Rhythmanalysis: Everything You Always Wanted to Know but Were Afraid to Ask

15th February – 30th May 2017, Goldsmiths College
Convened by Dr Paola Crespi and Dr Sunil Manghani
Supported by the Consortium of Humanities and the Arts South-East England

The seminar series comprised six sessions exploring various approaches to time and rhythm as those found in the work of key critical theorists, such as Gilles Deleuze, Henri Lefebvre, Rudolf Laban, Roland Barthes, Henri Meschonnic, Emile Benveniste, Gaston Bachelard and others. The bibliographics for the set reading and audio recordings for each of the seminars is provide below.

PROGRAMME

Seminar 1:Rhythm in the work of Gilles Deleuze’ (15 February 2017)

Stamatia Portanova (University ‘L’ Orientale’, Neaples)

Set Reading

  • Deleuze, G and Guattari, F ([1980]1987) ‘1837: Of the refrain’, in A Thousand Plateaus: Capitalism and Schizophrenia. London and New York: Continuum, pp. 342-386.
  • Deleuze, G ([1968] 2001) ‘Ideas and the Synthesis of Difference’, in Difference and Repetition. London and New York: Continuum, pp. 168-221.

Seminar 2:Rhythm and Rhythmanalysis’ (15 March 2017)

Yi Chen (London College of Communication, University of the Arts London)

Set Reading

  • Lefebvre, H ([1992] 2004) Rhythmanalysis. London and New York: Continuum.
  • Chen Y (2017) ‘Introducing Rhythmanalysis as Field of Work’, in Practising Rhythmanalysis: Theories and Methodologies. London: Rowman and Littlefield, pp. 1-18.

Seminar 3: ‘Barthes’ Rhythm: An ethics of rhythm’ (29 March 2017)

Sunil Manghani (Winchester School of Art, University of Southampton)

Set Reading

  • Barthes, Roland (1985) ‘Rasch’ in The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. by Richard Howard. New York: Hill and Wang, pp. 299-312.
  • Barthes, Roland (2005) The Neutral: Lecture Course at the Collège de France (1977-1978), trans. by Rosalind E. Krauss and Denis Hollier. New York: Columbia University Press, pp. 12-19.
  • Barthes, Roland (2013) How to Live Together: novelistic simulations of some everyday spaces, trans. by Kate Briggs. New York: Columbia University Press, pp.3-9, 84-86.

Seminar 4: ‘Rhythm in the work of Emile Benveniste and Henri Meschonnic’ (25 April 2017)

Pascal Michon (Independent, Paris)

Part 1:


Part 2:

Set Reading


Seminar 5: Rhythm in the work of Rudolf Laban’ (16 May 2017)

Paola Crespi (Goldsmiths)

Set Reading

  • Laban, R ([1912] 2011) ‘Letter from Laban to Suzanne Perrottet’, in McCaw, D (ed) (2011) The Laban Sourcebook. London and New York: Routledge, p. 25.
  • Laban, R ([1921] 2014) ‘Eurhythmy and Kakorhythmy in Art and Education’, Body&Society, 20 (3&4), pp. 75-78.
  • Laban, R and Lawrence, F C (1947) Effort. London: Macdonald&Evans, vii-xvi; 1-6; 68-85.
  • Laban, R (n.d.) ‘Answers to Ten Questions on Industrial Rhythm’, in McCaw, D (ed) (2011) The Laban Sourcebook. London and New York: Routledge, pp. 231-235.

Seminar 6: ‘Rhythm in the work of Gaston Bachelard and Kodwo Eshun’ (30 May 2017)

Eleni Ikoniadou (Kingston University)

Set Reading

  • Gaston Bachelard, ‘The Instant’ in Robin Durie (ed) Time & the Instant (2000) Clinamen Press, pp 65- 95.
  • Kodwo Eshun, ‘Programming Rhythmatic Frequencies’ in More Brilliant than the Sun (1998), Quartet Books, pp 78-93.

