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  1.  11
    Marcel Mauss retrouvé. Origines de l'anthropologie du rythme.Pascal Michon - forthcoming - Rhuthmos.
    P. Michon, Marcel Mauss retrouvé. Origines de l'anthropologie du rythme, Paris, Rhuthmos, coll. « Rythmologies », 2015, 130 p. Si vous désirez le livre SOUS SA FORME IMPRIMÉE, envoyez-nous un mail à rhuthmos@rhuthmos.eu. Vous pouvez également le commander sur Amazon.fr ou sur tout autre site plus accessible pour vous. Marcel Mauss est l'un de ceux qui ont le plus fait pour la théorie du rythme au XXe siècle. Pourtant, parmi ses héritiers directs, seul Gurvitch a prolongé sa - Anthropologie – (...)
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  2.  5
    Rythmologie baroque.Pascal Michon - forthcoming - Rhuthmos.
    Exposé présenté lors de la journée d'études CRAL-EHESS par Christophe Corbier, Marielle Macé et Esteban Buch, « Histoire du rythme, histoire des rythmes » – Paris – 12 décembre 2014. - Philosophie – Nouvel article.
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  3.  5
    4. Birth of a Rhythmological Conflict.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Janina Wellmann's analyses are extremely valuable because they provide us with new historical evidence that can only improve our understanding of a very obscure past. But the general interpretations she proposes are quite questionable. The idea that after 1800 a “Rhythm Episteme” has dominated the field of knowledge erases the very acute conflict that broke out in the early years of the 19th century between poetic and artistic rhythmologies, inspired by a common - Sur le concept de rythme (...)
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  4.  23
    La Sociologie Peut-Elle Sortir Seule de Son Dualisme?Pascal Michon - 2001 - Cahiers Internationaux de Sociologie 110 (1):143.
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  5.  5
    1. From Rhuthmós to Rhythm – 7th-4th Centuries BC.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Before entering in the obscure forest of the history of rhythm since the 18th century, we need to know a few things concerning its most ancient past. Therefore I would like to start our journey by presenting the main conclusions concerning the origin of the term rhythm reached more than 60 years ago by Benveniste in an article that has not attracted enough attention in English speaking countries, but that still sheds a precious light on this matter - (...)
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  6.  8
    Alberto Melucci ou la redécouverte des rythmes à la fin des années 1990.Pascal Michon - forthcoming - Rhuthmos.
    Au début des années 1980, Elias a montré que la diversification et l'allongement des chaînes d'interaction, phénomènes qui remontent en Occident au moins à la Renaissance, appellent la mise en place d'une mesure du temps standardisée et pour laquelle il n'y a plus aucun moment qualitativement distinct, aucun accent. Afin que des acteurs engagés simultanément dans des interactions multiples et à des tempos différents puissent s'orienter dans la profusion des événements, se joindre malgré tout et s'engager (...) - Sociologie – (...)
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  7.  2
    5. Aristotelian Rhythm in Rome – Part 1.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Between the 1st century BC and the 1st century AD, rhythm begun to be understood exclusively under its Platonic-Aristotelian guise. Rhythm defined as order of movement or succession of time-lengths set up the general theoretical framework within which reflection was to remain in the West until the 18th century. The Platonic metric paradigm became dominant, at the expense of the Democritean physical paradigm but also of the Aristotelian poetic paradigm. The former - Sur le concept de rythme – (...)
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  8.  2
    5. Aristotelian Rhythm in Rome – Part 2.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Ornament of Speech – Cicero's De oratore As one may know, in De oratore, Cicero exposes through the character of Crassus a full-fledged theory of rhetoric. The latter starts his speech by emphasizing that there is no science, that is no speculatively elaborated knowledge of oratory and that this theory in modern sense is no theoria in Latin or Greek sense. It is much closer to the practical knowledge gathered through - Sur le concept de rythme (...)
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  9.  6
    5. Aristotelian Rhythm in Rome – Part 3.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Prolongation of Breath – Cicero's De oratore Then Cicero comes back to Aristotle's naturalistic definition of the period as “that which can be rounded forth in one breath” and Plato's view which he abruptly re-introduces by praising the order of the universe and tying the functioning of language with that of nature. In oratory, rhythm must follow the compass of the breath, “for the stoppage of the breath, and the confined play of the lungs, - Sur (...)
