La figure de l'individu, qui a dominé la philosophie et les sciences sociales au cours des trois dernières décennies, semble à bout de souffle. Partout, singuliers et collectifs cherchent à dépasser la simple adaptation au monde fluide imposé par le capitalisme mondialisé et à redevenir les agents de leur propre vie. Au nord comme au sud, un immense désir de subjectivation est en train de gagner nos sociétés. Pourtant, la figure du sujet reste confuse. Longtemps identifiée à une entité naturelle, (...) hors de l'histoire, elle pâtit aujourd'hui également des représentations, tout aussi néfastes, qui concluent de l'historicité radicale du sujet à sa relativité éthique et politique, voire à son inexistence. Ce livre reprend, à la racine, la réflexion sur les relations entre sujet et histoire, en y réintroduisant une tradition oubliée, sinon refoulée par la philosophie : celle qui commence avec Humboldt, se poursuit chez Saussure, Benveniste et Meschonnic. En définissant le langage comme activité et comme mise en circulation de puissances poétiques, cette tradition fournit les bases d'une nouvelle anthropologie historique du sujet. (shrink)

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 [email protected]. 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 – (...) Nouvel article. (shrink)

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.

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 (...) – Nouvel article. (shrink)

Ce texte a été présenté lors de la journée d'études « CHANGER DE RYTHME, CHANGER DE SENS » organisée par Maria Manca (Paris 7), Jean Lambert (Paris 10) et Sandra Bornand (CNRS/LLACAN), journée dont on trouvera le programme ici. L'augmentation du nombre des études rythmiques La première chose qui saute aux yeux quand on traverse les textes consacrés récemment aux phénomènes rythmiques ou utilisant le rythme comme concept opératoire – toutes définitions confondues –, c'est tout simplement l'augmentation (...) - 3. (...) Sur le concept de rythme – Nouvel article. (shrink)

From Physiology to Psychology After 1860 psychology began to emancipate itself from philosophy and to bond with natural science, especially physiology. But there was no direct translation of the rhythm concept from the latter to the former. This can be exemplified by looking at the contributions of the physiologist and psychologist Karl von Vierordt. Vierordt was educated as a medical doctor and began studying breath in the 1840s. Then his interest - Psychologie – Nouvel article.

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 - (...) Sur le concept de rythme – Nouvel article. (shrink)

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 – (...) Nouvel article. (shrink)

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 – (...) Nouvel article. (shrink)

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 (...) – Nouvel article. (shrink)

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 (...) le concept de rythme – Nouvel article. (shrink)

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.

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.

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.

Bobby Hutcherson Herbie Hancock Bob Cranshaw Joe Chambers - Galerie sonore – Nouvel article.

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 (...) le concept de rythme – Nouvel article. (shrink)

Previous chapter In the first volume of this series, we followed the emergence and the conflicting development in Antiquity of three rhythmic paradigms which have been active in Western thought ever since: the Democritean physical, the Platonic metric, and the Aristotelian poetic paradigms. We observed how the two rhuthmic models disappeared in the last centuries before the Current Era and how the Platonic model, with its metric and idealistic dimensions, subsequently acquired complete - Philosophie – Nouvel article.

Previous chapter Main Features of the Naturalistic Cluster A first important result of our analysis has been to show that, despite obvious differences, Deleuze and Guattari shared fundamental views with Serres and Morin. 2.1 Methodologically and epistemologically, the dynamic perspective advocated in A Thousand Plateaus was very close to that defended in The Birth of Physics and not far removed from that presented in Method, even if the latter might seem almost opposite at first glance. - Philosophie – Nouvel article.

Previous chapter Divisions Within the Naturalistic Cluster Naturally, we also found that Deleuze and Guattari's interpretation of the rhuthmic perspective diverged on a certain number of issues from Serres' and particularly from Morin's. 3.1 Regarding methodology and epistemology, although, as already noticed, this argument should not be overestimated, there was an obvious difference between the angles from which each theory was developed. Whereas Morin advocated synthesis based on - Philosophie – Nouvel article.

