of rhythm is suggested based on the experience of listening and on the close listening to some pieces of music.

Music rhythm detection and tracking is an important part of the music comprehension system and visualization system. The music signal is subjected to a short-time Fourier transform to obtain the frequency spectrum. According to the perception characteristics of the human auditory system, the spectrum amplitude is logarithmically processed, and the endpoint intensity curve and the phase information of the peak value are output through half-wave rectification. The Pulse Code Modulation characteristic value is extracted according to the autocorrelation characteristic of the (...) endpoint intensity curve. This article proposes a rhythm detection algorithm based on multipath search and cluster analysis; that is, based on the clustering algorithm, it absorbs the idea of multipath tracking and proposes its own detection and tracking algorithm. It overcomes the weakness of the clustering algorithm that needs to use Musical Instrument Digital Interface auxiliary input to achieve the desired effect. This algorithm completely uses the PCM signal as the input, which is more robust than the clustering algorithm. The whole process is carried out in the time domain, and the amount of calculation is much smaller than the frequency domain calculation of multipath tracking, and the linear relationship with the rhythm of the music is much better than the filter bank algorithm. This algorithm can successfully detect the rhythm of the music with a strong sense of rhythm and can track the specific position of the rhythm point. (shrink)

Respiratory rhythms sustain biological life, governing the homeostatic exchange of oxygen and carbon dioxide. Until recently, however, the influence of breathing on the brain has largely been overlooked. Yet new evidence demonstrates that the act of breathing exerts a substantive, rhythmic influence on perception, emotion, and cognition, largely through the direct modulation of neural oscillations. Here, we synthesize these findings to motivate a new predictive coding model of respiratory brain coupling, in which breathing rhythmically modulates both local and global (...) neural gain, to optimize cognitive and affective processing. Our model further explains how respiratory rhythms interact with the topology of the functional connectome, and we highlight key implications for the computational psychiatry of disordered respiratory and interoceptive inference. (shrink)

It remains a dogma in cognitive neuroscience to separate human attention and memory into distinct modules and processes. Here we propose that brain rhythms reflect the embedded nature of these processes in the human brain, as evident from their shared neural signatures: gamma oscillations (30–90 Hz) reflect sensory information processing and activated neural representations (memory items). The theta rhythm (3–8 Hz) is a pacemaker of explicit control processes (central executive), structuring neural information processing, bit by bit, as reflected in (...) the theta-gamma code. By representing memory items in a sequential and time-compressed manner the theta-gamma code is hypothesized to solve key problems of neural computation: (1) attentional sampling (integrating and segregating information processing), (2) mnemonic updating (implementing Hebbian learning), and (3) predictive coding (advancing information processing ahead of the real time to guide behavior). In this framework, reduced alpha oscillations (8–14 Hz) reflect activated semantic networks, involved in both explicit and implicit mnemonic processes. Linking recent theoretical accounts and empirical insights on neural rhythms to the embedded-process model advances our understanding of the integrated nature of attention and memory – as the bedrock of human cognition. (shrink)

This introduction charts several of rhythm's various returns as a way of laying out the theoretical and methodological field in which the articles of this special issue find their place. While Henri Lefebvre’s rhythmanalysis is perhaps familiar to many, rhythm has appeared in a wide repertoire of guises, in many disciplines over the decades and indeed the centuries. This introduction attends to the particular roles of rhythm in the formation of modernity ranging from the processes of industrialization and the proliferation (...) of new media technologies to film and literary aesthetics as well as conceptualizations of human psychology, social behaviour and physiology. These are some of the historical antecedents to the contemporary understandings of rhythm within body studies to which most of the contributions to this issue are devoted. In this respect, the introduction outlines recent approaches to rhythm as vibration, a force of the virtual, and an intensive excess outside consciousness. (shrink)

One of the aims of phenomenology was to uncover a logic of the sensible world. This essay shows how rhythm can be understood as a logic of the sensible world and how rhythm is not only a profoundly aesthetic experience but one integral to phenomenological reflection. The essay highlights how aesthetic experiences accomplish phenomenological reductions and how phenomenological reflection demands a continued inquiry into the ways intelligibility first opens from within the sensible world. Rhythm is shown to be a preverbal (...) logic and expressive power that takes place between sensing and the sensible. The essay explores how art and phenomenology draw upon rhythms to bring forth senses of experience that normally get passed over and escape conceptual determination. The investigation digs beneath predicated experience and propositional language to reveal how rhythm is a preverbal mode of inquiry that takes place between solicitations made by the sensible and the body’s sensitive responsiveness. Rhythm establishes an original synchronic relation to sensible things that allows nascent forms of intelligibility to come into a dynamic and living clarity. However, rhythms comprise a latent form of intentionality that precedes the act-object schema of intentionality. As a form of intentionality rooted in the senses, rhythm is shown to be a mode of transport that effectuates absorptive experiences which pose unique challenges for phenomenological reflection and aesthetic theory. Nonetheless, rhythm helps clarify one way in which sources of intelligibility not only grow out of the sensible world but retain an enduring aesthetic quality. (shrink)

