An investigation into the affective modes of perception, temporality, and experience enabled by experimental new media sonic art. The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and events. In The Rhythmic Event, Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience. Ikoniadou draws on media theory, digital art, and philosophical and technoscientific ideas to work toward the articulation of a media philosophy that rethinks the media event as abstract and affective. The Rhythmic Event seeks to define the digital media artwork as an assemblage of sensations that outlive the space, time, and bodies that constitute and experience it. Ikoniadou proposes that the notion of rhythm—detached, however, from the idea of counting and regularity—can unlock the imperceptible, aesthetic potential enveloping the artwork. She speculates that addressing the event on the level of rhythm affords us a glimpse into the nonhuman modalities of thought proper to the digital and hidden in the gaps between strict definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real). Operating at the margins of perception, the rhythmic artwork summons an obscure zone of sonic thought, which considers the event according to its power to become.

An investigation into the affective modes of perception, temporality, and experience enabled by experimental new media sonic art. The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and events. In The Rhythmic Event, Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience. Ikoniadou draws on media theory, digital art, and philosophical and technoscientific ideas to work toward the articulation of a media philosophy that rethinks the media event as abstract and affective. The Rhythmic Event seeks to define the digital media artwork as an assemblage of sensations that outlive the space, time, and bodies that constitute and experience it. Ikoniadou proposes that the notion of rhythm—detached, however, from the idea of counting and regularity—can unlock the imperceptible, aesthetic potential enveloping the artwork. She speculates that addressing the event on the level of rhythm affords us a glimpse into the nonhuman modalities of thought proper to the digital and hidden in the gaps between strict definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real). Operating at the margins of perception, the rhythmic artwork summons an obscure zone of sonic thought, which considers the event according to its power to become.

In this book, the authors develop a theoretical framework based on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm.

In this book Christopher Hasty presents a striking new theory of musical duration. Drawing on insights from modern "process" philosophy, he advances a fully temporal perspective in which meter is released from its mechanistic connotations and recognized as a concrete, visceral agent of musical expression. Part one of the book reviews oppositions of law and freedom, structure and process, determinacy and indeterminacy in the speculations of theorists from the eighteenth century to the present. Part two reinterprets these contrasts to form a highly original account of meter that engages diverse musical repertories and aesthetic issues.

Rhythm: A Theological Category argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on the category of rhythm—patterned movements of repetition and variation-to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. Lexi Eikelboom brings those implications into the open through using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm, which observes the whole at once and considers how various dimensions of a rhythm hold together harmoniously, and a diachronic approach, which focuses on the ways in which time unfolds as the subject experiences it. Based on an engagement with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, Eikelboom proposes an approach to rhythm that serves the concerns of theological conversation. It then demonstrates the difference that including rhythm in such theological conversation makes to how we think about questions such as "what is creation" and "what is the nature of the God-creature relationship?" from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

"Rhythmic Activities and Dance, Second Edition, is a comprehensive collection of the most popular recreational dance forms, geared for teachers of K-12 students and recreation directors and leaders who want to teach easy rhythms and dances for fun and fitness."--BOOK JACKET.

From USA Today & Wall Street Journal Bestselling Author! Want to achieve breakthroughs and get exceptional results? Discover the system that successful growth companies have used to achieve their results. All growing companies encounter ceilings of complexity, usually when they hit certain employee or revenue milestones. In order to burst through ceiling after ceiling and innovate with growth, a company must develop a reliable system that prompts leaders to be proactive and pivot when the need arises. You also need to learn simple systems to empower everyone in your company to become and stay focused, aligned, and accountable. In Rhythm, you’ll discover all this and more, including: • How to identify potential setbacks and avoid them; • Think-Plan-Do rhythm to fire up and maintain great execution; • The inside scoop from growth companies showing you how they turned their potential setbacks into opportunities; • Practical tools that you can use immediately; • The habits you should start building to achieve your own breakthroughs. Patrick Thean’s process applies to any growing business and ensures that your organization gets into the habit of achieving success, week after week, quarter after quarter, year after year. Get your copy now and start leading your business towards successful growth today!