Introduction

!"#$%&'&()*+,-.'+"
/++0)+,&%,1$)2$3,4%,5"630%,7&8"6%4+3
!"#
74#$0"',9&:0%
$%&''(#')#*+,*-%.+#$/0+1#0-2,.3$2/1#')#('-+'-#
;%+242.2",&<,5"630%4#,=,1&30%#",>2.84"+,
ŘŖŗŘ
ž‹•’œ‘Žȱ‹¢ȱ‘Žȱ
!"#$%$&$'()*(+',-."%/(0(1)-."/'(2$&3%'#(
!"#$$%&$'&()*+,"-)&!./)01&2,3*-453.0&$'&6$,)$,&
Ž—ŠŽȱ
˜žœŽǰȱŠ•Žȱ›ŽŽǰȱ˜—˜—ȱŗȱŝ
ȱ&
‘Ĵ™DZȦȦ’›œǯœŠœǯŠŒǯž”ȱ
7&’Œ‘ŠŽ•ȱ˜ Š—ǰȱŘŖŗŘ
›˜Žœœ˜›ȱ ˜ Š—ȱ ‘Šœȱ ŠœœŽ›Žȱ ‘’œȱ ›’‘ȱ ž—Ž›ȱ ‘Žȱ ˜™¢›’‘ǰȱ Žœ’—œȱ
Š—ȱŠŽ—œȱŒȱŗşŞŞȱ˜ȱ‹Žȱ’Ž—’ꮍȱŠœȱ‘ŽȱŠž‘˜›ȱ˜ȱ‘’œȱ ˜›”ǯȱ
••ȱ ›’‘œȱ ›ŽœŽ›ŸŽǯȱ ˜ȱ ™Š›ȱ ˜ȱ ‘’œȱ ™ž‹•’ŒŠ’˜—ȱ –Š¢ȱ ‹Žȱ ›Ž™›˜žŒŽǰȱ
œ˜›Žȱ’—ȱŠȱ›Ž›’ŽŸŠ•ȱœ¢œŽ–ǰȱ˜›ȱ›Š—œ–’ĴŽǰȱ’—ȱŠ—¢ȱ˜›–ȱ˜›ȱ‹¢ȱŠ—¢ȱ–ŽŠ—œǰȱ
-%-".4$,3"1& 8-"#+,3"+%1& 9#$.$"$903,:1& 4-"$4)3,:& $4& $.#-4;35-1& ;3.#$/.&
‘Žȱ™›’˜›ȱ™Ž›–’œœ’˜—ȱ˜ȱ‘ŽȱŠž‘˜›ȱŠ—ȱ‘Žȱ™ž‹•’œ‘Ž›ǯȱ
<$*-4&=8+:-&
ž ’ȱŽžĴŽ›Ž›ǰȱ!"#$%&'#ȱǻŗşŘŖǼǯȱŽ™›˜žŒŽȱ ’‘ȱ™Ž›–’œœ’˜—ȱ˜ȱ
.#-&>3-,&?/5-/81&@3-,,+
’›œȱ™ž‹•’œ‘ŽȱŘŖŗŘ
ȱşŝŞȱŖȱŞśŚśŝȱŘřŖȱŚ
!"#$%&'(&)'*+%*+,
Œ”—˜ •Ž–Ž—œȱ
ŝ
’œȱ˜ȱ••žœ›Š’˜—œȱ
ş
ŗǯȱȱ —›˜žŒ’˜—DZȱ‘¢‘–ȱŠ—ȱ‘ŽȱŽ’Š’˜—ȱ˜ȱ˜Ž›—ȱ¡™Ž›’Ž—ŒŽȱ ŗś
Řǯȱȱ ˜Ž›¢ȱ˜›ȱŽœ•Žœœȱ’–ŽœDZȱ‘¢‘–ȱŠ—ȱ›‹Š—ȱ¡™Ž›’Ž—ŒŽȱ’—ȱ‘Žȱ
˜›”ȱ˜ȱŽ››’ȱ—Ž•”ŽȱǻŗŞşŖȮŗşŗŞǼȱ
Śş
řǯȱȱ ’—Ž–ŠȱŠœȱȁ
ŽŠ›ȱŠŒ‘’—ŽȂDZȱ‘¢‘–ȱŠ—ȱ‘Žȱ›Ž›’—ȱ˜ȱŠž›Žȱ!
’—ȱŽ’–Š›ȱ’•–ȱ
Şŝ
Śǯȱȱ ‘Žȱ˜–™ž•œ˜›¢ȱ˜ Ž›ȱ˜ȱŽœ˜—Š—ŒŽDZȱ‘¢‘–ǰȱĴŽ—’˜—ȱŠ—ȱ!
‘ŽȱŽ’–Š›ȱŸŽ›’œ’—ȱ’•–ȱ
ŗŘŝ
śǯȱȱ ž›Ÿ’Ÿ’—ȱ‘Žȱ‘¢‘–œȱ˜ȱ–Ž›’ŒŠDZȱŠ££ȱŠ—ȱ‘ŽȱŠ—Šœ¢ȱ˜ȱ
ŽŒ‘—˜•˜’ŒŠ•ȱŠœŽ›¢ȱ
ŗŜŝ
Ŝǯȱȱ ™’•˜žŽǯȱ‘¢‘–ȱŠ—ȱ˜Ÿ’—ȱ–ŠŽȱŽ’ŠDZȱ˜–Žȱ
ȱ
Ž›‘˜ž‘œȱ
ŘŖş
’‹•’˜›Š™‘¢ȱ
ŘŘş
—Ž¡ȱ
ŘŚś
!"#$%&'()*+&,(%#-#./0&/1#2%)#&/3#43),2&,(%#(5#
4()3'%#6783',3%+3
˜Œ’Š•Ž–Ž—ȱŽȱ’—’Ÿ’žŽ••Ž–Ž—ǰȱ•Ȃ‘˜––ŽȱŽœȱž—ȱŠ—’–Š•ȱ›¢‘–’šžŽǯ!
ǽ˜Œ’Š••¢ȱŠ—ȱ’—’Ÿ’žŠ••¢ǰȱ–Š—ȱ’œȱŠȱ›‘¢‘–’ŒŠ•ȱŠ—’–Š•ǯǾ
ȱǻŠ›ŒŽ•ȱŠžœœȱŗşŘŜǼ
ȱ ˜—Žȱ ™˜’—ȱ ’—ȱ ‘˜–Šœȱ ›ž‹Žȱ Š—ȱ —›’šžŽȱ ¤—Œ‘Ž£ȱ Š—œŒ‘Ȃœȱ
˜Œž–Ž—Š›¢ȱ ꕖ! "#$%#&! '(! '%)! ǻŘŖŖŚǼ*! !"#$ %&'()%!&*$ &+$ !"#$ ,#*-.'$
‘’•‘Š›–˜—’Œȱ›Œ‘Žœ›Šǰȱ’›ȱ’–˜—ȱŠĴ•ŽǰȱŽ¡™•Š’—œȱ‘’œȱ’—Ÿ˜•ŸŽ–Ž—ȱ
/.!"$!"#$0*&1#%!$!&$"23#$4%"&&-%".-(*#'!+*&5$,#*-.'64$)'(#*0*.3.-#7#($
—Ž’‘‹˜ž›‘˜˜œȱ ™Ž›˜›–ȱ ›ŠŸ’—œ”¢Ȃœȱ +,! -./0,! 12! 30'4%,&3(! 24$
˜••˜ œDZȱȁȱ‘Šȱœ˜–Ž‘˜ ȱŠ• Š¢œȱ Š—Žȱ˜ȱ˜ȱŠȱ™›˜“ŽŒȱ ‘Ž›Žȱ¢˜žȱ
Œ˜ž•ȱ ‹›’—ȱ ¢˜ž—ȱ Š—ŒŽ›œȱ Š—ȱ Š—ȱ ˜›Œ‘Žœ›Šȱ ˜Ž‘Ž›ǯȱ ‘¢ȱ —˜ǵȱ
‘¢ȱ˜Žœȱ’ȱŠ• Š¢œȱ‘ŠŸŽȱ˜ȱ‹Žȱ™›˜Žœœ’˜—Š•œǵȱǽǯǯǯǾȱ—Žȱ˜ȱ‘Žȱ‘’—œȱ
ȱ ‘’—”ȱ ˜›”ȱ ˜—ȱ –žœ’Œȱ ŒŠ—ȱ ŽŠŒ‘ȱ ™Ž˜™•Žȱ ’œȱ ‘Šȱ “˜’—œȱ ‘Ž–ȱ ›Š‘Ž›ȱ
‘Š—ȱ ‘Šȱ œŽ™Š›ŠŽœȱ ‘Ž–Ȃǯŗȱ ŠĴ•ŽȂœȱ ˜›œȱ ‘Ž›Žȱ ™›˜Ÿ’Žȱ Šȱ œžŒŒ’—Œȱ
œž––Š›¢ȱ˜ȱ‘ŽȱꕖȂœȱŠ›ž–Ž—Dzȱ‹Ž¢˜—ȱ˜Œž–Ž—’—ȱŠȱ™ŽŠ˜’ŒŠ•ȱ
#'(#23&)*8$!"#$0*&1#%!$9#".'($"#$%#&!'(!'%)! ŠœȱŠ‹˜ŸŽȱŠ••ȱ˜ȱ˜ěŽ›ȱŠȱ
5&(#-$&+$%&55)'.!:$.'$2'$#*2$4##5.'7-:$9#4#!$/.!"$.'(.3.()2-.458$
Œ˜–™Ž’’˜—ȱ Š—ȱ Š—˜–’Žǯȱ —ȱ Œ•Šœœ’Œȱ ˜Œž–Ž—Š›¢ȱ Šœ‘’˜—ǰȱ ‘Žȱ ꕖȱ
‹Ž’—œȱ‹¢ȱœŽĴ’—ȱž™ȱ‘Žȱ™›˜‹•Ž–ȱŠ—ȱ˜ěŽ›œȱŠȱœ˜•ž’˜—ȱ’—ȱ‘Žȱ•ŠĴŽ›ȱ
ŗȳ"#$%#&!'(!'%)!řȬ’œŒȱ˜••ŽŒ˜›Ȃœȱ’’˜—ǰȱ’›ǯȱ‹¢ȱ‘˜–Šœȱ›ž‹ŽȱŠ—ȱ—›’šžŽȱ
¤—Œ‘Ž£ȱ Š—œŒ‘ȱ ǻǰȱ ˜˜–˜ —ȱ Ž’Šǰȱ ŘŖŖśǼǰȱ ’œŒȱ ŗǯȱ ŠĴ•ŽȂœȱ Œ˜––Ž—œȱ
‘Ž›Žȱ Ž›ŽȱŒ•ŽŠ›•¢ȱ’–™˜›Š—ȱ˜›ȱ‘Žȱꕖ–Š”Ž›œǰȱŠœȱ‘Ž¢ȱꗍȱŠ—ȱŽŒ‘˜ȱ’—ȱŠ—˜‘Ž›ȱ
’—Ž›Ÿ’Ž ȱ ’‘ȱŠĴ•Žȱ’—Œ•žŽȱ’—ȱ‘ŽȱȱŸŽ›œ’˜—ȱ˜ȱ‘Žȱꕖǰȱ ‘Ž›Žȱ‘ŽȱŽœŒ›’‹Žœȱ
‘Žȱ™›˜“ŽŒȱŠœȱ˜••˜ œDZȱȁŽȂœȱꗍȱœ˜–Žȱ‹’ȱ™•ŠŒŽȱǽǯǯǯǾȱ ‘Ž›ŽȱŽŸŽ›¢˜—ŽȱŒŠ—ȱŒ˜–Žǰȱ
2--$ &+$ !"#4#$ 0#&0-#$ /"&$ /&)-($ '&!$ '&*52--:$ 5##!$ #2%"$ &!"#*8$ 4&5#$ &+$ /"&5$
˜ž•ȱ ꐑȱ ŽŠŒ‘ȱ ˜‘Ž›ǰȱ ‘˜œŽȱ ™Š›Ž—œȱ ˜ž•—Ȃȱ ”—˜ ȱ ŽŠŒ‘ȱ ˜‘Ž›ǰȱ Š—ȱ ‘˜ȱ
˜ž•—Ȃȱ—ŽŒŽœœŠ›’•¢ȱœ™ŽŠ”ȱ‘ŽȱœŠ–Žȱ•Š—žŠŽȱȮȱ•ŽȂœȱ‹›’—ȱ‘Ž–ȱŠ••ȱ˜Ž‘Ž›ǯȱȱ
!"#*#64$2':!".'7$/#$"23#$!&$(&$.'$!".4$'#/$%#'!)*:8$.!64$!".46$;"#$%#&!'(!'%)*!’œŒȱřǼǯ
Michael Cowan
™Š›œǯŘ Set to the accompaniment of hip-­‐‑hop music, the establishing œŽšžŽ—ŒŽȱ˜ěŽ›œȱŠȱŸ’œ’˜—ȱ˜ȱŽ›•’—ȱŠœȱŠȱ—’‘–Š›’œ‘ȱ‘ŽĴ˜DZȱ•˜—ȱœ‘˜œȱ
˜ȱ‘ŽȱŒ˜•ȱŠ—ȱŽ–™¢ȱŒ’¢ǰȱŒ•˜œŽȬž™œȱ˜ȱŒ‘Š’—Ȭ•’—”ȱŽ—ŒŽœȱŠ—ȱŠŒŽœȱ˜ȱ
Œ‘’•›Ž—ȱœ–˜”’—ȱŒ’Š›ŽĴŽœȱ˜›ȱŽ—ŠŽȱ’—ȱŠŒœȱ˜ȱ‹ž••¢’—ȱŒ˜—ŸŽ›Žȱ
˜ȱ Œ˜—œ›žŒȱ Š—ȱ Š–˜œ™‘Ž›Žȱ ˜ȱ ’œ˜•Š’˜—ǰȱ Š›Žœœ’˜—ȱ Š—ȱ ŠěŽŒ’ŸŽȱ
’œŠ—ŒŽǯȱ ž‹œŽšžŽ—ȱ œŒŽ—Žœǰȱ ˜Œž–Ž—’—ȱ ‘Žȱ œŒ‘˜˜•Œ‘’•›Ž—Ȃœȱ
participation in the Rite of Spring project, will show them gradually emerging from their shells and exchanging their solitude for a —Ž ˜ž—ȱ œŽ—œŽȱ ˜ȱ Œ˜––ž—’¢ȱ ‹Ž•˜—’—ȱ Ȯȱ Šȱ ™›˜ŒŽœœȱ œ¢–‹˜•’£Žȱ
by the performance of Rite of Spring ’—ȱ›Ž™˜ ȱ›Ž—Šȱ‹¢ȱœ˜–ŽȱŘśŖȱ
children ’—ȱ‘Žȱꗊ•ȱœ‘˜œȱ˜ȱ‘Žȱꕖǯ
The inclusive model of this pedagogical project can be seen as a symbolic construct directly opposed to the elimination format recently imported into Germany in series such as Big Brother ǻꛜȱ‹›˜ŠŒŠœȱ
’—ȱ Ž›–Š—¢ȱ ’—ȱ ŘŖŖŖǼ and The Weakest Link ǻŘŖŖŗǼ. As Zygmunt Bauman has argued, such reality TV shows can be understood ™›ŽŒ’œŽ•¢ȱ Šœȱ ȁ™ŽŠ˜’ŒŠ•Ȃȱ ™›˜“ŽŒœǰȱ —Š–Ž•¢ȱ Šȱ ›Š’—’—ȱ ’—ȱ —Ž˜•’‹Ž›Š•ȱ
Ž‘’Œœǰȱ ȁŽ›‘Š•Ž—œ•Ž‘›Ž—Ȃȱ ǽž’Žœȱ ˜›ȱ Œ˜—žŒǾȱ ˜›ȱ Šȱ Œ˜–™Ž’’ŸŽȱ