Is it possible to find an ethical and generative way to speak about the ‘work’ of Indigenous art? Regardless of what prohibitions exist to protect sacred knowledge from the gaze of Western eyes, Indigenous work is circulating; it is being read, misread, interpreted, misinterpreted and otherwise known. How can a non-Indigenous person ‘speak’ about Indigenous art without reducing it to the diagram, collapsing it into Western modes of knowing, or intruding into the domain of restricted cultural information? Given the lessons (...) of the Indigenous cultural practices, I propose that the work of art is performative and not merely representational. Through attention to the operation of rhythm in Kathleen Petyarre’s paintings, I propose to reconfigure contemporary understandings of performativity. In this formulation I will argue that in the dynamic productivity of the performative act, the world intrudes into practice, and in a double movement, practice casts its effects back towards the world. In this way I suggest that just as life gets into images, so imaging also produces reality. This mutual reflection is the work of art. (shrink)

Previous chapter As in 1896, Bücher ended his book with a chapter entitled “Der Rhythmus als ökonomisches Entwicklungsprincip – Rhythm as Principle of Economic Development,” which contained most of his ethical and—if much less explicitly—political suggestions. It is of great historical and theoretical interest to us because it proposed a complete ethics of rhythm which had rapidly very tangible consequences. Rhythm as Principle of Economic Development Chapter 9, which was - Économie et Marxisme – Nouvel article.

In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...) art. Drawing on this concept of the pathic and its way of engaging what Maldiney calls the “transpassibility” of receptivity, I argue that his phenomenology of art can be viewed as an attempt to bring together the two senses of the aesthetic in the Kantian sense, namely as an aesthetics of sense experience and as an aesthetics of art, from within the domain of sensibility itself. I develop this idea by turning to Maldiney’s notion of rhythm and examining how he thinks that it can be applied to the visual arts. Ultimately, I suggest that Maldiney’s aesthetics imbues art with ontological significance, since he takes the rhythmic presence of artworks to be a sensuous manifestation of the rhythmic ground of the world’s constitution. The truth of art, in this sense, is a revelation of the ontological functioning of rhythm. (shrink)

Body feedback is the proprioceptive feedback that denominates the afferent information from position and movement of the body to the central nervous system. It is crucial in experiencing emotions, in forming attitudes and in regulating emotions and behavior. This paper investigates effects of dynamic body feedback on affect and attitudes, focusing on the impact of movement rhythms with smooth vs. sharp reversals as one basic category of movement qualities. It relates those qualities to already explored effects of approach vs. (...) avoidance motor behavior as one basic category of movement shape. Studies 1 and 2 tested the effects of one of two basic movement qualities (smooth vs. sharp rhythms) on affect and cognition. The third study tested those movement qualities in combination with movement shape (approach vs. avoidance motor behavior) and the effects of those combinations on affect and attitudes toward initially valence-free stimuli. Results suggest that movement rhythms influence affect (studies 1 and 2), and attitudes (study 3), and moderate the impact of approach and avoidance motor behavior on attitudes (study 3). Extending static body feedback research with a dynamic account, findings indicate that movement qualities – next to movement shape – play an important role, when movement of the lived body is an independent variable. (shrink)

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment‐by‐moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music‐theoretically motivated (...) grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic‐processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof‐of‐concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small‐scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large‐scale and ecological testing. (shrink)

Rivers stopped or flowing backward -- Harmony, number, and others --Twentieth-Century measures.