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  10.  4
    5. Aristotelian Rhythm in Rome – Part 4.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Eurhythmy as Due Proportions – Vitruvius' De architectura Marcus Vitruvius Pollio was an architect, as well as a civil and military engineer. He served under Caesar as senior officer of artillery, probably as head of the experts and in charge of the soldiers operating the machines. He wrote a world-famous work entitled De architectura which is dedicated to - Sur le concept de rythme – Nouvel article.
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  11.  2
    5. Aristotelian Rhythm in Rome – Part 5.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Arrangement of Feet – Quintilian's Institutio oratoria Concerning rhythm properly, Quintilian borrows again most of his presentation from Cicero. He first defines rhythm, along with order and connection, as one of the three qualities necessary to the success of a compositio – artistic structure. Further, in all artistic structure there are three necessary qualities [in omni porro compositione tria sunt genera necessaria], order, connexion and - Sur le concept de rythme – Nouvel article.
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  12.  5
    10. A Rhythm Episteme?Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter In a book that was only recently translated into English, Die Form des Werdens: Eine Kulturgeschichte der Embryologie, 1760-1830, Janina Wellmann has claimed that around 1800 the concept of rhythm emerged and penetrated the entire Western culture. In literature, in theoretical reflection on art, in philosophy, and above all in the newest life sciences, rhythm became, she argues, a common scientific “Paradigm” or better yet, a new “Episteme” - Sur le concept de rythme.
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  13.  18
    A Rhythm Constellation in the 1970s and 1980s – Lefebvre, Foucault, Barthes, Serres, Morin, Deleuze & Guattari, and Meschonnic. [REVIEW]Pascal Michon - forthcoming - Rhuthmos.
    This presentation was made in the Seminar “Rhythmanalysis : Everything You Always Wanted to Know but Were Afraid to Ask” convened by Dr Paola Crespi and Dr Sunil Manghani at Goldsmiths College on april 25, 2017 Part 1 : On Lefebvre, Foucault, Barthes, Serres, Morin, Deleuze & Guattari IMG/mp3/-3.mp3 Part 2 : On Meschonnic IMG/mp3/-4.mp3 - Vers un nouveau paradigme scientifique? – Nouvel article.
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  14.  4
    Bobby Hutcherson Quartet – Bouquet.Pascal Michon - forthcoming - Rhuthmos.
    Bobby Hutcherson Herbie Hancock Bob Cranshaw Joe Chambers - Galerie sonore – Nouvel article.
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  15.  1
    Elements of Rhythmology Vol. 1 — Conclusion.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter The first objective of this book was to examine the most ancient roots of Western rhythmology and clarify the various concepts on which it rests. Our investigation has shown that three different theoretical paradigms surfaced between the 5th and the 4th centuries BC. We then followed, over a period of more than thousand years, their complex relations, their respective fates, and the final global shift that occurred between the 3rd and the 6th centuries BC. The overall - Sur (...)
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  16.  15
    Christophe BOUTON, {Le Temps de l'urgence}.Pascal Michon - forthcoming - Rhuthmos.
    C. Bouton, Le Temps de l'urgence, Paris, Le Bord de l'eau, 2013, 303 p. L'essai de Christophe Bouton s'inscrit dans un ensemble de recherches déjà bien fourni. Depuis quelques années, on observe une inflation d'essais sur la vitesse, l'accélération, l'agitation de la vie quotidienne ou la frénésie au travail. Mais le point de vue qui y est exposé tranche sur la plus grande partie de ces travaux et cela pour un nombre non négligeable de raisons. L'urgence comme norme temporelle de (...)
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  17.  2
    Conclusion – Elements of Rhythmology – Vol. 4.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Over the past fifteen years rhythm has become the object of increasing attention in social science and cultural studies, both as a subject of research and as a tool. The number of papers and books devoted to rhythmanalysis has increased exponentially, even if one excludes studies more specifically devoted to music. A fairly broad intellectual movement is taking place, which most certainly corresponds to needs motivated by the transformations of the world that we have - Vers un nouveau (...)
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  18.  4
    Coda – Le rythme ou l'aujourd'hui encore aujourd'hui demain.Pascal Michon - forthcoming - Rhuthmos.