and unstable world in which individuals are encouraged to enter ˜—•¢ȱ ’—˜ȱ Ž—Š’ŸŽȱ Ȯȱ Š—ȱ Š• Š¢œȱ ›ŽŸ˜ŒŠ‹•Žȱ Ȯȱ Š••’Š—ŒŽœǯř Adopting a similar reality format, Rhythm is it! constructs a counter-­‐‑pedagogy, ˜—ŽȱŒŽ—›Žȱ˜—ȱ‘Žȱ’—Œž•ŒŠ’˜—ȱ˜ȱŠȱŽœ’›Žȱ˜›ȱŒ˜––ž—’¢ȱ‹Ž•˜—’—ǯ As the choreographers Royston Maldoom and Susannah Broughton Ž¡™•Š’—ȱ ›Ž™ŽŠŽ•¢ȱ ‘›˜ž‘˜žȱ ‘Žȱ ꕖǰȱ ‘Žȱ ™ž›™˜œŽȱ ˜ȱ ‘Žȱ ™›˜“ŽŒȱ
is to teach children values not of individualism, competition and ™›ŽŒŠ›’˜žœȱ ŠĴŠŒ‘–Ž—œǰȱ ‹žȱ ›Š‘Ž›ȱ ˜ȱ ›Žœ™˜—œ’‹’•’¢ǰȱ Œ˜––’–Ž—ȱ
Š—ȱ–žžŠ•ȱœž™™˜›ǯ
It would be an understatement to say that the project documented in Rhythm is it! œ™˜”Žȱ˜ȱŒ˜—ŒŽ›—œȱ˜ȱ‘Žȱ—Ž ȱ–’••Ž——’ž–ǯȱŸŽ›ȱ‘Žȱ
Œ˜ž›œŽȱ˜ȱŘŖŖśǰȱ‘Žȱꕖȱ Šœȱ‘˜—˜ž›Žȱ ’‘ȱ—˜ȱŽ Ž›ȱ‘Š—ȱœ’¡ȱ™›’£Žœȱ
for documentary, including the German Critics Association Award, the Guild of German Art House Cinemas award, and Germany’s –˜œȱ ™›Žœ’’˜žœȱ ™›’£Žȱ ˜ȱ Š••ǰȱ ‘Žȱ ŽžœŒ‘Ž›ȱ ’•–™›Ž’œȱ ˜›ȱ ‹Žœȱ
˜Œž–Ž—Š›¢ǯȱ ˜›Ž˜ŸŽ›ǰȱ ‘Žȱ ™›˜“ŽŒȱ Šȱ ‘Žȱ ŒŽ—›Žȱ ˜ȱ ‘Žȱ ꕖȱ ‘Šœȱ
œ™Š —ŽȱœŽŸŽ›Š•ȱœŽšžŽ•œDZȱŠ•˜˜–ȂœȱRite of Spring project has been performed by schoolchildren in several cities including London and, Řȳ’••ȱ ’Œ‘˜•œȱ ‘Šœȱ ŒŠ••Žȱ ‘’œȱ ‘Žȱ ȁ™›˜‹•Ž–ȱ œ˜•Ÿ’—Ȃȱ —Š››Š’ŸŽǯȱ ŽŽȱ ’Œ‘˜•œǰȱ
Representing Reality. Issues and Concepts in Documentary (Bloomington: Indiana —’ŸŽ›œ’¢ȱ›ŽœœǰȱŗşşŗǼǰȱŗŞǯȱ
řȳŽŽȱ ¢–ž—ȱ Šž–Š—ǰȱ Society under Siege ǻŠ–‹›’ŽDZȱ ˜•’¢ȱ ›Žœœǰȱ ŘŖŖŘǼǰȱ
ŜŗȮŜŜDzȱ‘ŽȱŽ›–ȱȁŽ›‘Š•Ž—œ•Ž‘›Ž—ȂȱŒ˜–Žœȱ›˜–ȱ
Ž•–žȱŽ‘Ž—ǰȱVerhaltenslehren der Kälte. Lebensversuche zwischen den Kriegen [Cool Conduct: The Culture of Distance in Weimar GermanyǾ ǻ›Š—”ž›ȱŠ–ȱŠ’—DZȱž›‘”Š–™ǰȱŗşşŚǼǯȱ
ŗŜ
Technology’s Pulse
–˜œȱ›ŽŒŽ—•¢ǰȱŠ›—Ž’Žȱ
Š••ȱ’—ȱŽ ȱ˜›”ȱ’—ȱŠžž–—ȱŘŖŖŝǰȱ˜••˜ Žȱ
‹¢ȱ œ’–’•Š›ȱ ™›˜“ŽŒœȱ žœ’—ȱ ’쎛Ž—ȱ Œ˜–™˜œŽ›œǯŚ Given this goal of ›ŽŠĜ›–’—ȱŒ˜––ž—’¢ȱ‹˜—œǰȱ‘Žȱꕖ–Š”Ž›œȱȮȱŠ—ȱ‘Žȱ˜›Š—’£Ž›œȱ˜ȱ
‘Žȱ™›˜“ŽŒȱ˜—ȱ ‘’Œ‘ȱ’ȱ Šœȱ‹ŠœŽȱȮȱŒ˜ž•ȱ‘Š›•¢ȱ‘ŠŸŽȱŒ‘˜œŽ—ȱŠȱ–˜›Žȱ
œ¢–‹˜•’ŒŠ••¢ȱŒ‘Š›Žȱ‹Š••Žȱ‘Š—ȱ›ŠŸ’—œ”¢ȂœȱLe Sacre du printemps. Aside from its status as the catalyst of modernism’s most infamous œŒŠ—Š•ǰȱ ›ŠŸ’—œ”¢Ȃœȱ ‹Š••Žȱ ˜ȱ ›’žŠ•ȱ œŠŒ›’ęŒŽȱ Ž–‹˜’Žȱ Š‹˜ŸŽȱ Š••ȱ
Šȱ Š—Šœ¢ȱ ˜ȱ Œ˜––ž—’¢ȱ ˜›ȱ Šȱ ȁŽ Ȃȱ ž›˜™Žȱ ‹ŽœŽȱ ’‘ȱ Šȱ œŽ—œŽȱ ˜ȱ
Š—˜–’Žǰȱ Š—ȱ Žě˜›ȱ ˜ȱ ›ŽȬ’–Š’—Žȱ ‘Žȱ Šž‘Ž—’Œ’¢ȱ ˜ȱ ›’žŠ•ȱ Š—ȱ –¢‘ȱ
’—ȱŠ—ȱ’—Œ›ŽŠœ’—•¢ȱ’œŽ—Œ‘Š—ŽȱŠ—ȱŒ¢—’ŒŠ•ȱŒž•ž›Š•ȱŒ•’–ŠŽǯȱ‘ŽœŽȱ
‘Ž–Žœȱ ›˜–ȱ ›ŠŸ’—œ”¢Ȃœȱ ‹Š••Žȱ ꗍȱ ŽŒ‘˜Žœȱ ’—ȱ ‘Žȱ ꕖȱ ‘›˜ž‘ȱ Šȱ
‘˜œȱ˜ȱ›ŽŒž››Ž—ȱ–˜’œDZȱ‘ŽȱŠŒšž’œ’’˜—ȱ˜ȱœŽ•Ȭ”—˜ •ŽŽǰȱ‘ŽȱŽœŒŠ™Žȱ
from modern distractions, the overcoming of cynicism and, above all, ‘Žȱ›Ž’œŒ˜ŸŽ›¢ȱ˜ȱ‘Žȱ‹˜¢ǯś But more than all these modernist themes, what Rhythm is it! œ‘Š›Žœȱ ’‘ȱ ›ŠŸ’—œ”¢ȱ Ȯȱ Šœȱ ‘Žȱ ’•Žȱ œžŽœœȱ Ȯȱ ’œȱ Šȱ Œ˜—ŒŽ›—ȱ ’‘ȱ Šȱ
particular notion and mythology of rhythm: rhythm as a medium of communal participation, a structuring principle of ritual time (as opposed to the linear time of industrial modernity) and an authentic ˜›ŒŽȱ˜ȱŸ’Š•’¢ȱ•¢’—ȱ‹Ž•˜ ȱ‘Žȱœž›ŠŒŽȱ˜ȱŠȱ›Š’˜—Š•’£Žȱ ˜›•ǯȱœȱ
ŠĴ•ŽȱŽœŒ›’‹Žœȱ’ȱ’—ȱŠȱ™ŠœœŠŽȱ›˜–ȱ ‘’Œ‘ȱ‘Žȱꕖ–Š”Ž›œȱ›Ž ȱ‘Ž’›ȱ
’•ŽDZȱȁ‘Ž›ŽȂœȱŠȱ™Š›ȱ˜ȱ‘Žȱ‹›Š’—ǰȱ‘Žȱ™›ŽȬŒ’Ÿ’•’£Žȱ‘ž–Š—ȱ™Š›ȱ˜ȱ‘Žȱ
‹›Š’—ȱǽǯǯǯǾȱ ‘Ž›Žȱ›‘¢‘–ȱ’œȱ’ǯȱ‘Žȱꛜȱ’ŽŠǰȱȱ‘’—”ȱ™›˜‹Š‹•¢ȱ‘Žȱꛜȱ
Œ˜––ž—’ŒŠ’˜—ǰȱ Šœȱ ‘›˜ž‘ȱ ›‘¢‘–ǰȱ ‹Ž˜›Žȱ ˜›œǯȱ —ȱ ȱ ‘’—”ȱ
when you get that as a child, somehow you’re connecting with your origins’ (Rhythm is it!, ’œŒȱ ŗǼǯȱ ŠĴ•ŽȂœȱ œŠŽ–Ž—ȱ ‘Ž›Žȱ ›ŽŒŠ••œȱ ’ŽŠœȱ
Ž—Ž›Š••¢ȱŠĴ›’‹žŽȱ˜ȱŠ—˜‘Ž›ȱŒ˜—Ž–™˜›Š›¢ȱ˜ȱ›ŠŸ’—œ”¢ȱ›˜–ȱ‘Žȱ
modernist era, namely the conductor and Wagner disciple Hans von û•˜ ȱǻŗŞřŖȮŗŞşŚǼǰȱ ‘˜ȱ’œȱŽ—Ž›Š••¢ȱ‘Ž•ȱ˜ȱ‘ŠŸŽȱŒ˜’—ŽȱŠȱœŠŽ–Ž—ȱ
that became one of the rallying cries of modernist music in the early  Ž—’Ž‘ȱŒŽ—ž›¢DZȱȁ–ȱ—Š—ȱ Š›ȱŽ›ȱ‘¢‘–žœȂȱǽ—ȱ‘Žȱ‹Ž’——’—ȱ
Šœȱ›‘¢‘–ǾǯŜȱ˜—ȱû•˜ Ȃœȱ’Œž–ǰȱ ‘’Œ‘ȱŒ’›Œž•ŠŽȱ ’Ž•¢ȱŠ–˜—ȱ
ž›—Ȭ˜Ȭ‘ŽȬŒŽ—ž›¢ȱ–žœ’Œ˜•˜’œœǰȱ‹Ž˜”Ž—ŽȱŠ—ȱ’—Œ›ŽŠœ’—ȱŽ–™‘Šœ’œȱ
Śȳ—ȱ ‘’œȱ Š—ŒŽȱ ™›˜“ŽŒȱ Overture 2012, performed at the Royal Albert Hall in ˜ŸŽ–‹Ž›ȱ ŘŖŖŞǰȱ Š•˜˜–ȱ ‹›˜ž‘ȱ ’—ȱ ŗŘŖȱ ˜—˜—Ȭ‹ŠœŽȱ ¢˜ž—ȱ ™Ž˜™•Žȱ ˜ȱ
Š—ŒŽȱ˜ȱ‘˜œŠ”˜Ÿ’Œ‘ȂœȱŗŖ‘ȱœ¢–™‘˜—¢ȱ™Ž›˜›–Žȱ‹¢ȱ‘Žȱ˜—˜—ȱ¢–™‘˜—¢ȱ
›Œ‘Žœ›Šǯ
śȳœȱ‘ŽȱŒ‘˜›Ž˜›Š™‘Ž›ȱžœŠ——Š‘ȱ›˜ž‘˜—ȱ™žœȱ’ȱŠȱ˜—Žȱ™˜’—DZȱȁ‘Žȱ–˜–Ž—ȱ
there is stillness, you can really listen to the body, you can really hear what’s ‘Š™™Ž—’—ǯȱŠžœŽȱ ŽȂ›Žȱœ˜ȱž—Š–’•’Š›ȱ ’‘ȱ’ǯȱ‘Ž›ŽȂœȱšž’ŽȱŠȱŽŠ›ȱŒ˜——ŽŒŽȱ˜ȱ
that’ (Rhythm is it!, ’œŒȱŗǼǯ
Ŝȳ‘Ž˜˜›ȱ Ž’쎛ǰȱ Studien bei Hans von Bülow [Studies with Hans von BülowǾ ǻŽ›•’—DZȱǯȱžŒ”‘Š›ȱŗŞşŜǼǰȱŞǯ
ŗŝ
Michael Cowan
˜—ȱ›‘¢‘–ȱ’—ȱ–˜Ž›—ȱ–žœ’Œȱ‘Šȱ ˜ž•ȱꗍȱ’œȱŒž•–’—Š’˜—ȱ’—ȱ‘Žȱ
ŽŠ›•¢ȱ  Ž—’Ž‘ȱ ŒŽ—ž›¢ȱ ’—ȱ ‘Žȱ ˜›”ȱ ˜ȱ Œ˜–™˜œŽ›œȱ œžŒ‘ȱ Šœȱ Š›’žœȱ
’•‘Šžǰȱ Šž•ȱ ’—Ž–’‘ȱ Š—ȱ ˜ȱ Œ˜ž›œŽȱ ›ŠŸ’—œ”¢ȱ ‘’–œŽ•ǯȱ žȱ
