Sonderforschungsbereich "Kulturen des Performativen"
Draft paper for the conference on 1st - 3rd April 2004 in Berlin


RHYTHM IN PROCESS

Rhythm is a performative process: structure and perception of time. Regardless of which cultural practices are being looked at: rhythmical processes are constituent for a large number of actions and acts of perception. Basically rhythms are phenomena which happen in time, whether acoustically, visually or tactually. At the same time that means, that rhythms are not tied to a specific modality of sense, even rhythmical smelling or tasting is imaginable. They structure the way we experience time – whether in sport, in concert, in theatre or in literature – by dividing processes in events of longer or shorter duration. The rhythmical perception is not being determined by a future result but through the actual sensorial experience. It is the active process of perception, which lets us perceive the given stimuli as patterns of movement, which synthesizes acoustic and visual phenomena – to mention only two – and at the same time influences to a large degree our physical state. When present rhythms and subjective rhythmizising are put in relation to one another it becomes clear, that especially with regard to rhythm, within this double perspective production and perception are constantly referring to each other.

Rhythm is a fluid process: the changing concept of rhythm. Rhythm is connected with a past experience, the memory of this experience and a future expectation. Movements in time are here often applied to an underlying pulse: in order to perceive a rhythm, you adapt to a certain time structure and anticipate what is coming next. Rhythm implies here not only regularity but also interruption, break and pause, difference and discontinuity. Apart from this concept of rhythm, which is being supported by a theoretical discourse dating back to antiquity one should at the same time also think about an extended concept of rhythm, which integrates phenomena, which are not applied to a regular basic pulse but which are nevertheless experienced as being rhythmical.

Rhythm is a physical process. With regard to the link between performativity and rhythmical perception we consider five aspects as being relevant: (a) The relationship between time, order and movement, (b) the intermodality of the rhythmical perception, especially in the sense of a mutual strengthening or weakening of any sensory perception, (c) the physiological and cognitive conditions of rhythmical perception and subjective rhythmizising, (d) the tension between sensual memory, experience and expectation and (e) the physical effect as emotional participation of or disassociation from the rhythmical experience.

During the conference we would like to focus on these aspects by discussing especially following two subject groups: perception of rhythm and movement and intermodality. We have invited speakers from different disciplines (film theory, aesthetics, linguistics, literary studies, medical psychology and chronobiology, music ethnology, music psychology, musicology, psychology, rhythm pedagogy, sociology, sport theory, dance theory, theatre science). The term rhythm is supposed to serve as an interdisciplinary frame, to help us track the different performative processes of perception and action.



Issues to be discussed include:

How is rhythm perceived? How does rhythm structure the way we experience time?
Which role does rhythm play in different art forms, media, etc.?
In what way do rhythmical processes influence the physical state?
How do intermodally experienced rhythms melt into the perception process?
In what way can we apply the traditional concept of rhythm to current artistic practices?
In what way can we assume that the definition of rhythm has changed?
Is it right to continue speaking of rhythmical processes if those are not related to an underlying pulse?
In what way is rhythm only conceivable as an interplay of continuity and discontinuity?

Contact:
Sonderforschungsbereich "Kulturen des Performativen”,
Freie Universität Berlin
Tagung "Rhythmus im Prozess"
Dr. Christa Brüstle, Nadia Ghattas MA, Dr. Clemens Risi, Sabine Schouten MA
Grunewaldstraße 35, 12165 Berlin (Lecture room)
Tel. : +49 (030) 838503-50 or –24
Fax: +49 (030) 838503-65
e-mail: rhythmus2004@gmx.de
www.sfb-performativ.de

PROGRAM

Thursday, 04/01/04
Institut für Theaterwissenschaft, Grunewaldstraße 35, 12165 Berlin (Lecture room)

