In the following thesis I investigate aspects of soundscape research and study practices through the gaze of certain methodologies presented in Henri Lefebvre’s Rhythmanalysis. I argue that elements of the practice Lefebvre has coined “rhythmanalysis” may function as useful tools in the study of sound environments. My research attempts to demonstrate that aspects of rhythmanalysis parallel and complement the important soundscape research that R. Murray Schafer and Hildegard Westerkamp have conducted over the past four decades. The thesis brings Lefebvre’s theories of capitalist modes of production into dialogue with Schafer and Westerkamp’s soundscape explorations. I consider how the rhythmanalytical method corresponds to and diverges from soundscape analysis. The thesis draws on both Schafer and Lefebvre to analyze a soundscape environment that I have personally experienced and inhabited. Lastly, I demonstrate the value in considering rhythmanalysis and Westerkamp’s interpretation of soundwalks as a connected discipline.

M.Tech. (Fine Art) / In Rhythmanalysis: Space, Time and Everyday Life, Henri Lefebvre (2004 [1992]) presents an incomplete account of an interdisciplinary, poetic science of rhythms, where the body and senses are given prime place as instruments of measure. This text has strong correlations with the Minutes Project, a collaborative study of everyday urban Johannesburg through the mediums of time-lapse film and sound recording. This correlation raises the question of how critical dialogue between Rhythmanalysis and the Minutes Project may contribute to the development of new methods for the study of the everyday. The research unfolds as a series of iterative processes, moving between theoretical engagement and critical praxis, including critiques of selected scientific works of Etienne-Jules Marey (1830-1904) and the media critique of Friedrich Kittler (1999), as well as the production of films, installations, and performances. Through these engagements I evolve a constellation of ideas and methods for the study of the everyday, centred on the relation between the measuring function of indexical graphic traces and the rhythmic measure of bodily, sensory experience. Both quantitative and qualitative methods are employed, resulting in an integration of empirical and poetic modes of investigation. Lefebvre’s proposed figure of the rhythmanalyst emerges as a productive sounding-board for the development of a study of rhythmic aspects of the everyday, and the process of rhythmanalysis is extended in this project to encompass collaboration and participative interpretation. In the course of the research, I develop a novel method of graphing quantities of movement over time in the spaces studied, presenting multiple possibilities for interpretation as a trace of an underlying rhythmic layer of urban life. The research project as a whole demonstrates the practicability of the integration of empirical and poetic modes of investigating the everyday.

Technoetic and media arts are environments of mediated interaction and emergence, where meaning is negotiated by individuals through a personal examination and experience—or becoming—within the mediated space. This thesis examines these environments from a musical perspective and considers how sound functions as an analog to this becoming. Five distinct, original musical works explore the possibilities as to how the emergent dynamics of mediated, interactive exchange can be leveraged towards the construction of musical sound. In the context of this research, becoming can be understood relative to Henri Bergson’s description of the appearance of reality—something that is making or unmaking but is never made. Music conceived of a linear model is essentially fixed in time. It is unable to recognize or respond to the becoming of interactive exchange, which is marked by frequent and unpredictable transformation. This research abandons linear musical approaches and looks to generative music as a way to reconcile the dynamics of mediated interaction with a musical listening experience. The specifics of this relationship are conceptualized in the structaural coupling model, which borrows from Maturana & Varela’s “structural coupling.” The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Musical autonomy is sustained through generative techniques and organized within a psychogeographical framework. In the way that cities invite use and communicate boundaries, the individual sounds of a musical work create an aural context that is legible to the listener, rendering the consequences or implications of any choice audible. This arrangement of sound, as it relates to human presence in a technoetic environment, challenges many existing assumptions, including the idea “the sound changes.” Change can be viewed as a movement predicated by behavior. Amergent music is brought forth through kinds of change or sonic movement more robustly explored as a dimension of musical behavior. Listeners hear change, but it is the result of behavior that arises from within an autonomous musical system relative to the perturbations sensed within its environment. Amergence propagates through the effects of emergent dynamics coupled to the affective experience of continuous sonic transformation.

The soundscape plays a key, if often overlooked, role in the construction of public urban space. Street music – a conscious deliberate propagation of sound in public space – opens an entryway into comprehending the role of sound in the city, and what it reveals about the city’s inhabitants. Ethnographic fieldwork in Brussels and Stockholm focuses on street musicians of all kinds, exploring how their music is shaped by their personal motivations, how their practices negotiate meaning in sound and in space, and how their rhythms shape, and are shaped by, the city. These explorations give reason to question R. Murray Schafer’s philosophies on soundscape studies, particularly in the urban context. Drawing from Henri Lefebvre’s notions of the production of space, and rhythmanalysis as an analytical tool, the urban soundscape is understood as an ongoing negotiation of individual actions, where dynamics of power, identity, and ideology become audible. Street musicians and their sound cultures feature not just as a topic worthy of study, but also as a guide of how and why to listen to and analyze the rhythms of the city.