the saying is perhaps less interesting in purely musicological terms than for the importance it gained in all sorts of unexpected cultural ˜–Š’—œȱŠŽ›ȱŗşŖŖǯȱ˜ȱ˜ěŽ›ȱ˜—ŽȱŽ¡Š–™•Žǰȱ‘ŽȱŠ›Œ‘’ŽŒȱŠ—ȱ˜ž—Ž›ȱ
˜ȱ‘ŽȱŽžœŒ‘Ž›ȱŽ›”‹ž—ǰȱ
Ž›–Š——ȱž‘Žœ’žœǰȱ‹ŽŠ—ȱŠȱ•ŽŒž›Žȱ˜—ȱ
–˜Ž›—ȱŠ›Œ‘’ŽŒž›ŽȱŠȱ‘Žȱ›ȱ—œ’žŽȱ˜ȱŽ›•’—ȱ’—ȱŗşŖŞȱŠœȱ˜••˜ œDZȱ
–ȱ —Š—ȱ Š›ȱ Ž›ȱ ‘¢‘–žœǯȱ ’ŽœŽ›ȱ žœœ™›žŒ‘ȱ Žœȱ Ž’œŸ˜••Ž—ȱ
–žœ’”Š•’œŒ‘Ž—ȱ Ž—”Ž›œȱ Š—œȱ Ÿǯȱ û•˜ ȱ ‹Ž£’Ž‘ȱ œ’Œ‘ȱ —’Œ‘ȱ Š••Ž’—ȱ
˜Ž›ȱ ŠžŒ‘ȱ —ž›ȱ Ÿ˜› ’ŽŽ—ȱ Šžȱ ’Žȱ žœ’”ǯȱ Ž›ȱ ‘¢‘–žœȱ ’œȱ “ŽŽ›ȱ
–Ž—œŒ‘•’Œ‘Ž—ȱ §’”Ž’ȱ Ž’Ž—û–•’Œ‘ǰȱ Ž›ȱ ’œȱ Šœȱ Ž›œŽȱ ŽœŽĵȱ Š••Ž›ȱ
žđŽ›ž—Ž—ȱž—œŽ›ŽœȱŽ•‹œǯȱ—ȱŽ›ȱ’œȱ—˜Œ‘ȱŽž•’Œ‘Ž›ȱŽ›”Ž——‹Š›ȱ’–ȱ
žŽ—£žœŠ—ŽȱŽœȱ—’Ÿ’žž–œǰȱž—ȱ’—ȱŽ—ȱ™›’–’’ŸŽ—ȱž•ž›Ž—ǰȱ
Š•œȱ’—ȱŸ˜›Ž›ûŒ”Ž›Ž—ȱ— ’Œ”•ž—œœŠ’Ž—ǯŝ
ǽ—ȱ ‘Žȱ ‹Ž’——’—ȱ Šœȱ ›‘¢‘–ǯȱ ‘’œȱ œŠ¢’—ȱ ‹¢ȱ ‘Žȱ ‹›’••’Š—ȱ –žœ’ŒŠ•ȱ
‘Ž˜›’œȱ Š—œȱ Ÿ˜—ȱ û•˜ ȱ ›ŽŽ›œȱ —˜ȱ ˜—•¢ȱ Š—ȱ —˜ȱ ŽŸŽ—ȱ ™›’–Š›’•¢ȱ ˜ȱ
–žœ’Œǯȱ‘¢‘–ȱŒ‘Š›ŠŒŽ›’£ŽœȱŽŸŽ›¢ȱ‘ž–Š—ȱŠŒ’Ÿ’¢Dzȱ’ȱ’œȱ‘Žȱꛜȱ•Š ȱ
˜ȱŽŸŽ›¢ȱŽ¡™›Žœœ’˜—ȱ˜ȱ˜ž›ȱ‹Ž’—ǯȱ—ȱ’ȱ’œȱ–˜›ŽȱŒ•ŽŠ›•¢ȱ›ŽŒ˜—’£Š‹•Žȱ
in youthful individuals, and in primitive cultures, than in more ŠŸŠ—ŒŽȱŽŸŽ•˜™–Ž—Š•ȱœŠŽœǯǾ
Muthesius’s words here would be repeated in countless variations by any number of artists, intellectuals and scientists around the turn of ‘ŽȱŒŽ—ž›¢ǯŞ As they suggest, notions of rhythm stood at the centre of Šȱ‹›˜ŠȱŠ—‘›˜™˜•˜’ŒŠ•ȱŽě˜›ǰȱ’—ȱ–˜Ž›—ȱŒž•ž›Žǰȱ˜ȱž—Ž›œŠ—ȱ‘Žȱ
‘ž–Š—ȱǻȁ‘Žȱꛜȱ•Š ȱ˜ȱŽŸŽ›¢ȱŽ¡™›Žœœ’˜—ȱ˜ȱ˜ž›ȱ‹Ž’—ȂǼǰȱŠ—ȱŽ—ŽŠŸ˜ž›ȱ
Ž—Œ˜–™Šœœ’—ȱꎕœȱŠœȱ’ŸŽ›œŽȱŠœȱ™‘’•˜œ˜™‘¢ǰȱŽŒ˜—˜–’Œœǰȱœ˜Œ’˜•˜¢ǰȱ
ŝȳ
Ž›–Š——ȱž‘Žœ’žœǰȱDie Einheit der Architektur. Betrachtungen über Baukunst, Ingenieurbau und Kunstgewerbe [The Unity of Architecture. Observations on Building, Civil Engineering and the Applied ArtsǾȱǻŽ›•’—DZȱž›’žœǰȱŗşŖŞǼǰȱŗǯ
Şȳ˜ȱ ˜ěŽ›ȱ ˜—Žȱ ˜‘Ž›ȱ Ž¡Š–™•Žȱ ‘Ž›Žǰȱ ‘Žȱ ™ŽŠ˜’ŒŠ•ȱ ‘Ž˜›’œȱ žœŠŸȱ •Š›ǰȱ ’—ȱ
‘Žȱ ’—›˜žŒ’˜—ȱ ˜ȱ Šȱ ›ŽŠ’œŽȱ ˜—ȱ ‘Žȱ žœŽȱ ˜ȱ ›‘¢‘–ȱ ’—ȱ ŽžŒŠ’˜—ȱ ›˜–ȱ ŗşŘŘǰȱ
Ž¡™•Š’—ŽDZȱȁ
Š—œȱŸ˜—ȱû•˜ ǰȱŽ’—Ž›ȱŽ›ȱ‹ŽŽžŽ—œŽ—ȱ’›’Ž—Ž—ȱŽ›ȱŽž£Ž’ǰȱ
‘ŠȱŽ ’đȱ›ŽŒ‘ǰȱ Ž——ȱŽ›ȱŽ—ȱžœœ™›žŒ‘ȱžDZȱȃ–ȱ—Š—ȱ Š›ȱŽ›ȱ‘¢‘–žœȄǯȱ
›ȱ ’œȱ Šœ§Œ‘•’Œ‘ȱ Šœȱ Ž–ȱ Ž—œŒ‘Ž—ȱ Ÿ˜—ȱ Šž›ȱ ’——Ž ˜‘—Ž—Žȱ ž—ȱ ’—ȱ Ž—ȱ
ŸŽ›œŒ‘’ŽŽ—Ž—ȱ Ž£’Ž‘ž—Ž—ȱ £ž–ȱ žœ›žŒ”ȱ ”˜––Ž—Žȱ ›Žû‘•Ȃȱ ǽ
Š—œȱ Ÿ˜—ȱ
û•˜ ǰȱ˜—Žȱ˜ȱ‘Žȱ–˜œȱœ’—’ęŒŠ—ȱ–˜Ž›—ȱŒ˜—žŒ˜›œǰȱ’œȱŒŽ›Š’—•¢ȱŒ˜››ŽŒȱ ‘Ž—ȱ
‘ŽȱœŠŽœDZȱȁ—ȱ‘Žȱ‹Ž’——’—ȱ Šœȱ›‘¢‘–Ȃǯȱ‘¢‘–ȱ’œȱ’—ŽŽȱ‘Žȱ–˜œȱ™›’–’’ŸŽȱ
œŽ—œŠ’˜—ǰȱ ‘’Œ‘ȱ ’—‘Š‹’œȱ ‘ž–Š—ȱ ‹Ž’—œȱ ‹¢ȱ —Šž›Žȱ Š—ȱ ꗍœȱ Ž¡™›Žœœ’˜—ȱ ’—ȱ
‘Ž’›ȱŸŠ›’˜žœȱ›Ž•Š’˜—œǾǰȱžœŠŸȱ•Š›ǰȱDer Rhythmus und seine Bedeutung für den Unterricht [‘¢‘–ȱŠ—ȱ’œȱ’—’ęŒŠ—ŒŽȱ˜›ȱ‘Žȱ•Šœœ›˜˜–Ǿ ǻŠ—Ž—œŠ•£ŠDZȱŽ›•ŠȱŸ˜—ȱ
ž•’žœȱŽ•ĵǰȱŗşŗşǼǰȱřǯ
ŗŞ
Technology’s Pulse
‘’œ˜›¢ǰȱ‹’˜•˜¢ǰȱ™œ¢Œ‘˜•˜¢ǰȱŠ›ȱ‘’œ˜›¢ǰȱŠ—‘›˜™˜•˜¢ȱŠ—ȱ‘ŽȱȁœŒ’Ž—ŒŽȱ
˜ȱ ˜›”Ȃǯşȱ—ŽŽǰȱŠœȱ‘›’œ’—Žȱž‹”˜••ȱ‘Šœȱœ‘˜ —ǰȱȁ›‘¢‘–Ȃȱ Šœȱ˜—Žȱ
˜ȱ ž›˜™ŽŠ—ȱ –˜Ž›—’œ–Ȃœȱ –˜œȱ Ž’œ‘’£Žȱ ”Ž¢ ˜›œǰȱ ˜—Žȱ Œ‘Š›Žȱ
with a fantasy of overcoming modernity’s malaise and returning to a –˜›ŽȱŠž‘Ž—’ŒȱœŠŽȱ˜ȱ‹Ž’—ǯŗŖ If, as Baumann has argued, the very œ˜ž—ȱ ˜ȱ ‘Žȱ Ž›–ȱ ȁŒ˜––ž—’¢Ȃȱ ŒŠ››’Žœȱ Šȱ Š›–ȱ ŠěŽŒ’ŸŽȱ ŸŠ•Ž—ŒŽȱ ’—ȱ
‘Žȱ—•’œ‘ȱ•Š—žŠŽȱ˜Š¢ǰȱ˜—ŽȱŒŠ—ȱ–Š”ŽȱŠȱœ’–’•Š›ȱŠ›ž–Ž—ȱ˜›ȱ‘Žȱ
Ž›–ȱȁ‘¢‘–žœȂȱ’—ȱŽ›–Š—ȱŠ—ȱž›˜™ŽŠ—ȱŒž•ž›ŽȱŠ›˜ž—ȱŗşŖŖǰȱŠ—ȱ
‘’œȱ˜›ȱŠȱœ’–’•Š›ȱ›ŽŠœ˜—DZȱ‘Žȱ ˜›ȱŽŸ˜”ŽȱŠœœ˜Œ’Š’˜—œȱ˜ȱŒ˜––ž—Š•ȱ
participation, ritual renewal and a connection with nature and the ‹˜¢ȱœŽŽ–’—•¢ȱ•˜œȱ˜ȱ–˜Ž›—ȱŽŒ‘—˜•˜’ŒŠ•ȱŒ’Ÿ’•’£Š’˜—ǯŗŗ
Another major centre of modernity’s preoccupation with rhythm, and one that formed something of a direct precursor to the pedagogical project documented in Rhythm is it!, Šœȱ ‘Žȱ ŠšžŽœȬ
Š•Œ›˜£Žȱ —œ’žŽȱ ’—ȱ Ž••Ž›Šžǯȱ ˜ž—Žȱ ‹¢ȱ ‘Žȱ ’œœȱ Œ˜–™˜œŽ›ǰȱ
ŽžŒŠ˜›ȱ Š—ȱ Š—ŒŽȱ ‘Ž˜›’œȱ –’•Žȱ ŠšžŽœȬŠ•Œ›˜£Žȱ ’—ȱ ŗşŗŖȱ ǻŠ—ȱ
partly designed by Muthesius), the Institute trained students in a ›’˜›˜žœȱœ¢œŽ–ȱ˜ȱȁ›‘¢‘–’ŒŠ•ȱ¢–—Šœ’ŒœȂȱ’—ȱ ‘’Œ‘ȱŸŠ›’˜žœȱŒ˜–™•Ž¡ȱ
›‘¢‘–œȱ Ž›Žȱ›Š—œ•ŠŽȱ’—˜ȱœŠ—Š›’£ŽȱŠ›–ȱŠ—ȱ•Žȱ–˜ŸŽ–Ž—œȱ
ǻꐞ›ŽȱŗǼǯȱ’œ’˜›œȱ˜ȱ
Ž••Ž›Šžǰȱ ‘˜ȱ˜Ž—ȱŒ˜––Ž—Žȱ˜—ȱ‘Žȱ™ž™’•œȂȱ
extraordinary bodily dexterity, were particularly impressed with ‘Ž’›ȱ Š‹’•’¢ȱ ˜ȱ ™Ž›˜›–ȱ –ž•’™•Žȱ ›‘¢‘–œȱ œ’–ž•Š—Ž˜žœ•¢Dzȱ ’—ȱ ‘Žȱ
˜›œȱ ˜ȱ ˜—Žȱ ˜‹œŽ›ŸŽ›ǰȱ ȁǽǾŽ›ŠŽ£žȱ ŸŽ›‹•û쎗ȱ û›ȱ “ŽŽ—ȱ žœ’”Ž›ȱ
œ’—ȱ’ŽȱŠ”’Ž›û‹ž—Ž—ǰȱ ˜ȱ–’ȱ˜™ĠŽ Žž—Ž—ȱŽ’—ȱŘȦŚȱŠ”ǰȱ–’ȱ
Ž–ȱ•’—”Ž—ȱ›–ȱŽ’—ȱřȦŚȱŠ”ǰȱ–’ȱŽ–ȱ›ŽŒ‘Ž—ȱ›–ȱŽ’—ȱŚȦŚȱŠ”ǰȱŽ—ȱ
Ž’—Ž—ȱŽ’—ȱśȦŚȱŠ”ȱ•Ž’Œ‘£Ž’’ȱŠ—ŽŽ‹Ž—ȱ ’›Ȃȱǽžœ’Œ’Š—œȱŠ›ŽȱŠ••ȱ
›ž•¢ȱ Š–Š£Žȱ ‹¢ȱ œŒŠ—œ’˜—ȱ Ž¡Ž›Œ’œŽœȱ ’—ȱ ‘’Œ‘ȱ ‘Žȱ ‘ŽŠȱ ‹ŽŠœȱ Šȱ ŘȦŚȱ
’–Žǰȱ‘Žȱ•ŽȱŠ›–ȱřȦŚǰȱŠ—ȱ‘Žȱ›’‘ȱŠ›–ȱŚȦŚǰȱ ‘’•Žȱ‘Žȱ•Žœȱ‹ŽŠȱŠȱśȦŚȱ
şȳȱ‹˜››˜ ȱ‘ŽȱŽ›–ȱȁœŒ’Ž—ŒŽȱ˜ȱ ˜›”ȂǰȱŠȱ’›ŽŒȱ›Š—œ•Š’˜—ȱ˜ȱ‘Žȱ›Ž—Œ‘ȱȁœŒ’Ž—ŒŽȱ
žȱ ›ŠŸŠ’•Ȃȱ Š—ȱ ‘Žȱ Ž›–Š—ȱ ȁ›‹Ž’œ ’œœŽ—œŒ‘ŠȂǰȱ ›˜–ȱ —œ˜—ȱ Š‹’—‹ŠŒ‘ȱ ˜ȱ