    Ce texte est la suite et la fin d'une réflexion présentée ici. Nous commençons juste à découvrir les effets des rhuthmoi théoriques et poétiques mis en mouvement par la pensée baroque ; un énorme travail reste à faire pour identifier leur parcours, leurs usages et leurs effets. Un certain nombre de travaux récents commencent toutefois à jeter un peu de lumière sur ces questions. J'aimerais, moins pour conclure qu'à titre d'ouverture, saluer quelques-unes de ces contributions et en profiter pour discuter (...)
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  19.  2
    7. Christian Rhythm at the End of Antiquity – Part 3.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Regular Beat – Augustine's De musica, 3, 4, 5 Climbing down the ladder, Augustine then differentiates between verse and meter. Some metric lines, he argues, are uneven and do not have a regular pause before their endings. Instead, verse uses meter but possesses regular pauses. For Augustine—who does not mind, here, quoting the “ancients” i.e. the tradition—there cannot be such thing as what will be called much later “free verse”. — Master. Well! You - Sur le (...)
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  20.  5
    7. Christian Rhythm at the End of Antiquity – Part 2.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Divine Arithmetic – Augustine's De musica, 1 After these introductory considerations, let us look now more precisely at Augustine's theory of rhythm. “Regulated movement” means, he says, “rhythmical succession of times and rests” which brings us pleasure. On the contrary, “the same movement does not seem right when it is irregular.” Here Augustine is very close to the Greek opposition between rhythm and arrhythmia and one could with no trouble translate ineptus with - Sur le concept (...)
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  21.  3
    7. Christian Rhythm at the End of Antiquity – Part 1.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter In 325 or 337 AD, the emperor Constantine the Great converted to Christianity. In 380 AD, Theodosius I, together with Gratian and Valentinian II, made it the only legitimate imperial religion. From that period on, the spread of Christianity over the empire had a tremendous impact on rhythmology. Most of Christian thinkers heavily borrowed from previous rhetoric, music and metaphysical theories but they substantially transformed them to fit their particular needs, - Sur le concept de rythme – Nouvel (...)
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  22.  3
    7. Christian Rhythm at the End of Antiquity – Part 4.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Performance of the Soul – Augustine's De musica, 6 Augustine is not drawing from the unitary and hierarchical view that he borrows from Plotinus the same conclusions as his predecessor. Due to his belief in Original sin and in God's Incarnation to save Humanity, his view does not fit any longer in the dualistic Platonic paradigm, even that revamped by Plotinus. Since it considers every being as participating in the One, Plotinus' emanationism provides the - Sur (...)
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  23.  1
    7. Christian Rhythm at the End of Antiquity – Part 6.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Law of the Creation – Augustine's De musica, 6 As expected, the last words of the De musica are for God, the Creator omnium. As in his analysis of the soul, Augustine's description tends first to emphasize the neo-Platonic side. Rhythm emanates from the One and therefore are endowed with regularity, symmetry and order. Rhythm has its principle in the One. It derives its beauty from regularity and similitude, its arrangement from order [Numerus autem et ab (...)
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  24.  3
    7. Christian Rhythm at the End of Antiquity – Part 5.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Rhythm as Memorial Synthesis – Augustine's De musica, 6 This interest in the rhythmic judgment power, with which the soul has been endowed by God, then triggers a discussion of one of her faculties: memory. In his own way, Augustine here pays homage to the classical culture. The nine Muses, whose name was given to “music,” are the daughters of Mnemosyne, the Goddess of memory. But the role played now by memory is entirely new because it does not (...)
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  25.  3
    7. Christian Rhythm at the End of Antiquity – Part 7.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter From the 4th to the 6th century AD, the spread of Christianity over the West and the hardening of the state power radically transformed rhythmology. Both movements entailed, more or less directly, a rejection of the old empiricist and naturalistic Aristotelian views on rhythm and an intensification of the ongoing return to Plato's idealistic conceptions. Ambrose, who was a high ranking civil servant before being appointed bishop of Milan, one of the capitals of the - Sur le concept (...)
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  26.  19
    Could Rhythm Become a New Scientific Paradigm for the Humanities?Pascal Michon - forthcoming - Rhuthmos.
    This text was presented in the Conference “Rhythm as Pattern and Variation : Political, Social and Artistic Inflections, Goldsmiths College — University of London, on April 23, 2016. Recent Development of Rhythmic Studies The first thing that becomes obvious when you document, as I have been doing for the last five years, the studies dedicated in human and soc­ial science to rhythmic phenomena or using rhythm as operating concept—whatever its definition—is the rapid increase in their number. - Vers un nouveau (...)