This paper advocates the main ideas of the interactive model of representation of Mark Bickhard and the assimilation/accommodation framework of Jean Piaget, through a rhythm recognition demonstration program. Although completely unsupervised, the program progressively learns to recognize more and more complex rhythms struck on the user's keyboard. It does so without any recording of the input flow, and without any pattern matching in the usual sense. On the contrary, internal processes are dynamically constructed to follow and anticipate the user's (...) actions. We show that these processes are representations of the rhythms in the interactivist sense, and that they emerge from non representational grounds, avoiding the symbol‐grounding problem. They are not copies or transductions of reality, but ideal internal constructions of the agent, avoiding the circularity pointed out by Piaget. In practice, the active nature of this recognition process allows it to work even with noisy and complex input flows. (shrink)

Rhythm is a poetic necessity for constructing a poem, which in turn gives us other rhythms and other phonemes in the background of the meter, and behind the words, and hence the meter does not constitute a major value in constructing a poem unless it is linked to other artistic elements of writing poetry. In this section, we address the rhythmic phenomenon in the introductions to poetry collections in various forms of Arabic poetry: classical, free metrical, and prose poetry, (...) by reading a number of diverse poetic models, starting from the fact that poetry is not poetry, and that poetic meters do not form a poem except to the extent that the poet invests in other elements of poetry, in the image, style, density and depth of language, and rhetorical diversification in performing the poem, and also departing from the pattern by renewing and developing and striving to create advanced innovations in the broad rhythmic horizon, and in the formative and linguistic horizon of poetic introductions, and in this section we have monitored a group of rhythmic phenomena such as: repetition, phonemes of language, the rhythm of the visual space of writing, and the relationship between effect and reception. In light of this awareness, poetic introductions may come in a multi-rhythmic form that does not necessarily stop at the inherited poetic form, but rather varies in its performance and in the methods of delivery, investing the space of the poetic page in conveying the poet’s semantic vision. (shrink)

Previous chapter During the 1900s and the 1910s, rhythm became the subject of fierce debate between the German and Austrian schools of art history. Georg Vasold has made a useful presentation of this controversy. Beyond the academic and national competition, it first involved two opposite conceptions of aesthetics: the first based on corporal experience, mobile vision, and time; the second on optic perception, distant sight, and space. It also opposed two views on economic, social, - Esthétique – Nouvel article.

Previous chapter Between 1900 and 1914, rhythm became a commonplace in aesthetics and art history. In addition to Riegl's and Schmarsow's general studies which embraced large sections of Near-Eastern and Western history, it spread in numerous specialized fields devoted to more limited periods. The time had come for an application of the concepts which had just been invented. Since the Vienna school was weakened by the sudden death of Riegl in 1905, most of this new works however were - Esthétique (...) – Nouvel article. (shrink)

Previous chapter At the end of the 19th century, the University of Leipzig became a kind of Mecca for the theory of rhythm. Wundt had been offered a position as soon as 1875 and had opened in 1879 his laboratory of experimental psychology, the head of which he remained until his retirement in 1917. Meumann accepted a position at the University of Zürich in 1895 but stayed in close connection with his alma mater. Schmarsow was promoted at Leipzig in 1893 (...) - Économie et Marxisme – Nouvel article. (shrink)

Previous chapter In the 1880s and the 1890s, there was a new turn in the use of the concept of rhythm in art history and aesthetics. Rhythm, which had been successively—and sometimes jointly—considered as a judgment criterion then as an analytical category, was increasingly considered as a form of process. This new trend was mainly influenced by the new development of psychology which began to be massively imported into aesthetics during this period, but it also resulted from the growing - (...) Esthétique – Nouvel article. (shrink)

Previous chapter Medicine and some of its discipline-sisters as anatomy and physiology have been instrumental in the history of rhythm in Modern Times. Along with music, which will be only briefly touched upon because it would necessitate a complete essay and also because it exists already a good number of studies on the subject, they have transmitted and spread its Platonic and Aristotelian definition. Since métron – measure was the core of the Platonic definition of rhythm, I entitled - Médecine (...) – Nouvel article. (shrink)

Previous chapter Rhythm in Poetry Diderot was probably the first to focus on rhythm in poetry, while distinguishing it both from metric and musical models which existed since the Greek and Roman period. In the Salon of 1767, he explained that in poetry “rhythm counts for everything”, because rhythm causes a “prosodical magic” by a “particular choice of words,” “a certain distribution” of sounds both for timbre and quantity. This movement and the distribution of - Sur le concept de rythme (...) – Nouvel article. (shrink)

The Enneagram opens a remarkable window into the truth about us, but simply diagnosing our number doesn't do justice to who we are. Transformation happens as we grow in awareness and learn how to apply Enneagram insights to the rhythms of our daily lives. Filled with exercises to engage, challenge, encourage, and sustain, this handbook will help us grow in greater awareness and lead us to spiritual and relational transformation.

Previous chapter NB : This text is a section of larger work on rhythm in Antiquity. Rhythm in Physiology – Peripatetic School's Problems In the Προβλήματα – Problems, which is an Aristotelian or more probably pseudo-Aristotelian collection of questions and answers gradually assembled by members of the peripatetic school, the concept of rhythm mutates again. The gap between the Aristotelian sophisticated analyses developed in Rhetoric and Poetics and the gross definitions given in - Médecine – Nouvel article.