Žœ’—ŠŽȱ Šȱ ‹›˜Šȱ œ™ŽŒ›ž–ȱ ˜ȱ ›ŽœŽŠ›Œ‘ȱ ˜—ȱ •Š‹˜ž›ȱ ŽĜŒ’Ž—Œ¢ȱ Š—ȱ Š’žŽȱ ’—ȱ
‘Žȱ ˜›”™•ŠŒŽȱ ’—ȱ ‘Žȱ •ŠŽȱ —’—ŽŽŽ—‘ȱ Š—ȱ ŽŠ›•¢ȱ  Ž—’Ž‘ȱ ŒŽ—ž›’Žœǯȱ ŽŽȱ—œ˜—ȱ
Rabinbach, The Human Motor. Energy, Fatigue and the Origins of Modernity ǻŽ›”Ž•Ž¢DZȱ—’ŸŽ›œ’¢ȱ˜ȱŠ•’˜›—’Šȱ›ŽœœǰȱŗşşŘǼǰȱŗŝşȮŘŖśǯȱ—ȱ‘Žȱ›˜•Žȱ˜ȱ›‘¢‘–ȱ
œž’Žœȱ’—ȱ ˜›”ȱœŒ’Ž—ŒŽǰȱœŽŽȱ™™ǯȱŗŝŘǰȱŗŞşȮşŘǯȱ
ŗŖȳ‘›’œ’—Žȱž‹”˜••ǰȱȁ‘¢‘–žœǯȱž–ȱ˜–™•Ž¡ȱŸ˜—ȱŽ‹Ž—œ™‘’•˜œ˜™‘’Žȱž—ȱ
§œ‘Ž’œŒ‘Ž›ȱ˜Ž›—ŽȂȱǽ‘¢‘–ǯȱ—ȱ‘Žȱ˜——ŽŒ’˜—œȱŽ ŽŽ—ȱ’Š•’œȱ‘’•˜œ˜™‘¢ȱ
Š—ȱ˜Ž›—ȱŽœ‘Ž’ŒœǾǰȱ’—ȱ‘›’œ’—Žȱž‹”˜••ȱǻŽǯǼǰȱDas Imaginäre des Fin de siècle. Ein Symposion für Gerhard Neumann ǽ‘Žȱ’—ȬŽȬ’¸Œ•Žȱ–Š’—Š›¢ǯȱȱ¢–™˜œ’ž–ȱ
˜›ȱŽ›‘Š›ȱŽž–Š——Ǿ ǻ›Ž’‹ž›DZȱ˜–‹ŠŒ‘ǰȱŘŖŖŘǼǰȱŞřȮŗŗŖǯ
ŗŗȳŽŽȱ ¢–žȱ Šž–Š—ǰȱ Community. Seeking Safety in an Insecure World ǻŠ–‹›’ŽDZȱ˜•’¢ǰȱŘŖŖŗǼǰȱŗȮŝǯ
ŗş
Michael Cowan
Fig 1. Rhythmical gymnastics, pupil from the Institut Jaques-­‐‑Dalcroze in Hellerau (1913)
’–ŽǾǯŗŘȱœȱ ȱ ‘ŠŸŽȱ ’œŒžœœŽȱ Ž•œŽ ‘Ž›Žǰȱ ˜—Žȱ ˜ȱ ‘Žȱ ˜Š•œȱ ˜ȱ ŠšžŽœȬ
Š•Œ›˜£ŽȂœȱ Ž¡Ž›Œ’œŽœȱ Šœȱ ˜ȱ ’—Œž•ŒŠŽȱ œŽ•ȬŒ˜—ꍮ—ŒŽȱ ’—ȱ Š—ȱ ’—œŽŒž›Žȱ
world by instilling in students a sense of control over the body and its movements,ŗřȱŠ—ȱ‘’œȱ™›˜“ŽŒȱȮȱŠ•˜—ȱ ’‘ȱ–Š—¢ȱ˜ȱŠšžŽœȬŠ•Œ›˜£ŽȂœȱ
›ŠŽ–Š›”ȱŽŒ‘—’šžŽœȱœžŒ‘ȱŠœȱ Š›–’—ȱœžŽ—œȱž™ȱ‹¢ȱ‘ŠŸ’—ȱ‘Ž–ȱ
Š•”ȱ Š—ȱ œ˜™ȱ ˜—ȱ Œ˜––Š—ȱ Ȯȱ œ‘˜ œȱ ž™ȱ ŸŽ›‹Š’–ȱ ’—ȱ Rhythm is it! As Susannah Broughton describes it at one point, echoing the earlier body-­‐‑culture theorists, one of the main goals of dance instruction is ™›ŽŒ’œŽ•¢ȱ˜ȱ‹ž’•ȱœŽ•ȬŒ˜—ꍮ—ŒŽȱ‘›˜ž‘ȱ‹˜’•¢ȱŒ˜—›˜•DZȱȁ‘Ž¢ȱ‘ŠŸŽȱ
ŸŽ›¢ȱ•’Ĵ•ŽȱŒ˜—ꍮ—ŒŽǯȱȱ–ŽŠ—ȱ’Ȃœȱšž’ŽȱœŒŠ›¢ǰȱȱꗍǰȱ˜ȱœŽŽȱœžŒ‘ȱ¢˜ž—ȱ
people so out of control of their bodies’ (Rhythm is it!, ’œŒȱŗǼǯȱžȱŽŸŽ—ȱ
–˜›Žȱ‘Š—ȱ’—’Ÿ’žŠ•ȱŒ˜—ꍮ—ŒŽǰȱ‘ŽȱꕖȱŠ”Žœȱž™ȱŠšžŽœȬŠ•Œ›˜£ŽȂœȱ
Ž–™‘Šœ’œȱ˜—ȱ›˜ž™ȱŠ—ȱŒ˜––ž—’¢ȱŠ—ŒŽǯ
ŗŘȳDie Bildungs-­‐‑Anstalt für Musik und Rhythmus E. Jaques-­‐‑Dalcroze in Dresden-­‐‑
Hellerau. Ein Bericht mit 8 Abbildungen [The E. Jaques-­‐‑Dalcroze Educational Institute for Music and Rhythm in Dresden-­‐‑Hellerau. A Report with Eight IllustrationsǾȱǻŽ—ŠDZȱ
žŽ—ȱ’ŽŽ›’Œ‘œǰȱŗşŗŖǼǰȱŚǯ
ŗřȳŽŽȱ ’Œ‘ŠŽ•ȱ ˜ Š—ǰȱ Cult of the Will. Nervousness and German Modernity ǻ—’ŸŽ›œ’¢ȱŠ›”ǰȱDZȱŽ——œ¢•ŸŠ—’ŠȱŠŽȱ—’ŸŽ›œ’¢ȱ›ŽœœǰȱŘŖŖŞǼǰȱŗŞŖȮŘŖŝǯ
ŘŖ
Technology’s Pulse
—ȱ –Š—¢ȱ Š¢œǰȱ ‘Žȱ –žŒ‘ȬŒŽ•Ž‹›ŠŽȱ ŠšžŽœȬŠ•Œ›˜£Žȱ —œ’žŽȱ Ȯȱ
which trained such dancers as Mary Wigman and was visited by –Š—¢ȱ ˜ȱ ‘Žȱ –˜œȱ ™›˜–’—Ž—ȱ ’—Ž••ŽŒžŠ•œȱ ˜ȱ ž›˜™Žȱ Ȯȱ œŽ›ŸŽȱ Šœȱ Šȱ
–˜Ž•ȱ˜›ȱ˜‘Ž›ȱŽě˜›œȱ˜ȱ‘Š›—Žœœȱ›‘¢‘–ȱ’—ȱ‘ŽȱœŽ›Ÿ’ŒŽȱ˜ cultural reform in the early twentieth century, particularly in the realm of ŽžŒŠ’˜—ǯȱ—ȱŠ’’˜—ȱ˜ȱ—ž–Ž›˜žœȱ˜‘Ž›ȱŠ—ŒŽȱœŒ‘˜˜•œȱ’—ȱŽ›–Š—¢ȱ
œžŒ‘ȱŠœȱž˜•ȱŸ˜—ȱŠ‹Š—ȂœȱȁŒ‘ž•Ž—ȱŽ›ȱŽ Žž—œ”ž—œȂȱǽŒ‘˜˜•œȱ
˜ȱ ‘Žȱ ›ȱ ˜ȱ ˜ŸŽ–Ž—Ǿȱ Š—ȱ ‘Žȱ •’œŠ‹Ž‘ȱ ž—ŒŠ—ȱ Š—ŒŽȱ œŒ‘˜˜•ȱ
in Berlin, the interest in rhythm as a pedagogical tool in the early twentieth century can be gleaned from the sheer number of print publications on the topic such as Gustav Klar’s Der Rhythmus und seine Bedeutung für den Unterricht ǻŗşŗşǼȱǽ‘¢‘–ȱŠ—ȱ’œȱ’—’ęŒŠ—ŒŽȱ˜›ȱ
the ClassroomǾǰȱž˜•ȱ˜ŽȂœȱDer Rhythmus und seine Bedeutung für die Erziehung ǻŗşŘŖǼ [‘¢‘–ȱŠ—ȱ’œȱ’—’ęŒŠ—ŒŽȱ˜›ȱžŒŠ’˜—ǾǰȱŽ›—‘Š›ȱ
Koch’s Der Rhythmus. Untersuchungen über sein Wesen und Wirken in Kunst und Natur und seine Bedeutung für die Schule ǻŗşŘŘǼ [Rhythm, an —Š•¢œ’œȱ˜ȱ’œȱœœŽ—ŒŽȱŠ—ȱ쎌œȱ’—ȱ›ȱŠ—ȱŠž›ŽȱŠ—ȱ’œȱ’—’ęŒŠ—ŒŽȱ
for SchoolsǾȱ˜›ȱ›’Ž›’Œ‘ȱ›ž ŽȂœȱErziehung durch Rhythmus in Musik und Leben ǻŗşřŖǼ [Education through Rhythm in Music and LifeǾǯȱžȱ‘’œȱ
’—Ž›Žœȱ’—ȱ›‘¢‘–ȱŠœȱŠ—ȱŠŽ—ȱ˜ȱŒž•ž›Š•ȱȁ›Ž—Ž Š•ȂȱŠ•œ˜ȱŽ¡Ž—Žȱ Ž••ȱ
‹Ž¢˜—ȱ‘Žȱ›ŽŠ•–ȱ˜ȱŽžŒŠ’˜—ȱ™›˜™Ž›ǯȱ—ŽŽǰȱŠ–˜—ȱ‘˜œŽȱ’—œ™’›Žȱ
‹¢ȱŠšžŽœȬŠ•Œ›˜£ŽȂœȱŽ¡™Ž›’–Ž—œȱ Ž›Žȱ—˜—Žȱ˜‘Ž›ȱ‘Š—ȱ›ŠŸ’—œ”¢Ȃœȱ
Œ˜••Š‹˜›Š˜›œȱ ‘Ž–œŽ•ŸŽœDzȱ ŠŒŒ˜›’—ȱ ˜ȱ ˜›’œȱ Œ”œŽ’—ǰȱ ’Š‘’•ŽŸȱ
Š—ȱ ’“’—œ”¢ȱ Ÿ’œ’Žȱ ‘Žȱ Š•Œ›˜£Žȱ —œ’žŽȱ ’—ȱ ŗşŗŘȱ ˜ȱ •ŽŠ›—ȱ –˜›Žȱ
about eurhythmical dance and persuaded one of the students, Marie Rambert, to join the Ballets Russes to assist in the group choreography for Rite of SpringǯŗŚ
žŒ‘ȱŒ˜••Š‹˜›Š’˜—œȱŠ›Žȱ’—’ŒŠ’ŸŽȱ˜ȱŠȱ‹›˜ŠŽ›ȱœ‘Š›Žȱ™›˜“ŽŒǯȱ‘Žȱ
ŸŽ›¢ȱ›‘¢‘–’ŒŠ•ȱœ›žŒž›ŽœȱŠȱ ˜›”ȱ’—ȱRite of Springȱ›ŽœŽ–‹•ŽȱŠšžŽœȬ
Š•Œ›˜£ŽȂœȱ™Ž›˜›–Š—ŒŽœȱ’—ȱœŽŸŽ›Š•ȱ›Žœ™ŽŒœDzȱ’—ȱ™Š›’Œž•Š›ǰȱ‘Žȱ‹Š••Žȱ
›ŽŒŠ••œȱ ŠšžŽœȱ Š•Œ›˜£ŽȂœȱ ›’˜›˜žœȱ ›Š’—’—ȱ ’—ȱ ™˜•¢›‘¢‘–œȱ ’‘ȱ ’œȱ
žœŽȱ˜ȱŒ˜—œŠ—•¢ȱœ‘’’—ȱ’–Žȱœ’—Šž›Žœǯȱ‘žœȱ‘ŽȱŒ˜—žŒ˜›ȱ’Ž››Žȱ
˜ž•Ž£ȱŽœŒ›’‹Žœȱ‘’œȱꛜȱŽ—Œ˜ž—Ž›ȱŠœȱŠȱŒ˜—žŒ˜›ȱ ’‘ȱ›ŠŸ’—œ”¢Ȃœȱ
˜›”ȱŠœȱ˜••˜ œDZȱ
When I began to conduct, I began to face the problems [of Le Sacre du printempsǾǰȱ Š—ȱ ‘Žȱ ™›˜‹•Ž–œȱ Š›Žȱ –Š’—•¢ȱ ›‘¢‘–’ŒŠ•ȱ ™›˜‹•Ž–œǯȱ —ȱ Šȱ
