Rhythmanalysis is the study of rhythms :o) Gaston Bachelard borrowed the term from the Portuguese writer Lucio Alberto Pinheiro dos Santos in The Psychoanalysis of Fire and in The Poetics of Space as “rhythmo-analysis”, and developed a chapter on “Rhythmanalysis” in Dialectic of Duration. Toward the end of his life Henri Lefebvre made an attempt to develop a theory of rhythms, in order to build an understanding of “the concrete modalities of social time” (Rhythmanalysis: Space, Time and Everyday Life, 2004 [1992]). Social time manifests as rhythms that pertain to either natural time (cosmic rhythms) or to linear time (historic rhythms) like in modern everyday life, which is modeled on the time of watches and clocks. Lefebvre argues for the regeneration of present social life by means of incorporating the natural rhythms into the modern consciousness. Â
“Without claiming to change life, but by fully reinstating the sensible in consciousness and in thought, [the rhythmanalyst] would accomplish a tiny part of the revolutionary transformation of this world and this society in decline. Without any declared political position” (Lefebvre 2004, p.26).
On sound (silence, music and laughter)Â John Cage
"[The rhythmanalyst] will listen to the world, and above all to what are disdainfully called noises, which are said without meaning, and to murmurs [rumeurs], full of meaning – and finally he will listen to silences.” … “The sensible? It is neither the apparent, nor the phenomenal, but the present. The rhythmanalyst calls on all his senses. … without privileging any one of these sensations … he does not neglect smell, scents, the impressions that are strong in the child and other living beings, which society atrophies, neutralizes in order to arrive at the colourless, the odourless and the insensible. … The rhythmanalyst will not be obliged to jump from the inside to the outside of observed bodies; he should come to listen to them as a whole and unify them by taking his own rhythms as a reference: by integrating the outside with the inside and vice versa" (Lefebvre 2004, pp.19-21).Â
On love and time www.ipernity.com/blog/ileanaa/73599
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flânerie@paris says:
Can you elaborate a little more on this?
"Lefebvre argues for the regeneration of present social life by means of incorporating the natural rhythms into the modern consciousness"
Or I should better read the book? :-)
ileanaa replies:
flânerie@paris says:
ileanaa replies:
flânerie@paris says:
ileanaa replies:
ileanaa edited this comment 20 months ago.
flânerie@paris says:
www.youtube.com/watch?v=SSulycqZH-U&NR=1
(it was the next one after the one you added at the end of your post ... I was happy to see both :-)
ileanaa replies:
ileanaa edited this comment 20 months ago.
flânerie@paris says:
But I am not sure to what extent the rythmanalyst can really detach ... difficult to explain ... Cage loves to see the sounds as having their own life, but there are people producing them in a way that for them might be meaningful (in a different way than the one that musicians make music) but still they are not independent (except from those perhaps that are produced in nature ... the analog of the cosmic rhythm perhaps?)
Anyway ... these are exactly my thoughts ... I don't know if they make sense ... they maybe have also their own life :-)
ileanaa replies:
to understand how the analyst could detach, I think video photos are helpful... in the still and silent photos I shake the frame (my heartbeats take over?) more than in those w/ fluent and easily perceptible rhythms (into which I could integrate on the spot). i guess there is a bit of truth in both views: people as producers and sounds (rhythms) as producers... My understanding of Lefebvre reference to reproduction is the influence of the already produced system (space) on producers, as a phase of the (spatial) production...
I added a description of the rhythmanalyst by Lefebvre, and also his window analysis on flânerie
ileanaa edited this comment 20 months ago.