Philosophical discussions of film are divided in their treatment of the subject rhythm in film editing. Analytic philosophers tend to avoid discussion of it, while continental philosophers give it expansive consideration. This chapter aims to bridge these two traditions by analytically articulating what rhythm is, how it is shaped, and what it is for, while still respecting that it is, in both a film editor’s and an audience’s experience, a felt phenomenon. In order to do this, consideration is given both (...) to the firsthand perspective of experienced editors and the articulations of philosophers. This synthesis of practice and theory reveals how an understanding of the editor’s embodied cognitions, affective responses, and expert actions in shaping rhythm can shed light on rhythm’s effect on audiences. The chapter finds that rhythm in film editing is time, energy, and movement shaped by timing, pacing, and trajectory phrasing for the purpose of creating cycles of tension and release. (shrink)

Gamma rhythms are associated with external and internal sensory processing. Within the conceptual framework of “top-down” and “bottom-up” processing, this suggests that gamma represents a format common to both camps. As these oscillations facilitate communication in the temporal domain, they may represent a mechanism by which top-down and bottom-up processing can interact. A breakdown in this interaction may lead to hallucinations.

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’. (shrink)

This article examines the work of French phenomenologist Henri Maldiney (1912-2013), a philosopher who shed light on the phenomenon of interrogation by a world that has lost its pre-existing coordinates. While Maldiney himself referred to paintings and mental illness, we try to read his theory as an analysis of social situation and action. His theory helps us understand end-of-life situations in which caregivers encounter scenes where it is difficult to break out of a stalemate. It is a theory of practice (...) based on an innovative understanding of the concept of rhythm. (shrink)

A version of this op-ed appeared in print on May 10, 2015, on page SR9 of the New York edition of The New York Times with the headline : “Rhythms of the Brain”. It is also online here. IN 1890, the American psychologist William James famously likened our conscious experience to the flow of a stream. “A ‘river' or a ‘stream' are the metaphors by which it is most naturally described,” he wrote. “In talking of it hereafter, let's call (...) it the stream of thought, consciousness, or subjective life.” - Biologie – Nouvel article. (shrink)

A rigorous and imaginative inquiry into rhythm's vital importance for film and the moving image.

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or which are the sociocultural processes that underlie this phenomenon. We review (...) the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that the complexity of group dynamics can lead to temporal regularities that cannot be predicted from the individual periodicities: an emergent collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics. (shrink)

Cutting Rhythms is about rhythm in film editing. It breaks down the issue of rhythm in an accessible way that allows filmmakers to apply the principles to their own work and film scholars access to creative practice principles. This book offers possibilities rather than prescriptions. It presents questions editors or filmmakers can ask themselves about their work, or that scholars can pose in the analysis or evaluations of work.

The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will be (...) characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding. (shrink)

Ce texte a déjà paru le 26 octobre 2015 sur le site de la Max-Planck Gesellschaft. Nous remercions Jean-Paul Vignal de nous l'avoir signalé. Researchers at Max Planck Institute for Empirical Aesthetics in Frankfurt and of New York University have identified how brain rhythms are used to process music, a finding that also contributes to a better understanding of the auditory system. Furthermore, the study suggests that musical training can enhance the functional role of brain rhythms. The - (...) Sciences du vivant – Nouvel article. (shrink)

Previous chapter In German-speaking countries the rhythm became between 1785 and the very first years of 19th century, an explicit theme of philological, poetic and philosophical investigation. This is the second starting point in Modern Times of rhythm as rhuthmos, i.e. as “way of flowing”, the second time Platonic traditional definition was opposed by a re-actualized Heraclitean characterization. From Numerus to Rhythm in Poetry Clémence Couturier-Heinrich published in 2004 a - Sur le concept de rythme – Nouvel article.

The first study of Plutarch's prose-rhythm was made by Dr. A. W. de Groot, whose results were published in certain preliminary articles and in his Handbook of Greek Prose Rhythm, a work which is one of the landmarks in the history of its subject. In it he insisted that to discover which forms of clausula were favoured or avoided by any author it was not sufficient to make a count and discover which were frequent, which infrequent; for a form may (...) be frequent not because an author feels it suitable for the end of a sentence, but because he likes it at any point in his sentence, or even because we should find it frequent if we picked out words by chance from the dictionary. To discover which rhythms are specially sought or avoided at the end of a sentence we must compare the ends with the sentence as a whole. This Dr. de Groot did for a number of texts, included in which were selections from Plutarch's Lives. (shrink)