—˜›–Š•ȱ Š¢ǰȱ¢˜žȱ‹ŽŠȱŗȬŘȬřǰȱŗȬŘȬřȬŚǰȱ‹žȱ—˜‘’—ȱŽ¡ŒŽ™’˜—Š•ǯȱȱ˜Žœȱ
—˜ȱ Œ‘Š—Žȱ Š••ȱ ‘Žȱ ’–Žǯȱ žȱ ’—ȱ œ˜–Žȱ ™Š›œȱ ˜ȱ ›ŠŸ’—œ”¢ǰȱ Žœ™ŽŒ’Š••¢ȱ
‘Žȱꗊ•ȱŠ—ŒŽǰȱ‘Žȱdanse sacrale, ‘Žȱ–Ž›ŽȱŒ‘Š—ŽœȱŒ˜—œŠ—•¢ǯȱ˜žȱ
ŗŚȳŽŽȱ˜›’œȱ”œŽ’—ǰȱThe Rites of Spring ǻ˜œ˜—DZȱ
˜ž‘˜—ȱ’ĝ’—ǰȱŗşŞşǼǰȱřŝǰȱ
śŗȮśŘǯ
Řŗ
Michael Cowan
‘ŠŸŽȱŘȬřȬśǰȱŘȬřȬŚǰȱŠ—ȱœ˜ȱ˜—ǯȱ—ȱœ˜ȱ¢˜žȱ‘ŠŸŽȱ˜ȱŠŠ™ȱ¢˜ž›œŽ•ȱ˜ȱ‘’œȱ
Œ˜—œŠ—ȱŒ‘Š—ŽǯȱǽǯǯǯǾȱȱꛜǰȱȱ ŠœȱŸŽ›¢ȱŠ—¡’˜žœǯŗś Similarly, in an interview for the DVD release of Rhythm is it!, Simon ŠĴ•Žȱ ŽœŒ›’‹Žœȱ ‘’œȱ ˜ —ȱ Ž¡™Ž›’Ž—ŒŽȱ ’‘ȱ ›ŠŸ’—œ”¢Ȃœȱ ›‘¢‘–œDZȱ
ȁ‘Ž—ŽŸŽ›ȱ¢˜žȱ‘’—”ȱ¢˜žȂŸŽȱ˜ȱ¢˜ž›ȱ›‘¢‘–ǰȱ‘Ž›ŽȂœȱŠ—ȱŽ¡›Šȱ‹ŽŠǯȱ
‘Ž›ŽȂœȱ —˜ȱ ™˜’—ȱ ‘Ž›Žȱ ¢˜žȱ ŒŠ—ȱ Žȱ Œ˜–˜›Š‹•Žǯȱ žȱ ¢Žǰȱ ¢˜žȱ ŽŽ•ȱ
as though the whole planet is pulsating under you’ (Rhythm is it!, ’œŒȱŘǼǯȱ˜—Ž–™˜›Š›¢ȱ˜‹œŽ›ŸŽ›œȱŒ•ŽŠ›•¢ȱž—Ž›œ˜˜ȱœžŒ‘ȱ™ž•œŠ’—ȱ
™˜•¢›‘¢‘–œȱ Šœȱ Šȱ ›Žž›—ȱ ˜ȱ ™›’–’’ŸŽȱ Ÿ’Š•’¢ǯȱ œȱ ˜—Žȱ ˜‹œŽ›ŸŽ›ȱ
ŽœŒ›’‹Žȱ’DZȱȁŽ——ȱ›Š ’—œ”¢ȱ’—ȱœŽ’—Ž–ȱ™˜•¢›‘¢‘–’œŒ‘Ž—ȱȃŠŒ›Žȱ
žȱ ™›’—Ž–™œȄȱ ǽǯǯǯǾȱ ‹Š‘—‹›ŽŒ‘Ž—ȱ Ÿ˜›Š—Ž‘ǰȱ œ˜ȱ ”Ž‘›ȱ Ž›ȱ Ž‹Ž—ȱ £ž›ȱ
žŽ••Žȱ Š••Ž›ȱ žœ’”ȱ £ž›ûŒ”Ȃȱ ǽȱ ›ŠŸ’—œ”¢ȱ ‹›ŽŠ”œȱ —Ž ȱ ›˜ž—ȱ ’‘ȱ
his polyrhythmical Sacre du printemps, he also returns to the source ˜ȱŠ••ȱ–žœ’ŒǾǯŗŜ
ȱ›ŠŸ’—œ”¢ȱŠ—ȱ˜‘Ž›ȱ–˜Ž›—ȱŠ›’œœȱŠ—ȱ’—Ž••ŽŒžŠ•œȱŠœŒ›’‹Žȱ
œžŒ‘ȱ›ŽŠȱ’–™˜›Š—ŒŽȱ˜ȱ‘Žȱ›Ž’œŒ˜ŸŽ›¢ȱ˜ȱȁ™›’–’’ŸŽȂȱ›‘¢‘–œǰȱ‘’œȱ
’œȱ‹ŽŒŠžœŽȱ‘Ž¢ȱ‘˜™Žȱ˜ȱꗍȱ’—ȱŠ›ȱŠ—ȱŠ—œ Ž›ȱ˜ȱŠȱ™›˜‹•Ž–ȱ‘Šȱ‘Šȱ
‹ŽŽ—ȱŠ›’Œž•ŠŽȱŽ•œŽ ‘Ž›Žǯȱ˜›ȱŠšžŽœȬŠ•Œ›˜£ŽȱŠ—ȱ‘’œȱŠœœ˜Œ’ŠŽœǰȱ
Šœȱ˜›ȱ–Š—¢ȱ’—ŸŽœŽȱ’—ȱ‘Žȱ›‘¢‘–ȱŽ‹ŠŽœȱŠ›˜ž—ȱŗşŖŖǰȱ‘Žȱ–˜œȱ
authoritative formulation of the problem could be found in a study •Š›Ž•¢ȱ˜›˜ĴŽ—ȱ˜Š¢ȱ‹žȱ ’Ž•¢ȱ’—ĚžŽ—’Š•ȱ’—ȱ‘ŽȱŽŠ›•¢ȱ Ž—’Ž‘ȱ
century: Arbeit und Rhythmus ǻŗŞşŝǼȱ ǽWork and RhythmǾ by the ŽŒ˜—˜–’œȱŠ›•ȱûŒ‘Ž›ǯȱž¢’—ȱŠȱ›Š—Žȱ˜ȱ›Š’’˜—Š•ȱ ˜›”ȱœ˜—œȱ
from anthropological publications and ethnographic exhibitions (so-­‐‑
ŒŠ••Žȱȁ£˜˜œȱ‘ž–Š’—œȂȱ˜›ȱȁ㕔Ž›œŒ‘ŠžŽ—ȂǼȱŠȱ‘ŽȱŠ›’œȱ˜›•ȂœȱŠ’›ǰȱ
ûŒ‘Ž›ȱŒ•Š’–œȱ˜ȱ‘ŠŸŽȱ’œŒ˜ŸŽ›ŽȱŠȱ•˜œȱ ˜›•ȱ˜ȱ›‘¢‘–’ŒŠ•ǰȱŒ˜••ŽŒ’ŸŽȱ
•Š‹˜ž›ǰȱ˜—ŽȱŠĴž—Žȱ ˜ȱ ‘Žȱ ›‘¢‘–œȱ ˜ȱ ‘Žȱ ‹˜¢ȱ Š—ȱ ž—Œ’˜—’—ȱ ˜ȱ
œ˜•’’¢ȱ Œ˜––ž—’¢ȱ ‹˜—œȱ ›Š‘Ž›ȱ ‘Š—ȱ ’œ˜•Š’—ȱ ˜›”Ž›œȱ Ȯȱ ’—ȱ ‘Žȱ
–Š——Ž›ȱ˜ȱ–˜Ž›—ȱŠŒ˜›¢ȱ ˜›”ȱȮȱ’—ȱ‘Žȱ™Ž›˜›–Š—ŒŽȱ˜ȱ’—’Ÿ’žŠ•ȱ
Šœ”œȱǻꐞ›ŽȱŘǼǯȱ˜›ȱûŒ‘Ž›ǰȱ›‘¢‘–’ŒŠ•ȱ ˜›”ȱ—˜ȱ˜—•¢ȱ™›ŽȬŠŽȱ‘Žȱ
division of labour characteristic of Taylorist production, but also ”—Ž ȱ —˜‘’—ȱ ˜ȱ ‘Žȱ –˜Ž›—ȱ œŽ™Š›Š’˜—ȱ ˜ȱ •’Žȱ œ™‘Ž›Žœȱ ’—˜ȱ ˜›”ȱ
Š—ȱ•Ž’œž›Žǯȱȁ›‹Ž’ǰȱžœ’”ȱž—ȱ’Œ‘ž—ǰȂȱûŒ‘Ž›ȱŒ•Š’–Žǰȱȁǽ–ûœœŽ—Ǿȱ
Šžȱ Ž›ȱ ™›’–’’ŸŽ—ȱ žŽȱ ’‘›Ž›ȱ — ’Œ”•ž—ȱ ’—ȱ eins ŸŽ›œŒ‘–˜•£Ž—ȱ
Ž ŽœŽ—ȱ œŽ’—ǯȱ ǽǯǯǯǾȱ Šœȱ œ’Žȱ ŸŽ›‹’—Žǰȱ ’œȱ Šœȱ Ž–Ž’—œŠ–Žȱ Ž›”–Š•ȱ
des Rhythmus’ [In their primitive form, ˜›”ǰȱ–žœ’ŒȱŠ—ȱ™˜Ž›¢ȱ–žœȱ
have been melded into one. ǽdzǾȱ ‘Ž¢ȱ Ž›Žȱ •’—”Žȱ ‹¢ȱ ‘Žȱ Œ˜––˜—ȱ
ŗśȳ’Ž››Žȱ˜ž•Ž£ǰȱ’—Ž›Ÿ’Ž Žȱ’—ȱPierre Boulez Conducts Stravinsky. Le Sacre du printemps ǻǰȱ–ŠŽȱ—Ž›Š’—–Ž—ǰȱŗşşřǼǯ
ŗŜȳ› ’—ȱ Ž•‹Ž›ǰȱ ȁ›’–’’ŸŽȱ ž—ȱ –˜Ž›—Žȱ žœ’”Ȃȱ ǽ›’–’’ŸŽȱ Š—ȱ ˜Ž›—ȱ
žœ’ŒǾǰȱDer Auftakt ȱǻŗşŘśǼǰȱřŗŗǯ
ŘŘ
Technology’s Pulse
Fig 2. Illustration of rhythmical labour from Karl Bücher, Arbeit und Rhythmus, 6th edn., 1924 ›Š’ȱ ˜ȱ ›‘¢‘–Ǿǯŗŝȱ ŠšžŽœȬŠ•Œ›˜£Žȱ Š—ȱ ‘’œȱ Šœœ˜Œ’ŠŽœȱ •ŠŒ‘Žȱ ˜—ȱ ˜ȱ
™›ŽŒ’œŽ•¢ȱ ‘’œȱ ™˜’—Dzȱ Šœȱ ‘Žȱ —œ’žŽȂœȱ ꗊ—Œ’Š•ȱ ‹ŠŒ”Ž›ȱ ˜•ȱ ˜‘›—ȱ
›˜Žȱ’—ȱŠ—ȱŠ›’Œ•Žȱ˜›ȱ‘Žȱ—œ’žŽȂœȱ¢ŽŠ›‹˜˜”ȱDer RhythmusDZȱȁǽûŒ‘Ž›Ǿȱ
û‘› den Nachweis, daß auf der primitiven Stufe der Menschheit Š••Žȱ›‹Ž’ȱ›‘¢‘–’œŒ‘Žȱ˜›–ȱ‘ŠĴŽǰȱŠđȱŽœȱû‹Ž›‘Šž™ȱ—ž›ȱŽ’—Žȱ›ȱ
–Ž—œŒ‘•’Œ‘Ž›ȱ Ž§’ž—ȱ ŽŽ‹Ž—ȱ ‘Š‹Žǰȱ ’—ȱ Ž•Œ‘Ž›ȱ ȃ›‹Ž’ǰȱ ™’Ž•ȱ
ž—ȱž—œȄȱŽ’—Žȱ’—‘Ž’ȱŽ ŽœŽ—ȱœŽ’ȂȱǽûŒ‘Ž›ȱŽ–˜—œ›ŠŽœȱ‘Šǰȱ˜›ȱ
™›’–’’ŸŽȱ ‘ž–Š—’¢ǰȱ Š••ȱ ˜›”ȱ Šœœž–Žȱ ›‘¢‘–’ŒŠ•ȱ ˜›–ǰȱ ‘Šȱ ‘Ž›Žȱ
Ž¡’œŽȱ˜—•¢ȱ˜—Žȱ¢™Žȱ˜ȱ‘ž–Š—ȱŠŒ’Ÿ’¢ǰȱ’—ȱ ‘’Œ‘ȱȁ ˜›”ǰȱ™•Š¢ȱŠ—ȱŠ›Ȃȱ
˜›–ŽȱŠȱž—’¢ǾǯŗŞ ûŒ‘Ž›ȱ Šœȱ ‘Š›•¢ȱ ‘Žȱ ꛜȱ ˜‹œŽ›ŸŽ›ȱ ˜ȱ Šœœ˜Œ’ŠŽȱ ›‘¢‘–ȱ Š—ȱ
ȁ™›’–’’ŸŽȂȱ Œž•ž›Žǯȱ ‘Š›•Žœȱ Š› ’—ǰȱ ˜›ȱ Ž¡Š–™•Žǰȱ œŠ ȱ ™•ŽŠœž›Žȱ ’—ȱ
rhythm as a universal characteristic of animal life activated in mating ›’žŠ•œǰȱŠȱŠŒȱ ‘’Œ‘ǰȱ‘ŽȱŠ›žŽǰȱŽ¡™•Š’—œȱ ‘¢ȱȁ–žœ’ŒǰȱŠ—Œ’—ǰȱœ˜—ǰȱ
Š—ȱ ™˜Ž›¢ȱ Š›Žȱ œžŒ‘ȱ ŸŽ›¢ȱ Š—Œ’Ž—ȱ Š›œȂǯŗşȱ •˜œŽ›ȱ ˜ȱ ûŒ‘Ž›ǰȱ ‘Žȱ Š›ȱ
historian Ernst Grosse had argued, in his study Die Anfänge der Kunst ǻŗŞşŚǼȱǽThe Origins of ArtǾǰȱ‘Šȱ›‘¢‘–ȱ˜›–Žȱ‘Žȱ™›’–’’ŸŽȱ‹Šœ’œȱ˜ȱ
ŗŝȳŠ›•ȱûŒ‘Ž›ǰȱArbeit und Rhythmus. Abhandlungen der philologisch-­‐‑historischen Classe der königlichen sächsischen Gesellschaft der Wissenschaften řşDZś ǻŽ’™£’DZȱ ǯȱ
’›£Ž•ǰȱŗŞşŝǼǰȱŝŞǯ
ŗŞȳ˜•ȱ˜‘›—ǰȱȁžŠ‹Ž—ȱŽ›ȱ’•ž—œŠ—œŠ•ȱŠšžŽœȬŠ•Œ›˜£ŽȂȱǽŠœ”œȱ˜ȱ‘Žȱ
ŠšžŽœȬŠ•Œ›˜£ŽȱžŒŠ’˜—Š•ȱ—œ’žŽǾǰȱDie Schulfeste der Bildungsanstalt Jaques-­‐‑
Dalcroze [The School Festivals of the Jaques-­‐‑Dalcroze Educational InstituteǾ. Der Rhythmus 2, Nr 1ȱǻŽ—ŠDZȱ’ŽŽ›’Œ‘œǰȱŗşŗŘǼǰȱŝȮŞ.