Previous chapter Insights and Difficulties Concerning Language Such differences within the naturalistic group should not be underestimated. They showed that a fairly wide range of ethical and political positions could arise from the same basic assumptions. However, they should not be overestimated either, firstly because of the fundamental points of agreement observed above, but also, paradoxically, because of the common difficulties in tackling questions relating mainly to linguistics, - Philosophie – Nouvel article.

Previous chapter Insights and Difficulties Concerning Literature and Art Both Serres and Morin and Deleuze & Guattari encountered profound difficulties in the treatment of literature and art. The hyperpragmatist framework they all shared had unfortunate consequences that, unsurprisingly, were similar to those encountered with language. 5.1 Just like in Serres' paradoxical essay on Lucretius, literature and art were almost totally absent from Morin's point of view, who nevertheless - Philosophie – Nouvel article.

Previous chapter Inconsistencies and Confusions in the Definition of the Concept of Rhythm These limits of Deleuze and Guattari's approach to language and literature have clearly had negative consequences on their capacity to develop their own rhuthmic strategy. Due to their rejection of the lessons learned from experience by writers, as well as the linguistic and poetic theories based on this experience, they did not have all the resources necessary to build a theory of rhythm robust - Philosophie – Nouvel (...) article. (shrink)

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 (...) l'action La première (...) - Recensions. (shrink)

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 (...) paradigme scientifique? – Nouvel article. (shrink)

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 (...) - Philosophie – Nouvel article. (shrink)

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 (...) concept de rythme – Nouvel article. (shrink)

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 (...) de rythme – Nouvel article. (shrink)

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 (...) article. (shrink)

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 (...) le concept de rythme – Nouvel article. (shrink)

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 (...) uno - Sur le concept de rythme – Nouvel article. (shrink)

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 (...) concern only exterior and - Sur le concept de rythme – Nouvel article. (shrink)

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 (...) de rythme – Nouvel article. (shrink)

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 (...) paradigme scientifique? – Nouvel article. (shrink)

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 (...) years later, the - Comment penser le pouvoir dans le monde contemporain? (shrink)

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 (...) le monde contemporain? (shrink)

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 (...) donne le sens de kineseos taxis, d'« ordre (...) - Philosophie – Nouvel article. (shrink)

[Ces toiles] sont excessives – presque vulgaires. Comme Jackson Pollock abîmé par l'amour. Elles sont ornementales mais peintes d'après nature. Elles évoquent le désir et la manière dont on appréhende les choses qui nous entourent et ce qu'on en fait, mais elles montrent aussi l'incroyable et éphémère beauté d'un arbre en fleurs dans un ciel sans nuages. C'était jouissif de travailler sur ces toiles, de me perdre entièrement dans la couleur et la matière à l'atelier. Les Cerisiers en Fleurs sont (...) - Arts plastiques et autres – GALERIES – Nouvel article. (shrink)

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 (...) été engagée ; - 1er XXe siècle – Nouvel article. (shrink)

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 (...) nous faut - Pour une éthique et une politique du rythme – Nouvel article. (shrink)

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.

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 (...) – Nouvel article. (shrink)

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.

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.

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.

Ici, danseurs et danseuses tentent d'harmoniser leurs rythmes, intimes et personnels, à celui du groupe, confrontant leurs corps et mouvements au seuil du collectif. Comment garder son propre rythme, tout en faisant partie d'un tout? Comment se laisser envahir par les mouvements des autres sans s'y perdre? En tentant de créer, à partir des danses de chacun et chacune, un flux de mouvements qui ne s'achève que pour renaître dans de nouveaux gestes, jusqu'à l'ivresse. Alors comment vivre - Danse, théâtre (...) et spectacle vivant – GALERIES – Nouvel article. (shrink)

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.

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 (...) – Nouvel article. (shrink)

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.

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 (...) - Linguistique et théorie du langage – Nouvel article. (shrink)