14:00-14:30 Eröffnung: Erika Fischer-Lichte (Berlin)
14:30-15:00 Rhythmus im Prozess?!
Einführung von Christa Brüstle, Nadia Ghattas, Clemens Risi, Sabine Schouten (Berlin)
15:00-15:45 Albrecht Riethmüller (Berlin): Impuls und Rhythmus. Vom Zählen als performativem Akt
15:45-16:15 Kaffee
16:15-17:00 Patrick Primavesi (Frankfurt/Main): Markierungen. Zur Kritik des Rhythmus im postdramatischen Theater
17:00-17:45 Gabriele Klein (Hamburg): Dis/Kontinuitäten. Körperrhythmen, Tänze und der Sound der postindustriellen Stadt
17:45-18:00 Kaffee
18:00-18:45 Dorothea von Hantelmann (Berlin): Der Rhythmus des Bildes
18:45-19:30 Gabriele Brandstetter (Berlin): "Rhythmus als Lebensanschauung". Zum Bewegungsdiskurs um 1900
19:30-20:30 Empfang

20:30 "Heiße Rhythmen aus dem Ausland" von und mit Jürg Kienberger (Schweiz)

Friday, 04/02/04

10:00-10:45 Bernd Pompino-Marschall (Berlin): Phonetische Rhythmuswahrnehmung
10:45-11:30 Reinhard Kopiez (Hannover): Rhythmuswahrnehmung und Rhythmusperformance: von den hörpsychologischen Grundlagen zu den ästhetischen Konsequenzen
11:30-12:00 Kaffee
12:00-12:45 Till Roenneberg (München): Die biologische Uhr: von Molekülen bis zum Verhalten
12:45-14:45 Mittag
14:45-15:30 Volker Mertens (Berlin): Was ist Rhythmus im Minnesang?
15:30-16:15 Eske Bockelmann (Chemnitz): Das rhythmische Subjekt
16:15-16:45 Kaffee
16:45-17:30 Caroline Torra-Mattenklott (Zürich): Rhythmische Figuration als Strukturprinzip in Prousts ,A la recherche du temps perdu'
17:30-18:15 Elk Franke (Berlin): Rhythmus als Formungsprinzip im Sport
18:15-19:00 Martha Brech (Berlin): Rhythmus und Metrum in der Perkussionsmusik im
20. Jahrhundert
19:00-20:00 Pause

20:00 Lecture Performance: Robyn Schulkowsky (Percussion)

Saturday, 04/03/04

10:00-10:45 Stefanie Diekmann (Frankfurt/Oder): Tanz-Arbeit. Über Sidney Pollack, >They Shoot Horses, Don't They?< (1969)
10:45-11:30 Robin Curtis/ Marc Glöde (Berlin): Haptische Rhythmen: Visuelle Intervalle in der filmischen Wahrnehmung
11:30-12:00 Kaffee
12:00-12:45 David Lidov (Toronto): Errors in the Musical Theory of Meter
12:45-13:30 Christiane Gerischer (Berlin): Mikrorhythmische Interaktion in afro-brasilianischen Rhythmen – Zum Verständnis von Groove-Phänomenen

PARTICIPANTS

Participants:
Eske Bockelmann (Chemnitz), Gabriele Brandstetter (Berlin), Martha Brech (Berlin), Christa Brüstle (Berlin), Robin Curtis (Berlin), Stefanie Diekmann (Frankfurt/Oder), Erika Fischer-Lichte (Berlin), Elk Franke (Berlin), Christiane Gerischer (Berlin), Nadia Ghattas (Berlin), Marc Glöde (Berlin), Dorothea von Hantelmann (Berlin), Jürg Kienberger (Zürich), Gabriele Klein (Hamburg), Reinhard Kopiez (Hannover), David Lidov (Toronto), Volker Mertens (Berlin), Bernd Pompino-Marschall (Berlin), Patrick Primavesi (Frankfurt/Main), Albrecht Riethmüller (Berlin), Clemens Risi (Berlin), Till Roenneberg (München), Sabine Schouten (Berlin), Robin Schulkowsky (Berlin), Caroline Torra-Mattenklott (Zürich) and others.





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