ŗşȳ‘Š›•ŽœȱŠ› ’—ǰȱThe Descent of Man and Selection in Relation to Sex, ؗȱŽ— ǻ˜—˜—DZȱ˜‘—ȱž››Š¢ǰȱŗŞŝŚǼ, śŝŘǯȱ
Řř
Michael Cowan
dance, poetry and music, arguing in particular that dance rhythm œŽ›ŸŽȱŠœȱ‘Žȱꛜȱ–Ž’ž–ȱ˜›ȱ˜›’—ȱŠȱœ˜Œ’Š•ȱ‹˜—DZȱȁǽǾ’ŽœŽȱŠ—£Žȱ
Menge bewegt sich alsdann nach einem ŽœŽĵŽǰȱ ’—ȱ einem Š”ǯȱ ǽǯǯǯǾȱ
§‘›Ž—ȱ Žœȱ Š—£Žœȱ ‹Žę—Ž—ȱ œ’Œ‘ȱ ’Žȱ ‘Ž’•—Ž‘–Ž›ȱ ’–ȱ žœŠ—Žȱ
Ž›ȱ Ÿ˜••”˜––Ž—Ž—ȱ ˜Œ’Š•’œ’Ž›ž—Dzȱ ’Žȱ Š—£Ž—Žȱ ›ž™™Žȱ Ž–™ę—Žȱ
und handelt wie ein einheitlicher Organismus’ [Thereupon the entire crowd moves according to one law, to one ‹ŽŠǯȱǽǯǯǯǾȱž›’—ȱ‘ŽȱŠ—ŒŽǰȱ
‘Žȱ ™Š›’Œ’™Š—œȱ Š›Žȱ ’—ȱ Šȱ Œ˜—’’˜—ȱ ˜ȱ Œ˜–™•ŽŽȱ œ˜Œ’Š•’£Š’˜—Dzȱ ‘Žȱ
Š—Œ’—ȱ ›˜ž™ȱ ŽŽ•œȱ Š—ȱ ŠŒœȱ •’”Žȱ Šȱ ž—’ꮍȱ ˜›Š—’œ–ǾǯŘŖ But while ûŒ‘Ž›ȱœ‘Š›Žȱ‘’œȱŠœœ˜Œ’Š’˜—ȱ‹Ž ŽŽ—ȱ›‘¢‘–ȱŠ—ȱ‘Žȱȁ™›’–’’ŸŽȂȱŠ›œȱ
˜ȱŠ—ŒŽǰȱ–žœ’ŒȱŠ—ȱ•¢›’Œǰȱ’ȱ ˜ž•ȱ‹ŽȱŠȱ–’œŠ”Žȱ˜ȱœŽŽȱ‘’œȱœž¢ȱȮȱ˜›ȱ
‘ŽȱŠšžŽœȬŠ•Œ›˜£Žȱ¢–—Šœ’Œœȱ’—ĚžŽ—ŒŽȱ‹¢ȱ’ȱȮȱ˜—•¢ȱŠœȱŠ—ȱŽ¡Š–™•Žȱ
˜ȱ Š—’Ȭ–˜Ž›—ȱ —˜œŠ•’Šǯȱ ˜›ȱ ûŒ‘Ž›Ȃœȱ ž—Ž›œŠ—’—ȱ ˜ȱ ›‘¢‘–ȱ
Šœȱ Š•œ˜ȱ œŽŽ™Žȱ ’—ȱ ‘Žȱ ŸŠ•žŽœȱ ˜ȱ ›Š’˜—Š•’¢ȱ Š—ȱ ‘Žȱ ›Š’˜—Š•’£Žȱ
body, subscribing wholeheartedly to the nineteenth-­‐‑century view of ‘Žȱ ‹˜¢ȱ Ȯȱ Ž¡™•˜›Žȱ ‹¢ȱ —œ˜—ȱ Š‹’—‹ŠŒ‘ȱ Ȯȱ Šœȱ Šȱ ȁ‘ž–Š—ȱ –˜˜›ȂǯŘŗ ‘¢‘–ǰȱ ˜›ȱ ûŒ‘Ž›ǰȱ Šœȱ ꛜȱ Š—ȱ ˜›Ž–˜œȱ Šȱ —Šž›Š•ȱ –ŽŠ—œȱ ˜ȱ
›Žž•Š’—ȱ‹˜’•¢ȱŽĜŒ’Ž—Œ¢DZȱ
Ž›ȱ ‘¢‘–žœȱ Ž—œ™›’—ȱ Ž–ȱ ˜›Š—’œŒ‘Ž—ȱ ŽœŽ—ȱ Žœȱ Ž—œŒ‘Ž—ǯȱ
••Žȱ—Šû›•’Œ‘ŽȱŽ‘§’ž—ȱŽœȱ‘’Ž›’œŒ‘Ž—ȱ㛙Ž›œȱœŒ‘Ž’—ȱŽ›ȱŠ•œȱŠœȱ
›Žž•’Ž›Ž—Žȱ•Ž–Ž—ȱœ™Š›œŠ–œŽ—ȱ›§ŽŸŽ›‹›ŠžŒ‘œȱ£žȱ‹Ž‘Ž››œŒ‘Ž—ǯȱ
Šœȱ ›Š‹Ž—Žȱ Ž›ȱ ž—ȱ Šœȱ ‹Ž•ŠŽ—Žȱ Š–Ž•ȱ ‹Ž ŽŽ—ȱ œ’Œ‘ȱ Ž‹Ž—œ˜ȱ
›‘¢‘–’œŒ‘ȱ ’ŽȱŽ›ȱ›žŽ›—ŽȱŒ‘’쎛ȱž—ȱŽ›ȱ‘§––Ž›—ŽȱŒ‘–’Žǯȱ
ǻûŒ‘Ž›ȱŗŖŗǼȱ
ǽ‘¢‘–ȱ Š›’œŽœȱ ›˜–ȱ ‘ž–Š—’¢Ȃœȱ ˜›Š—’Œȱ ‹Ž’—ǯȱ ȱ ›Žž•ŠŽœȱ Š••ȱ ‘Žȱ
—Šž›Š•ȱ–˜ŸŽ–Ž—œȱ˜ȱ‘ŽȱŠ—’–Š•ȱ‹˜¢ȱ˜ȱŽ—Ž›ŠŽȱ‘Žȱ–˜œȱŽĜŒ’Ž—ȱ
žœŽȱ˜ȱŽ—Ž›¢ǯȱ›˜Ĵ’—ȱ‘˜›œŽœȱŠ—ȱ•˜ŠŽȱŒŠ–Ž•œȱ–˜ŸŽȱ›‘¢‘–’ŒŠ••¢ȱ
—˜ȱ•Žœœȱ‘Š—ȱ˜Š›œ–Š—ȱ’—ȱŠȱœ‘’™ȱ˜›ȱ‹•ŠŒ”œ–’‘œȱ ’Ž•’—ȱ‘Žȱ‘Š––Ž›ǯǾ
In particular, by rendering movements automatic, rhythm decreased the amount of conscious energy necessary to complete individual ŘŖȳ›—œȱ ›˜œœŽǰȱ Die Anfänge der Kunst ǻ›Ž’‹ž›DZȱ ”ŠŽ–’œŒ‘Žȱ Ž›•ŠœȬ
‹žŒ‘‘Š—•ž—ȱŸ˜—ȱǯȱǯȱǯȱ˜‘›ǰȱŗŞşŚǼDZȱŘŗŞȮŗşǯȱ’•‘Ž•–ȱž—ȱ ˜ž•ȱ•ŠŽ›ȱŠ”Žȱ
up a similar line of argument in the third volume of his Völkerpsychologie ǻŗşŖŞǼȱ
dedicated to the evolution of art, where he argued that dance and song were ž—’Žȱ’—ȱ™›’–’’ŸŽȱŒž•ž›Žœǰȱ ‘Ž›ŽȱŠěŽŒȱȁž—Ž‘Ž––ȱœ’Œ‘ȱŽ›’ŽđŽ—ȱ”Š——ȂȱǽŒŠ—ȱ
̘ ȱ˜›‘ȱž—’—‘’‹’Ž•¢Ǿǰȱ’•‘Ž•–ȱž—ǰȱVölkerpsychologieǯȱEine Untersuchung Ž›ȱ— ’Œ”•ž—œŽœŽĵŽȱ[Folk Psychology. A Study of the Laws of DevelopmentǾǰȱŸ˜•ǯȱ
řǰȱDie Kunst, Ś‘ȱŽ—ȱǻŽ’™£’DZȱ•›Žȱ›ã—Ž›ȱŽ›•ŠǰȱŗşŘřǼǰ ŚŝŖǯ
ŘŗȳŽŽȱŠ‹’—‹ŠŒ‘ǰȱThe Human Motor. ŘŚ
Technology’s Pulse
Šœ”œȱŠ—ǰȱŠœȱŠȱ›Žœž•ǰȱ›Ž—Ž›Žȱ•Š‹˜ž›ȱ–˜›Žȱ™•ŽŠœž›Š‹•ŽǯŘŘȱ›ŽŒ’œŽ•¢ȱ
‘’œȱŽě˜›ȱ˜ȱŠž˜–ŠŽȱ‹˜’•¢ȱ–˜ŸŽ–Ž—œȱ ˜ž•ȱ˜›–ȱŠȱŒŽ—›Ž™’ŽŒŽȱ
˜ȱ ŠšžŽœȬŠ•Œ›˜£ŽȂœȱ ¢–—Šœ’Œœȱ ™›˜›Š––Žǰȱ Šœȱ ‘Žȱ Ž¡™•Š’—Žȱ ’—ȱ
another context: ’—Žȱ ‘Ž›Ÿ˜››ŠŽ—Žȱ ˜••Žȱ œ™’Ž•ȱ Ž›ȱ ‘¢‘–žœȱ ‹Ž’ȱ Ž›ȱ §•’Œ‘Ž—ȱ
›‹Ž’ǯȱ›ȱ’œȱŽœǰȱŽ›ȱ’ŽȱŽ’—£Ž•—Ž—ȱŽ Žž—Ž—ȱŽ›•Ž’Œ‘Ž›ǰȱ’—Ž–ȱŽ›ȱ
œ’ŽȱŠž˜–Š’œ’Ž›ǯȱ’—Ž›œŽ’œȱŽ››ŽȱŽ›ȱ’Žȱ›§ŽǰȱŠ—Ž›Ž›œŽ’œȱœŒ‘˜—ȱ
Ž›ȱœ’ŽǰȱœŽ’Ž›ȱœ˜ȱ’ŽȱŽ’œž—œ§‘’”Ž’ȱž—ȱŽ›–㐕’Œ‘ȱŽ’—ȱ›Žž’Žœǰȱ
Ÿ˜—ȱ’Ž› ’••Ž—ȱ›Ž’Žœȱ›‹Ž’Ž—ǯȱž›ȱûĵŽȱ–Ž’—Ž›ȱ‘Ž˜›’Ž—ȱ•ŠœœŽ—ȱ
œ’Œ‘ȱ ’Žȱ ›‹Ž’œ•’ŽŽ›ȱ Š—û‘›Ž—ǰȱ ’Žȱ Šžȱ Š••Ž—ȱ ‘Š— Ž›”•’Œ‘Ž—ȱ
Ž›žœ£ Ž’Ž—ȱŸ˜›”˜––Ž—ȱž—ȱ˜›ȱŽ’—Žȱ ’Œ‘’Žȱ˜••Žȱœ™’Ž•Ž—ǯŘř ǽ‘¢‘–ȱ ™•Š¢œȱ Šȱ ™›˜–’—Ž—ȱ ›˜•Žȱ ’—ȱ Š’•¢ȱ ˜›”ǯȱ ‘¢‘–ȱ ’œȱ ‘Šȱ
ŠŒ’•’ŠŽœȱ’—’Ÿ’žŠ•ȱ–˜ŸŽ–Ž—œȱ‹¢ȱ›Ž—Ž›’—ȱ‘Ž–ȱŠž˜–Š’Œǯȱȱ‹˜‘ȱ
Š›˜žœŽœȱŽ—Ž›¢ȱŠ—ȱœŠŸŽœȱ’ǰȱ‘žœȱ’—Œ›ŽŠœ’—ȱ™›˜žŒ’Ÿ’¢ǯȱȱŽ—Š‹•Žœȱ
‘Žȱ ˜›”Ž›ȱ ˜ȱ ™Ž›˜›–ȱ ‘’œȱ Šœ”œȱ ’‘ȱ “˜¢ȱ Š—ȱ ’‘˜žȱ ›Ž•žŒŠ—ŒŽǯȱ
Ÿ’Ž—ŒŽȱ˜›ȱ‘’œȱ‘Ž˜›¢ȱŒŠ—ȱ‹Žȱ˜ž—ȱ’—ȱ ˜›”ȱœ˜—œǰȱ ‘’Œ‘ȱ™•Š¢ȱŠ—ȱ
’–™˜›Š—ȱ›˜•Žȱ’—ȱŠ••ȱ–Š—žŠ•ȱ›ŠŽœǯǾ
¢ȱŒ•Š’–’—ȱ˜›ȱ›‘¢‘–ȱ‘Žȱ™˜ Ž›œȱ˜ȱŠž˜–Š’£Š’˜—ȱŠ—ȱ’—Œ›ŽŠœŽȱ
™›˜žŒ’Ÿ’¢ǰȱûŒ‘Ž›ȱŒ•ŽŠ›•¢ȱœ˜ž‘ȱ˜ȱŠ™™ŽŠ•ȱ˜ȱ›ŽŠŽ›œȱœž‹œŒ›’‹’—ȱ˜ȱ
‘ŽȱŸŠ•žŽœȱ˜ȱ ˜›”ȱœŒ’Ž—ŒŽȱ—˜ȱ•Žœœȱ‘Š—ȱ‘˜œŽȱ˜ȱ–˜Ž›—ȱŽ‘—˜›Š™‘¢ǯȱ
—ŽŽǰȱ ™Š›ȱ ˜ȱ ‘Žȱ Š™™ŽŠ•ȱ ˜ȱ ûŒ‘Ž›Ȃœȱ –˜Ž•ȱ ˜ȱ ›‘¢‘–’ŒŠ•ȱ •Š‹˜ž›ȱ
›Žœ’Žȱ—˜ȱ˜—•¢ȱ’—ȱ‘ŽȱŒ•Š’–ȱ˜ȱ’—Œ›ŽŠœŽȱŽĜŒ’Ž—Œ¢ but also increased ˜›”Ž›ȱœŠ’œŠŒ’˜—ȱȮȱŠȱ˜™’ŒȱŠ”Ž—ȱž™ȱ˜Ž—ȱ’—ȱ’œŒžœœ’˜—œȱ˜ȱûŒ‘Ž›Ȃœȱ
Š›ž–Ž—œȱ’—ȱž›—Ȭ˜Ȭ‘ŽȬŒŽ—ž›¢ȱ ˜›”ȱœŒ’Ž—ŒŽǯŘŚ
ŘŘȳ‘’œȱ•’—”ȱ‹Ž ŽŽ—ȱ›‘¢‘–ȱŠ—ȱȁ™•ŽŠœž›ŽȂȱ’œȱ”Ž¢ȱ˜ȱŠ—¢ȱž—Ž›œŠ—’—ȱ˜ȱ‘Žȱ
’—ŸŽœ–Ž—ȱ ’—ȱ ›‘¢‘–ȱ ’—ȱ ‘Žȱ •ŠŽȱ —’—ŽŽŽ—‘ȱ Š—ȱ ŽŠ›•¢ȱ  Ž—’Ž‘ȱ ŒŽ—ž›’Žœǯȱœȱ
Michael Golston has shown, moreover, it was underpinned by a wide industry of physiological and psychological research. According to one American ™œ¢Œ‘˜•˜’œȱ ›’’—ȱ’—ȱŗşŖŘDZȱȁ‘Žȱ›ŽŠȱ™•ŽŠœž›Žȱ ‘’Œ‘ȱŒ‘’•›Ž—ȱꗍȱ’—ȱ›‘¢‘–ȱ