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  27.  7
    Discipline, Control or Rhythm ?Pascal Michon - forthcoming - Rhuthmos.
    A shorter version of this text was presented in the Symposium « Thinking Together – The Politics of Time » – MAERZMUSIK Festival – Berlin – 20-29 March 2015.: In Pourparlers, in the early 1990s, Deleuze put forward the idea that contemporary societies are not, as societies in 19th and early 20th centuries analyzed by Foucault, « disciplinary societies », but « control societies » that do not work « by confinement, but by continuous control and instant communication ». 25 (...)
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  28.  7
    ¿Disciplina, Control o Ritmo?Pascal Michon - forthcoming - Rhuthmos.
    Agradezco sinceramente a Aníbal Zorrilla por su traducción al español – PM.: En Pourparlers, a principios de la década de 1990, Deleuze planteó la idea de que las sociedades contemporáneas no son, como las sociedades del siglo XIX y comienzos del siglo XX analizadas por Foucault, “sociedades disciplinarias”, sino “sociedades de control” que no funcionan “por confinamiento, sino por control continuo y comunicación instantánea”. 25 años más tarde, la especificidad política del mundo que ahora - Comment penser le pouvoir dans (...)
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  29. Deux figures du rythme chez Diderot : l'hiéroglyphe et la manière.Pascal Michon - forthcoming - Rhuthmos.
    Ce texte a été présenté lors de la journée d'études « Diderot – théâtre & philosophie », organisée, à l'occasion du tricentenaire de sa naissance, le 28 mars 2013 au Lycée Claude Monet (Paris 13e), par Stéphane Poliakov. Avant de commencer à vous parler de Diderot, je voudrais vous dire quelques mots concernant la notion de rythme et expliquer, au moins en partie, le titre de mon intervention. Le mot rythme vient du grec rhuthmos. Or, avant que Platon ne lui (...)
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  30.  5
    Danse, jazz et technique chez Siegfried Kracauer.Pascal Michon - forthcoming - Rhuthmos.
    Ce texte est un extrait de P. Michon, Rythmes, pouvoir, mondialisation, Paris, PUF, 2005, p. 199-206. De 1921 à 1933, Siegfried Kracauer, un ancien élève de Simmel, était journaliste à la Frankfurter Zeitung, où il s'est rapidement imposé comme l'un des observateurs les plus aigus de son époque. On connaît le contexte : à l'instar de la Russie, l'Allemagne est sortie totalement bouleversée de la guerre perdue ; la monarchie s'y est écroulée et une tentative de révolution communiste y a (...)
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  31.  3
    De la vitesse aux manières de fluer : sur quelques théories sociopolitiques contemporaines.Pascal Michon - forthcoming - Rhuthmos.
    Cet texte a été présenté au cours de la Soirée du BAL dédiée à Mark Lewis le 12 mars 2015. Résumé : La vitesse puis l'accélération sont devenues deux thèmes courants de la réflexion sociale et politique contemporaine. Pourtant, nombre de personnes déclarent ne pas manquer de temps, d'autres – prisonniers, chômeurs, personnes âgées – que le temps s'écoule trop lentement. Ainsi la question du tempo de nos vies apparaît beaucoup trop limitée, aussi bien socialement que théoriquement, c'est pourquoi il (...)
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  32.  4
    10. Democritean Rhuthmoi Vs Platonic Forms.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Democritean Rhuthmoi vs Platonic Forms Nietzsche was deeply influenced by Albert Lange's History of Materialism which he read in 1866. Lange's reading triggered a lasting interest in some pre-Platonic Philosophers, especially Democritus, on whose work he took notes from 1867 to 1869 and finally lectured at Basel from 1869 to 1876. These notes include a relatively long paper on Democritus, dated from 1872. Both James Porter and Nina Power, - Sur le concept de rythme – Nouvel article.
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  33.  4
    De Spinoza à Humboldt : des rythmes de la substance aux rythmes du langage.Pascal Michon - forthcoming - Rhuthmos.