Notes on Presenters 

Yi Chen is Lecturer in Contextual and Theoretical Studies. Her interest includes the philosophy of rhythmanalysis and using rhythmanalysis as a research method for formulating and exploring cultural historical issues. Her current research focuses on writing and thinking about pictorial presentations (painting and photographic images) as forms of cultural materialities.

Paola Crespi is a Visiting Research Fellow at the Topology Research Unit at Goldsmiths and a Lecturer at Anglia Ruskin University and at the University of Suffolk. She holds a PhD in Media Studies (Goldsmiths), and she worked with the material held in the Laban Archive at the National Resource Centre for Dance (University of Surrey) for her PhD research, which she is currently developing into a monograph. Paola’s work has been published in international peer-reviewed journals such as Theatre, Dance&Performance Training, Body&Society and Subjectivity, and online on the Theory, Culture&Society website. She is part of the editorial board of Evental Aesthetics: An Independent Journal of Philosophy and she recently became Section Editor for Cultural Studies and Critical Theory of the Open Journal of the Humanities.

Eleni Ikoniadou is a writer, researcher, teacher and practitioner specialising in media theory, sonic research, digital art and culture. Her work has appeared in journals and book collections such as Body & Society,  Senses and Society, Culture Machine, and Leonardo, among others. Her first monograph, The Rhythmic Event (MIT, 2014), published in the ‘Technologies of Lived Abstraction’ series (eds. Brian Massumi and Erin Manning), investigates the underlying dimensions of rhythm in experimental sound and media art.

Sunil Manghani is Reader in Critical and Cultural Theory and Director of Doctoral Research at the Winchester School of Art, University of Southampton. He is an Associate Editor for Theory Culture & Society and Journal of Contemporary Painting, and author/editor of numerous books and volumes, including India’s Biennale Effect (Routledge, India, 2017),  Image Studies (Routledge, 2013); Image Critique & the Fall of the Berlin Wall (Intellect, 2008); Painting: Critical and Primary Sources (Bloomsbury, 2015); and Farewell to Visual Studies? (Penn State University Press, 2015). He was co-curator of ‘Barthes/Burgin’, at the John Hansard Gallery, and co-author of the accompanying book, Barthes/Burgin (Edinburgh UP, 2016).

Pascal Michon is a French philosopher and historian. A graduate of the École Normale Supérieure de Saint-Cloud, he holds a PhD in History and one in Philosophy. He has taught at various universities abroad and at the Collège International de Philosophie. He is currently Professor in Classes préparatoires aux Grandes Écoles at Lycée Claude Monet in Paris. He is also the creator and main contributor of the website and the publishing house RHUTHMOS, both dedicated to rhythmic studies. He is the author of several books on rhythm and rhythmanalysis published in French, such as Rhythm, Power, Globalisation [Rhythmes, Pouvoir, Mondialisation] (PUF, 2005), The Rhythms of Politics: Democracy and Globalised Capitalism [Les Rhythmes du Politique. Democratie et capitalisme mondialise’] (RHUTHMOS, 2007), Marcel Mauss Recovered: Origins of the Anthropology or Rhythm [Marcel Mauss Retrouve’. Origines de l’Anthropologie du Rhythme] (RHUTHMOS, 2010) and Baroque Rhythmology: Spinoza, Leibniz and Diderot [Rhythmologie Baroque. Spinoza, Leibniz, Diderot] (RHUTHMOS, 2015) among others.

Stamatia Portanova is a Research Fellow at the Università degli Studi di Napoli ‘L’Orientale’ (Naples), where she is also a member of the newly born Technocultures Research Unit, directed by Tiziana Terranova. Her research focuses on philosophy, digital culture and the aesthetics of movement. She is the author of Moving without a Body. Digital Philosophy and Choreographic Thoughts (MIT Press, ‘Technologies of Lived Abstraction series), and of several articles published in books and journals such as Body and Society, Computational Culture, Space and Culture, Fibreculture, Angelaki and Inflexions. She is also a member of the Senselab, a Montrèal-based interdisciplinary laboratory on research-creation directed by Erin Manning and Brian Massumi.