’œȱžŽȱ˜ȱ‘ŽȱŽĜŒŠŒ¢ȱ˜ȱ›‘¢‘–ȱ˜ȱœŽȱž™ȱŸ’‹›Š’˜—œȱ’—ȱ˜‘Ž›ȱ˜›Š—œȱ˜ȱ‘Žȱ‹˜¢ǰȱ
Š—ȱ ‘Žȱ Œ˜—œŽšžŽ—ȱ ‘Š›–˜—’˜žœȱ ŠŒ’Ÿ’¢ȱ ˜ȱ ‘Žȱ œŽŸŽ›Š•ȱ ‹˜’•¢ȱ ˜›Š—œǯȱ ‘Žȱ
ŠěŽŒ’ŸŽȱ˜—Žȱ’—Œ›ŽŠœŽœȱ’—ȱ™›˜™˜›’˜—ȱŠœȱ‘Žȱœž––Š’˜—ȱ˜ȱŽ¡Œ’Š’˜—ȱ’—Œ›ŽŠœŽœǰȱ
’••ȱŠȱœŠŽȱ‹˜›Ž›’—ȱ˜—ȱŽŒœŠœ¢ȱ–Š¢ȱ‹Žȱ›ŽŠŒ‘ŽȂǰȱŒ’Žȱ’—ȱ’Œ‘ŠŽ•ȱ˜•œ˜—ǰȱȁ–ȱ
—Š—ȱ Š›ȱŽ›ȱ‘¢‘–žœȱȮȱ›‘¢‘–’Œȱ’—Œž‹Š’˜—œȱ’—ȱ’œŒ˜ž›œŽœȱ˜ȱ–’—ǰȱ‹˜¢ȱ
Š—ȱ›ŠŒŽȱ›˜–ȱŗŞśŖȮŗşŚŚȂǰȱStanford Electronic Humanities Review, œž™™•Ž–Ž—ȱśDZȱ
Cultural and Technological Incubations of Fascism ǻŗşşŜǼǯȱ ǯœŠ—˜›ǯŽžȦ›˜ž™Ȧ
ȦśȬœž™™ȦŽ¡Ȧ˜•œ˜—ǯ‘–•ȱǽŠŒŒŽœœŽȱŘŖȱž•¢ȱŘŖŗŗǾǯ
Řřȳ–’•ŽȱŠšžŽœȬŠ•Œ›˜£ŽǰȱRhythmus, Musik und Erziehung [Rhythm, Music and EducationǾ, ›Š—œǯȱ‹¢ȱž•’žœȱŒ‘ Š‹ŽȱǻŠœŽ•DZȱŽ›•ŠȱŽ—˜ȱŒ‘ Š‹Žȱǭȱ˜ǯǰȱŗşŘŘǼǰȱ
ŜŘǯ
ŘŚȳŽŽǰȱ ˜›ȱ Ž¡Š–™•Žǰȱ Š›Š›Žȱ Ž’ŸŽ›ȱ –’‘ǰȱ Rhythmus und Arbeit [Work and RhythmǾ ǻŽ’™£’DZȱ’•‘Ž•–ȱ—Ž•–Š——ǰȱŗşŖŖǼǰȱŗśŘȮśřǯ
Řś
Michael Cowan
¢ȱ‘žœȱ™›˜“ŽŒ’—ȱ‘ŽȱŸŠ•žŽœȱ˜ȱ™›˜žŒ’Ÿ’¢ȱŠ—ȱŽ—Ž›¢ȱŽĜŒ’Ž—Œ¢ȱ
‹ŠŒ”ȱ ˜—˜ȱ ™›ŽȬ–˜Ž›—ȱ Œž•ž›Žœǰȱ ûŒ‘Ž›Ȃœȱ –˜Ž•ȱ ˜ȱ ›‘¢‘–ǰȱ Š•˜—ȱ
with the various research and movements that drew on it, presented a ž—Š–Ž—Š•ȱŠ–‹’ž’¢ǯȱȱ›‘¢‘–ȱꐞ›ŽȱŠœȱ‘Žȱ˜‹“ŽŒȱ˜ȱŠȱ—˜œŠ•’Œȱ
›ŽŒ˜—œ›žŒ’˜—ǰȱ‘Žȱ‘Š••–Š›”ȱ˜ȱ‘˜•’œ’ŒȱŒ˜––ž—’’Žœǰȱ’ȱ Šœȱalso seen Šœȱ ‘Žȱ šž’—ŽœœŽ—’Š•ȱ ŠŒ’Ÿ’¢ȱ ˜ȱ ‘Žȱ ‹˜¢ȱ ž—Ž›œ˜˜ȱ Šœȱ Šȱ ȁ‘ž–Š—ȱ
–˜˜›Ȃǰȱ ‘Žȱ ™‘Ž—˜–Ž—˜—ȱ ‹¢ȱ ‘’Œ‘ȱ ‘Žȱ ‹˜¢Ȃœȱ ŠŒ’Ÿ’¢ǰȱ ›Žž•Š›’£Žȱ
Š—ȱŠž˜–Š’£Žǰȱ–˜œȱŒ•˜œŽ•¢ȱ›ŽœŽ–‹•Žȱ‘Šȱ˜ȱ–ŠŒ‘’—Žœǯȱ›’Ž›œȱ
Š—ȱ ’—Ž••ŽŒžŠ•œȱ ˜Ž—ȱ ›ŽĚŽŒŽȱ ˜—ȱ ™›ŽŒ’œŽ•¢ȱ ‘’œȱ ™Š›Š˜¡ǯȱ —ȱ ‘’œȱ
ŗşŗśȱ—˜ŸŽ•ȱTropen [TropicsǾ, for example, the Austrian author Robert û••Ž›ȱ–žœŽDZȱ
’ȱ Ž–ȱ ‘¢‘–žœȱ ŸŽ›‘§•ȱ Žœȱ œ’Œ‘ȱ œŽ•œŠ–ǯȱ œȱ œŒ‘Ž’—ǰȱ Šđȱ Ž›ȱ Šœȱ
ŽœŽ—ȱŠ••Ž›ȱ“Ž—Ž›ȱž•ž›Ž—ȱŠ›œŽ••ǰȱ’ŽȱŽ›ȱž—œŽ›—ȱŽ—ŽŽ—ŽœŽĵȱ
œ’—ǰȱž—ȱ’Žȱ ’›ȱ£žȱ•Žž—Ž—ȱœžŒ‘Ž—DZȱ’Žȱ’–ȱûŽ—ȱž—ȱœŽ—ǯȱ‹Ž›ȱ
Ž›ȱ ‘¢‘–žœȱ ‹›’—ȱ ˜›ȱ Š–ȱ –Ž—œŒ‘•’Œ‘Ž—ȱ 㛙Ž›ȱ Ž’œž—Ž—ȱ
‘Ž›Ÿ˜›ǰȱŽ—Ž—ȱ ’›ȱ—’Œ‘œȱ•Ž’Œ‘Š›’ŽœȱŽ—ŽŽ—£žœŽ••Ž—ȱ‘Š‹Ž—ȱž—ȱ
’Žȱ ’—ȱ ’‘›Ž›ȱ œŽ’Ž—ȱ ž—ȱ Ÿ˜—ȱ ž—œȱ Šžœȱ ž——ŠŒ‘Š‘–‹Š›Ž—ȱ ’—œŽ’’”Ž’ȱ
—ž›ȱ–’ȱž—œŽ›Ž›ȱ™Ž£’Š•’§ȱŽŒ‘—’”ȱŸŽ›•’Œ‘Ž—ȱ Ž›Ž—ȱ”ã——Ž—ǯŘś
ǽ‘¢‘–ȱ ’œȱ Šȱ œ›Š—Žȱ ‘’—ǯȱ ȱ Š™™ŽŠ›œȱ ˜ȱ Œ˜—œ’žŽȱ ‘Žȱ ŽœœŽ—’Š•ȱ
’—›Ž’Ž—ȱ˜ȱŠ••ȱ‘˜œŽȱŒž•ž›Žœȱ˜™™˜œŽȱ˜ȱ˜ž›ȱ˜ —ȱȮȱŒž•ž›Žœȱ˜ȱ‘Žȱ
œ˜ž‘ȱŠ—ȱ‘ŽȱŽŠœȱȮȱŠ—ȱ›˜–ȱ ‘’Œ‘ȱ Žȱ•’”Žȱ˜ȱ’œ’—ž’œ‘ȱ˜ž›œŽ•ŸŽœǯȱ
But within those cultures, rhythm spurs the body on to achievements that we cannot that we cannot hope to match, achievements whose rigid and inimitable uniformity can only be compared to our own œ™ŽŒ’Š•’¢ǰȱŽŒ‘—˜•˜¢ǯǾ
‘¢‘–ȱ‘žœȱŠ™™ŽŠ›Žȱ‹˜‘ȱŠœȱŠȱŒ›’Ž›’˜—ȱ˜ȱ’쎛Ž—ŒŽǰȱ’œ’—ž’œ‘’—ȱ
‘Žȱȁ™›’–’’ŸŽȂȱ›˜–ȱ‘Žȱȁ–˜Ž›—Ȃȱ˜›ȱ‘Žȱȁ˜›Š—’ŒȂȱ›˜–ȱ‘ŽȱȁŸ’Š•Ȃǰȱand Šœȱ Šȱ ŒŠŽ˜›¢ȱ ˜ȱ œŠ–Ž—Žœœǰȱ ›Š ’—ȱ Šȱ ™Š›Š••Ž•ȱ ‹Ž ŽŽ—ȱ ȁ™›’–’’ŸŽȂȱ
‹˜’•¢ȱ•Š‹˜ž›ȱŠ—ȱ‘Žȱ•Š‹˜ž›ȱ˜ȱŠŒ˜›¢ȱŽŒ‘—˜•˜¢ǯȱ
›Š™™•’—ȱ ’‘ȱ‘’œȱŠ–‹’ž’¢ǰȱûŒ‘Ž›ȱŠ›žŽȱ‘Šȱ‘Žȱ™›˜‹•Ž–ȱ
’‘ȱ ŠŒ˜›¢ȱ ˜›”ȱ Šœȱ —˜ȱ ‘Žȱ Ž–™‘Šœ’œȱ ˜—ȱ ŽĜŒ’Ž—Œ¢ȱ Šœȱ œžŒ‘ǰȱ ‹žȱ
rather the imperative of constant energy expenditure to the detriment ˜ȱ‘Žȱ˜›Š—’Œȱ›Žšž’›Ž–Ž—ȱ˜ȱŠ—ȱŠ•Ž›—Š’˜—ȱ‹Ž ŽŽ—ȱ ˜›”ȱŠ—ȱ›Žœǰȱ
Ž—œ’˜—ȱŠ—ȱ›Ž•Š¡Š’˜—ǯȱûŒ‘Ž›ȱœŠ ȱ‘’œȱ—Ž ǰȱ’—‘ž–Š—ȱŽ–™˜›Š•’¢ȱ˜ȱ
machines embodied most centrally in the phenomenon of continuous ›˜Š’˜—ǰȱ ‘’Œ‘ȱŽ•’–’—ŠŽȱ‘Žȱ™ŠžœŽœȱŠ—ȱ›ŽœœȱȮȱ‘Žȱ˜ —‹ŽŠœȱŠ—ȱ
‹ŠŒ”œ›˜”ŽœȱȮȱŒ‘Š›ŠŒŽ›’œ’Œȱ˜ȱ›‘¢‘–’ŒŠ•ȱ•Š‹˜ž›DZ
Řśȳ˜‹Ž›ȱû••Ž›ǰȱTropen ǻž—’Œ‘ǰȱ
ǯȱŒ‘–’ǰȱŗşŗŝǼǰȱřŝǯ
ŘŜ
Technology’s Pulse
ǽǾœȱ ’›ȱ Ž’—Žȱ Ž—” û›’Žȱ ŠœŠŒ‘Žȱ ’—ȱ Ž›ȱ ŽœŒ‘’Œ‘Žȱ Žœȱ
ŠœŒ‘’—Ž— ŽœŽ—œȱ ‹’•Ž—ǰȱ Šœœȱ Ÿ’Ž•Žȱ Ž›ȱ §•ŽœŽ—ȱ ›‹Ž’œ–ŠœŒ‘’—Ž—ȱ
›‘¢‘–’œŒ‘Ž—ȱ Š—ȱ ‘Š‹Ž—ǰȱ ’—Ž–ȱ œ’Žȱ ǽǯǯǯǾȱ ’Žȱ Š—Ȭȱ ž—ȱ
›–‹Ž Žž—Ž—ȱŽœȱ‹’œ‘Ž›’Ž—ȱ›‹Ž’œŸŽ›Š‘›Ž—œȱ‹•˜œœȱ—ŠŒ‘Š‘–Ž—ǯȱ
ǽǯǯǯǾȱ ’ȱ Ž›ȱ Ž’Ž›Ž—ȱ — ’Œ”•ž—ȱ Žœȱ ŠœŒ‘’—Ž—‹ŠžŽœȱ œ›Ž‹ȱ –Š—ȱ
darnach, den mit dem rhythmischen Gang des Mechanismus meist ŸŽ›‹ž—Ž—Ž—ȱ˜Ž—ȱûŒ”Š—ȱ£žȱŸŽ›–Ž’Ž—ȱž—ȱŽ‘ȱǽǯǯǯǾȱŸ˜—ȱŽ›ȱ
ŠŽȬȱ ˜Ž›ȱ œŽ—”›ŽŒ‘Ž—ȱ £ž›ȱ •Ž’Œ‘ã›–’ȱ ›˜’Ž›Ž—Ž—ȱ Ž Žž—ȱ
û‹Ž›ǰȱ’Žȱ“Ž—Ž—ȱ›ŠŸŽ›•žœȱŸŽ›–Ž’ŽǯȱǽǯǯǯǾȱŠ–’ȱœŒ‘ ’—Žȱ’ŽȱŠ•Žȱ
žœ’”ȱŽ›ȱ›‹Ž’ǰȱ Ž•Œ‘Žȱ’Žȱ›‘¢‘–’œŒ‘ȱŽ‘Ž—Ž—ȱŠœŒ‘’—Ž—ȱ—˜Œ‘ȱ
Žž•’Œ‘ȱŽ›”Ž——Ž—ȱ•’ŽœœŽ—ǰȱŠžœȱŽ—ȱŽ›”œ§ĴŽ—ǯȱǻûŒ‘Ž›ȱŗŗŚȮŗśǼ
[It will remain a noteworthy fact for historians of industrial technology that the earliest machines displayed a rhythmical motion, in which ‘Ž¢ȱǽǯǯǯǾȱ’–’ŠŽȱ‘Žȱ‘Š—ȱŠ—ȱŠ›–ȱ–˜ŸŽ–Ž—œȱ˜ȱ›Š’’˜—Š•ȱ ˜›”Ž›œǯȱ
But with the advancement of industrial machinery, one strove to Ž•’–’—ŠŽȱ ‘Žȱ ’•Žȱ ‹ŠŒ”œ›˜”Žȱ žœžŠ••¢ȱ Šœœ˜Œ’ŠŽȱ ’‘ȱ ›‘¢‘–’ŒŠ•ȱ
–ŠŒ‘’—Žȱ–˜’˜—ȱŠ—ȱǽdzǾȱ‘žœȱŽ¡Œ‘Š—Žȱ‘’œȱ‘˜›’£˜—Š•ȱ˜›ȱŸŽ›’ŒŠ•ȱ
–˜ŸŽ–Ž—ȱ ˜›ȱ ž—’˜›–ȱ ›˜Š’˜—ǰȱ ‘’Œ‘ȱ ŠŸ˜’œȱ ‘Šȱ •˜œœȱ ˜ȱ Ž—Ž›¢ǯȱ