<p>This master's essay is about seasonality in Bristols slave trade until the American Revolution 1776. The essay uses the Voyages database as the primary material. The essay's method is to study monthly distribution at different points of the slave trade – the departure from Bristol and the arrival at the American destination. The seasonality of slave purchases in Africa is primarly studied through the monthly distribution of departures from Bristol for a specific region in Africa. This methodological choice is based on the lack of coverage of African arrival dates. The theoretical groundwork in the essay is foremost based on Henri Lefebvre's concept of rhytm analysis. The results of the essay show that there usually was some seasonality in the different parts of Bristol's slave trade. The essay tries to relate this seasonality with possible explanations, like the need of provisions, trade goods, harvest cycles in Africa and America, though the essay doesn't have any pretensions of proving actual causal relations, just that the seasonality of the slave trade coincided with other seasonal cycles.</p>

This master's essay is about seasonality in Bristols slave trade until the American Revolution 1776. The essay uses the Voyages database as the primary material. The essay's method is to study monthly distribution at different points of the slave trade – the departure from Bristol and the arrival at the American destination. The seasonality of slave purchases in Africa is primarly studied through the monthly distribution of departures from Bristol for a specific region in Africa. This methodological choice is based on the lack of coverage of African arrival dates. The theoretical groundwork in the essay is foremost based on Henri Lefebvre's concept of rhytm analysis. The results of the essay show that there usually was some seasonality in the different parts of Bristol's slave trade. The essay tries to relate this seasonality with possible explanations, like the need of provisions, trade goods, harvest cycles in Africa and America, though the essay doesn't have any pretensions of proving actual causal relations, just that the seasonality of the slave trade coincided with other seasonal cycles.

The study aims to present the notion of rhythmanalysis in relation to the city environment and aims to apply the theory to field research. The theoretical part focuses on the semiotic conception of the rhythm, on the position of rhythmanalysis in the work of its father, Henri Lefebvre and it further tackles the topic and its applications in Czech and also international context. Following this approach, it clarifies a wide range of related conceptions and phenomenons. It finds common points of reference in philosophy, semiotics, critical theory, urbanism, social geography, art and other fields, which is determined by its interdisciplinary nature. The practical part relates the previously mentioned theoretical foundations to applied, empirical research. It observes and reveals the rhythms of Prague area named Vltavská, it analyzes and interprets them and shows the rhythmanalysis as a legitimate analytical instrument with a potential value for urbanism.

En s’appuyant principalement sur le travail de Gilbert Simondon (1989) et sur celui de Bernard Stiegler (2010, 2012, 2013), ce mémoire de maîtrise explore la relation entre les notions d’individu et de collectif. D’une part, cette relation est conceptualisée et développée à travers les concepts de transindividuation et d’individuation collective ; et d’autre part, celle-ci est explorée via les théories de l’improvisation libre (free improvised music). S’intéressant aux différentes modalités de cette pratique musicale (Bailey, 1992 ; Saladin, 2002, 2010, 2014 ; Corbett, 2004, 2016 ; Peters, 2009), cette recherche conçoit l’improvisation libre comme une approche radicale permettant d’aborder autrement la relation entre les notions d’individu et de collectif. L’agencement, la confrontation et la négociation des singularités individuelles des musiciens.nes en présence étant au centre de la pratique de l’improvisation libre, la méthodologie mobilisée vise à cerner les dynamiques permettant de saisir la complexité de cette relation. En s’appuyant particulièrement sur la research-from-creation et la creation-as-research (Chapman & Sawchuk, 2012), l’aspect méthodologique de ce mémoire est ancré dans la recherche-création. En ce sens, les principaux matériaux d’analyse ont émergé de l’expérience de séances d’improvisation libre dans laquelle l’immédiateté et l’éphémérité de la création ont été vécues, discutées et ultérieurement analysées à travers les concepts de rythme et de présence propres à la rythmanalyse d’Henri Lefebvre (1980, 1992). / Relying mainly on the work of Gilbert Simondon (1989) and Bernard Stiegler (2010, 2012, 2013), this master’s thesis explores the relation between the notions of individual and collective. On one hand, the relation is conceptualised and developed through the concepts of transindividuation and collective individuation ; and on the other hand, it is explored through free improvisation / free improvised music theories. Looking at the different modalities of that musical practice (Bailey, 1992 ; Saladin, 2002, 2010, 2014 ; Corbett, 2004, 2016 ; Peters, 2009), this research conceives free improvisation as a radical approach to tackle differently the relation between the notions of individual and collective. The assemblage, confrontation and negotiation of individual singularities of musicians being at the centre of free improvisation, the chosen methodology tends to define the dynamics allowing to understand the complexity of that relation. Relying particularly on research-from-creation and creation-as-research (Chapman & Sawchuk, 2012), the methodological aspect of this thesis is anchored in research-creation. In that sense, the main analysis materials have emerged from the experience of free improvisation sessions in which the instantaneity and ephemeral aspect of creation were lived, discussed and subsequently analysed through the concepts of rhythm and presence inherent to Henri Lefebvre’s rhythmanalysis (1980, 1992).

Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.

This thesis deals with the analysis of rhythms (Lefebvre 2004) at Prague's Rašín Embankment (náplavka Rašínova nábřeží). This thesis would also focus on the observation of the spatiotemporal changes of this place in a long term. I carried out qualitative interviews with actors who co-create the rhythms of this place with their managerial and entrepreneurial activities and added them to long-term continual visits and sensory perception of the place, along with the study of specialized historical publications. The analysis of the rhythms based on long-term participant observation was followed by an interpretation of what they actually tell us about everyday social reality of this place at specific times and how this space is produced by those rhythms. In this thesis I also used related concepts like chronotope (Crang, 2001; Osman, Mulíček, Seidenglanz, 2010, 2015) and chronopolis (Osman, Mulíček, Seidenglanz 2011, 2017). This thesis shows that nowadays the eurhythmia of this place is created by non- disruptive movement of local visitors such as walkers, runners and cyclists along the embankment, by regularly organized farmers' market and other events as well as by the flow of the Vltava river and its rhythms, by all means of transport on the local roads, bridges and the Vltava river. From the...