    Entre les années 1745 et 1835 s'est produite au sein de la poétique et de la théorie du langage, en trois temps successifs, une mutation théorique qui est venue renforcer la révolution ontologique et épistémologique des années 1660-1715. Tout d'abord en France dans les années 1745-1775 avec Diderot, puis en Allemagne dans les années 1785-1805 avec Moritz, Goethe, Schiller, Schlegel, Hölderlin, enfin encore en Allemagne mais aussi en France dans les années 1795-1835, avec Humboldt, le langage a été - Philosophie (...)
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  34. Émergence d'une anthropologie rythmique – le langage comme rythme ?Pascal Michon - forthcoming - Rhuthmos.
    Ce texte continue une série commencée ici. Le langage comme rythme ? Dans un livre par bien des aspects assez contestable, Henri Meschonnic soutient une thèse qui mérite d'être relevée : Spinoza serait le premier penseur occidental à avoir considéré le langage de manière rythmique. Cette thèse nous intéresse pour plusieurs raisons. Tout d'abord, parce qu'elle introduit une interrogation nouvelle concernant les prémices de la rythmologie au XVIIe siècle. Spinoza ne soutiendrait pas seulement une (...) - Philosophie – Nouvel article.
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  35. Emergence d'une anthropologie rythmique – Quatrième volute.Pascal Michon - forthcoming - Rhuthmos.
    Ce texte est la suite d'une réflexion présentée ici. L'oreille est contente et la vérité n'est point offensée. Diderot, art. « ENCYCLOPÉDIE » Au XVIIIe siècle, paradoxalement, les avancées les plus intéressantes d'un point de vue rythmologique ne se produisent pas dans les réflexions théoriques, pourtant très abondantes concernant la musique. En dépit d'un renouvellement non négligeable et de quelques essais de musiques non mesurées, comme ceux de Louis Couperin au siècle précédent, celles-ci restent - Philosophie – Nouvel article.
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  36.  1
    14. Eurhythmy in the German Platonic Tradition.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Eurhythmy in the German Platonic Tradition Since he gave a decisive role in his philosophy to rhythm Nietzsche had naturally to assess its variable aesthetic, ethical and political value. This amounted first to address the very famous question, known since Socrates and Plato as already mentioned at the beginning of this book, of eurhythmy [Eurhythmie/eurhythmische Princip] or “good rhythm.” Regularly evoked by philosophers and philologists in Antiquity and Modern Times - Sur le concept de rythme – Nouvel article.
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  37.  3
    Edgar Morin and the Rhythms of Nature – Part 1.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter The very same year, 1977, Edgar Morin published La Méthode. La nature de la nature – Method: Towards a Study of Humankind: The Nature of Nature. This essay was the first installment of a long series designed to establish a new scientific paradigm: “the paradigm of complexity.” The latter stood as a challenge to the fragmentary and reductionist spirit dominating the scientific enterprise and advocated a dynamic and productive - Physique – Nouvel article.
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  38.  2
    Edgar Morin and the Rhythms of Nature – Part 2.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Modern Rhuthmic Theory of Becoming Morin envisaged then the vexing theoretical problems raised by both these new ontology and new physics. What kind of concept would enable us to grasp the essentially temporal reality they were referring to? As a matter of fact, they obliged us to make “the most contradictory terms to cling together” with the danger of falling into sheer “mysticism.” The old universe settled down into clear and distinct concepts of Determinism, Law, Being. - Physique (...)
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  39.  3
    Edgar Morin and the Rhythms of Nature – Part 3.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Modern Rhuthmic Theory of Knowledge As Lucretius, Morin finally proposed, at the end of the first part of his book, a theory of knowledge. Not unlike his forebear, who based his own theory on the association between passive perception of fluxes of infinitesimal simulacra and active recognition of the shapes they enveloped, he based his knowledge theory on a cross-involvement between “system perception” and “system conception.” What was new, however, besides the concept of - Physique – Nouvel article.
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  40.  3
    Edgar Morin and the Rhythms of Information – Part 1.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter This leads us towards the last part of Method which was dedicated to “information” and “communication.” As we saw, the subject had been quite vaguely addressed by Serres—at least in Birth of Physics since the five-volume series entitled Hermès was partly dedicated to it. Let us see how Morin dealt with this question and how far he went on the rhuthmic path he had opened in the previous parts. If “active organizations” could be characterized as “systems” or better (...)
