- Title Pages
- Notes on Contributors
- 1 Dialogue on Rhythm
- 2 Rhythm and Movement
- 3 The Ontology of Rhythm
- 4 “Feeling the Beat”
- 5 Dance Rhythm
- 6 The Life of Rhythm
- 7 Rhythm, Preceding Its Abstraction
- 8 Mozart’s “Dissonance” and the Dialectic of Language and Thought in Classical Theories of Rhythm
- 9 Rhythm and Popular Music
- 10 Rhythms, Resemblance, and Musical Expressiveness
- 11 Metric Entrainment and the Problem(s) of Perception
- 12 Entrainment and the Social Origin of Musical Rhythm
- 13 How Many Kinds of Rhythm Are There?
- 14 Temporal Processing and the Experience of Rhythm
- 15 Complexity and Passage
- 16 Encoded and Embodied Rhythm
- 17 Time, Rhythm, and Subjectivity
- 18 Husserl’s Model of Time-Consciousness, and the Phenomenology of Rhythm
- 19 Pictorial Experience and the Perception of Rhythm
- 20 Soundless Rhythm
- 21 Rhythm, Meter, and the Poetics of Abstraction
- 22 The Not-So-Silent Reading
- 23 Leaving It Out
- 24 Hearing It Right
- (p.331) 20 Soundless Rhythm
- The Philosophy of Rhythm
- Oxford University Press
Chapter 20 develops a notion of rhythm that is independent of sound and, in addition to hearing, includes sight, smell, taste, and touch. By engaging with the work of Andy Hamilton, it rejects that music is required to conceptualize rhythm. It maintains that rhythm in dance can be theorized independently from music and, more ambitiously and generally, that rhythm could exist in a soundless universe. Moreover, it contends that we can experience rhythm in painting in a non-metaphorical way, which goes against the proposal defended by Jason Gaiger. Finally, it examines some potential implications of this thesis for incipient art practices involving senses other than sight and hearing.
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