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  41.  4
    Edgar Morin and the Rhythms of Information – Part 2.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Informational Model of Genetic Actualization of Life This new perspective Morin called now “meta-informational,” that is to say, a perspective that “only develops if integrated, articulated, and ‘surpassed' [within the framework] of a complex theory of organization”. In order to reach higher level of complexity, communication theory needed to be grounded on the “generativity of information.” In other words, it was to be started from the observation of life. To - Linguistique et théorie du langage – Nouvel article.
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  42.  3
    Edgar Morin and the Rhythms of Information – Part 3.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter Towards a Rhuthmic Theory of Information? From a rhythmological viewpoint, Morin's doctrine of information was much more elaborated than the one we found in Serres' study on Lucretius. We remember that when Serres faced language and art, he vaguely alluded to a most questionable physical theory of “sound vortices” emerging from the “background noise” and banally confused poetry with music, as well as rhythm with music. Although he rightfully asked the - Linguistique et théorie du langage – Nouvel (...)
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  43.  11
    0. Elements of Rhythmology – Preface.Pascal Michon - forthcoming - Rhuthmos.
    This text is the preface of a coming book Let no one who is a geometer enter. When I first fantasized this book, I wanted to explore the rhythmics of our present world, i.e. the ways bodies, speeches and groups are flowing. My aim was to develop a critique that would be more accurate than those based merely on class struggle, deconstruction of norms or politics of multitudes, and make, if possible, some ethical and political suggestions for the present and (...)
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  44.  6
    Elements of Rhythmology Vol. 2 – Preface.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter This book is the second installment of a series that hopefully should cover the whole history of the concept of rhythm in the West. The previous one was dedicated to the various doctrines which have been developed between the 5th century BC and the 6th century AD in Greece and Rome. This one aims at presenting and discussing those elaborated between 1750 and 1900. From the end of Antiquity up to the first half of the 18th century, rhythm (...)
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  45.  1
    Elements of Rhythmology Vol. 2 — Conclusion.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter The period spanning between 1750 and 1900 has been marked, first of all, by a tremendous expansion of the Platonic metric paradigm. Poetry, dance and music continued their ancient numerical tradition, into which they tended to introduce, at least until the 1840s, strict regularity and pulsation. Life science witnessed the generalization by Wolff and his followers of the division of phenomena duration into time-sequences which had been initiated in Antiquity by the - Sur le concept de rythme – (...)
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  46.  3
    Elements of Rhythmology Vol. 3 – Conclusion.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter When, on the eve of World War I, Christian Ruckmich published his first bibliographical survey on rhythm studies, the time seemed to have come, as Micheal Goslton once put it, “for a science of rhythm to be formulated as a theoretical field in its own right.” His list comprised more than two hundred titles. However, paradoxically, as Golston also noticed paraphrasing Ruckmich, “no complete study of rhythm was ever made during the period in question; the - Sur le (...)
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  47.  2
    Elements of Rhythmology Vol. 3 – Preface.Pascal Michon - forthcoming - Rhuthmos.
    It is often said that the term rhythm has as many meanings as the number of people who use it. This essay tries to argue to the contrary. Nowadays, the most common definition relies on a metric basis that spread and became dominant in our culture during the 19th century. A previous essay has dealt with the history of rhythm in Antiquity. It has uncovered the intricate and conflictive development of three theoretical prototypes: the Democritean physical, the Platonic metric, and (...)
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  48. Fragments D'Inconnu: Pour Une Histoire du Sujet.Pascal Michon - 2010 - Les Éditions du Cerf.
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  49.  8
    Free Verse Rhythm Vs Metric Rhythm.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter In the second half of the 19th century, the last important artist who contributes to the theory of rhythm is Stéphane Mallarmé. Through a deep reflection on poetry and language, based on a very innovative writing practice, Mallarmé provides new insights on the relation between rhythm, language and subjectivity. In a very famous letter written in 1886, Mallarmé presents rhythm as nothing less than the “essential” part of “human language,” through which poetry expresses “the - Sur le concept (...)
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  50.  1
    Gilles Deleuze & Felix Guattari and the Rhuthmoi of Individuation – Part 4.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter The Bypass of Ideas and its Cost We now realize how elaborate the ethics outlined by Deleuze and Guattari was. It was a remarkable piece of philosophical ingineering which provided a number of valuable insights into the good life from a fundamentally rhuthmic perspective. It is therefore precious to us who are now facing a completely fluid world dominated by modern technologies of communication and transport, and neoliberal capitalism. This does not mean however that it - Philosophie – (...)
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