ǽdzǾȱ ‘’œȱ ›Š—œ’’˜—ȱ –Š›”œȱ ‘Žȱ ’œŠ™™ŽŠ›Š—ŒŽȱ ›˜–ȱ ŠŒ˜›¢ȱ ̘˜›œȱ ˜ȱ
the traditional music of labour, which could still be heard clearly in ‘Žȱ–ŠŒ‘’—Žœȱ‘Šȱ˜••˜ Žȱ›‘¢‘–’ŒŠ•ȱ–˜ŸŽ–Ž—ǯǾ
‘’œȱ ›Š—œ˜›–Š’˜—ǰȱ ûŒ‘Ž›ȱ Š›žŽǰȱ –Š›”Žȱ ‘Žȱ –˜–Ž—ȱ Šȱ ‘’Œ‘ȱ
the relation between people and machines was turned on its head, where people began to serve machines and not the other way around: Der arbeitende Mensch ist nicht mehr Herr seiner Bewegungen, Šœȱ Ž›”£Žžȱ œŽ’—ȱ ’Ž—Ž›ǰȱ œŽ’—ȱ ŸŽ›œ§›”Žœȱ 㛙Ž›•’Žǰȱ œ˜—Ž›—ȱ
ŠœȱŽ›”£Žžȱ’œȱ
Ž››ȱû‹Ž›ȱ’‘—ȱŽ ˜›Ž—DzȱŽœȱ’”’Ž›ȱ’‘–ȱŠœȱŠœœȱ
œŽ’—Ž›ȱ Ž Žž—Ž—Dzȱ Šœȱ Ž–™˜ȱ ž—ȱ ’Žȱ ŠžŽ›ȱ œŽ’—Ž›ȱ ›‹Ž’ȱ ’œȱ
œŽ’—Ž–ȱ’••Ž—ȱŽ—ĵ˜Ž—DzȱŽ›ȱ’œȱŠ—ȱŽ—ȱ˜Ž—ȱž—ȱ˜Œ‘ȱœ˜ȱ•Ž‹Ž—’Ž—ȱ
ŽŒ‘Š—’œ–žœȱŽŽœœŽ•ǯȱǻûŒ‘Ž›ȱŗŗśǼȱ
ǽ‘Žȱ ˜›”’—ȱ –Š—ȱ ’œȱ —˜ȱ •˜—Ž›ȱ –ŠœŽ›ȱ ˜ȱ ‘’œȱ ˜ —ȱ –˜ŸŽ–Ž—œǯȱ ’œȱ
˜˜•œȱ—˜ȱ•˜—Ž›ȱŠŒȱŠœȱ‘’œȱœŽ›ŸŠ—œǰȱŠœȱŽ—‘Š—ŒŽȱ‹˜’•¢ȱ•’–‹œǯȱŠ‘Ž›ǰȱ
‘Žȱ˜˜•œȱ—˜ ȱ•˜›ȱ’ȱ˜ŸŽ›ȱ‘’–ǯȱ‘Ž¢ȱ’ŒŠŽȱ˜ȱ‘’–ȱ‘Žȱ–ŽŠœž›Žȱ˜ȱ‘’œȱ
–˜ŸŽ–Ž—œǯȱ‘Žȱœ™ŽŽȱŠ—ȱž›Š’˜—ȱ˜ȱ‘’œȱ•Š‹˜ž›ȱ—˜ȱ•˜—Ž›ȱ˜‹Ž¢œȱ‘’œȱ
’••ǯȱ
Žȱ‘Šœȱ‹ŽŽ—ȱŒ‘Š’—Žȱ˜ȱŠȱ–ŽŒ‘Š—’œ–ȱ‘Šȱ’œȱŽŠȱŠ—ȱ¢ŽȱœŽŽ–œȱ
œ˜ȱŠ•’ŸŽǯǾŘŜ
ŘŜȳ
Ž›ŽȱŠŠ’—ǰȱŠšžŽœȬŠ•Œ›˜£ŽȱŠ›ŽŽǰȱŠ—ȱ‘ŽȱœŠ ȱ‘’œȱ›‘¢‘–’ŒŠ•ȱ™ŽŠ˜¢ȱ
•Š›Ž•¢ȱŠœȱŠ—ȱŽě˜›ȱ˜ȱ›Žœ˜›Žȱ–Š—ȂœȱŒŽ—›Š•’¢ȱ‘›˜ž‘ȱ‹˜’•¢ȱŒž•’ŸŠ’˜—ǯȱœȱ‘Žȱ
explained in a later passage from the text already cited, rhythmical gymnastics were meant to compensate for the loss of rhythm (and of the human) in labour: ȁ
ŽžĵžŠŽȱ ‘Šȱ ’Žȱ ŠœŒ‘’—Žȱ Šœȱ Š— Ž›”ȱ ŸŽ››§—ǰȱ ž—ȱ Ž›ȱ Ž—œŒ‘ȱ ’œȱ
Ž›ȱ ’Ž—Ž›ȱ ’ŽœŽ›ȱ ŠœŒ‘’—Žȱ Ž ˜›Ž—ǯȱ ŠĴȱ ’Žȱ ›‹Ž’ȱ £žȱ ‹Ž‘Ž››œŒ‘Ž—ǰȱ ’œȱ Ž›ȱ
Řŝ
Michael Cowan
ȱ Š••ȱ ‘Žȱ ꗍ’—œȱ ˜ȱ ûŒ‘Ž›Ȃœȱ œž¢ǰȱ ’ȱ Šœȱ ‘’œȱ ’Š—˜œ’œȱ ˜ȱ
ŽŒ‘—˜•˜’ŒŠ•ȱ–˜Ž›—’£Š’˜—ȱ’—ȱŽ›–œȱ˜ȱŠȱœž‹˜›’—Š’˜—ȱ˜ȱ‘ž–Š—ȱ
or organic temporality to the temporality of machines that had the œ›˜—Žœȱ›Žœ˜—Š—ŒŽȱ ’‘ȱ˜‘Ž›ȱŒ˜—Ž–™˜›Š›¢ȱ‘’—”Ž›œǯȱ˜ȱŠ”Žȱ“žœȱ˜—Žȱ
example, in his monumental Philosophie des Geldes ǻŗşŖŖǼȱǽPhilosophy of MoneyǾ, Georg Simmel included a lengthy discussion of rhythm, Œ•ŽŠ›•¢ȱ ’—œ™’›Žȱ ‹¢ȱ ûŒ‘Ž›ǰȱ ’—ȱ ‘’Œ‘ȱ ‘Žȱ ŽœŒ›’‹Žȱ ž›‹Š—’£Š’˜—ȱ Šœȱ
Šȱ ›Š—œ˜›–Š’˜—ȱ ›˜–ȱ ˜›Š—’Œȱ ˜ȱ –ŠŒ‘’—’Œȱ ›‘¢‘–œǯŘŝ Traditional œ˜Œ’Ž’Žœǰȱ ’—ȱ ’––Ž•Ȃœȱ ›ŽŠ’—ǰȱ Š›Žȱ Žę—Žȱ Š‹˜ŸŽȱ Š••ȱ ‹¢ȱ ‘Ž’›ȱ
œž‹˜›’—Š’˜—ȱ ˜ȱ Žę—’Žȱ ›‘¢‘–œȱ ˜ȱ ȁ¡™Š—œ’˜—ȱ ž—ȱ ˜—›Š”’˜—Ȃȱ
ǽŽ¡™Š—œ’˜—ȱ Š—ȱ Œ˜—›ŠŒ’˜—Ǿȱ ’ŒŠŽȱ ‹¢ȱ ‘Žȱ Š•Ž›—Š’˜—ȱ ˜ȱ Š¢ȱ Š—ȱ
night, the phases of the moon, the cycle of seasons and the needs ˜ȱ‘Žȱ‹˜¢ȱǻśśŚǼǯȱ—ȱ‘Žȱ–˜Ž›—ȱž›‹Š—ȱ‘Š‹’Šǰȱ˜—ȱ‘Žȱ˜‘Ž›ȱ‘Š—ǰȱ
such periodicity of tension and relaxation is replaced by a world in ‘’Œ‘ȱ ŠŒ˜›¢ȱ ŽŒ‘—˜•˜¢ǰȱ ’—žœ›’Š•ȱ ›Š—œ™˜›Š’˜—ȱ Š—ȱ Ȯȱ —˜ȱ •ŽŠœȱ
Ȯȱ ‘Žȱ –˜Ž›—ȱ ‹Š—”’—ȱ ŽŒ˜—˜–¢ȱ ‘ŠŸŽȱ –ŠŽȱ ™˜œœ’‹•Žȱ Œ˜—œŠ—ȱ Š—ȱ
ž—’—Ž››ž™ŽȱŠŒ’Ÿ’¢ǯȱ
ǽǾŽ——ȱ ’Žȱ ž•ž›ǰȱ ’Žȱ –Š—ȱ £žȱ œŠŽ—ȱ ™ĚŽǰȱ —’Œ‘ȱ —ž›ȱ Ž—ȱ Šž–ǰȱ
œ˜—Ž›—ȱ ŠžŒ‘ȱ ’Žȱ Ž’ȱ û‹Ž› ’—Žǰȱ œ˜ȱ ‹ŽŽžŽȱ ’Žœǰȱ Šđȱ ’Žȱ
Žœ’––‘Ž’ȱ £Ž’•’Œ‘Ž›ȱ ‹Ž’•ž—Ž—ȱ —’Œ‘ȱ –Ž‘›ȱ Šœȱ £ ’—Ž—Žȱ
Œ‘Ž–Šȱ û›ȱ ž—œŽ›ȱ ž—ȱ ž—ȱ Ž—’ŽđŽ—ȱ ‹’•Žȱ ǽǯǯǯǾǯ Also: die generell Š›Ž‹˜Ž—Ž—ȱŽ’—ž—Ž—ȱœ’—ȱŸ˜–ȱ‘¢‘–žœȱ‹Ž›Ž’ǯȱǻśśśǼȱ
[If culture, as is customarily held, overcomes time as well as space, then this means that precise temporal intervals no longer form the Œ˜–™ž•œ˜›¢ȱ ›Š–Ž ˜›”ȱ ˜›ȱ ˜ž›ȱ ŠŒ’Ÿ’’Žœȱ Š—ȱ •Ž’œž›Žȱ ǽǯǯǯǾǯȱ ‘žœȱ ‘Žȱ
Ž—Ž›Š•ȱŒ˜—’’˜—œȱ˜ȱŽ¡’œŽ—ŒŽȱŠ›Žȱ›ŽŽȱ›˜–ȱ›‘¢‘–ǯǾ
’”Žȱ ˜‘Ž›ȱ Šœ™ŽŒœȱ ˜ȱ ž›‹Š—ȱ –˜Ž›—’¢ȱ ’—ȱ ’––Ž•Ȃœȱ ‘˜ž‘ǰȱ ‘’œȱ
liberation from natural rhythms grounded in the body or the seasons ›Ž™›ŽœŽ—ŽȱŠ—ȱŠ–‹’ŸŠ•Ž—ȱ™‘Ž—˜–Ž—˜—DZȱ ‘’•Žȱ’ȱ˜ěŽ›Žȱ’—’Ÿ’žŠ•œȱ
‘’‘Ž›˜ȱ ž—”—˜ —ȱ ›ŽŽ˜–œǰȱ ’ȱ Š•œ˜ȱ Ž—Š’•Žȱ Šȱ •˜œœȱ ˜ȱ ‘Žȱ œŽŒž›’¢ȱ
˜ȱ Œ˜––ž—’¢ȱ ‹˜—œǯȱ ’”Žȱ ûŒ‘Ž›ǰȱ –˜›Ž˜ŸŽ›ǰȱ ’––Ž•ȱ œŠ ȱ ‘Žȱ
ž—™•ŽŠœž›Š‹•ŽȱŠœ™ŽŒȱ˜ȱ–˜Ž›—ȱ ˜›”ȱŠœȱŠȱ›Žœž•ȱ˜ȱ‘Žȱœž‹˜›’—Š’˜—ȱ
of bodily rhythms to those of the industrial factory: —ž—–Ž‘›ȱ ’‘›ȱ ”•ŠŸŽȂȱ ǻŠšžŽœȬŠ•Œ›˜£Žǰȱ Rhythmus, Musik und Erziehung, ŜŘȮŜřǼȱȱ
[Today, manual trades have been suppressed by machines, which have made ™Ž˜™•Žȱ’—˜ȱ‘Ž’›ȱœŽ›ŸŠ—œǯȱŠ‘Ž›ȱ‘Š—ȱŒ˜—›˜••’—ȱ‘Žȱ ˜›”ȱ™›˜ŒŽœœǰȱ–Š—ȱ’œȱ—˜ ȱ
‘Žȱœ•ŠŸŽȱ˜ȱ‘Žȱ•ŠĴŽ›Ǿǯ
ŘŝȳŽŽȱ Ž˜›ȱ ’––Ž•ǰȱ Philosophie des Geldes, Ś‘ȱ Ž—ȱ ǻû—Œ‘Ž—DZȱ ž—Œ”Ž›ȱ ǭȱ
ž–‹˜•ǰȱŗşŘŘǼǰȱśśŘȮŝśǯ
ŘŞ
Technology’s Pulse
ž—ȱ Ž—‘§•ȱ £ Š›ȱ Ž›ŠŽȱ Ž›ȱ –˜Ž›—Žȱ Š‹›’”‹Ž›’Ž‹ȱ ’ŽŽ›ȱ œŠ›”ȱ
›‘¢‘–’œŒ‘Žȱ•Ž–Ž—ŽDzȱŠ••Ž’—ȱœ˜ Ž’ȱœ’ŽȱŽ—ȱ›‹Ž’Ž›ȱŠ—ȱ’Žȱ›Ž—Žȱ
•Ž’Œ‘–§đ’ȱ ’ŽŽ›‘˜•Ž›ȱŽ Žž—Ž—ȱ‹’—Ž—ǰȱ‘Š‹Ž—ȱœ’ŽȱŽ’—ŽȱŠ—£ȱ
Š—Ž›Žȱ œž‹“Ž”’ŸŽȱ ŽŽžž—ǰȱ Š•œȱ “Ž—Žȱ Š•Žȱ ›‹Ž’œ›‘¢‘–’”ǯȱ Ž——ȱ
diese folgte den inneren Forderungen physiologisch-­‐‑psychologischer —Ž›Ž’”ǰȱ ’Žȱ “Žĵ’Žȱ Š‹Ž›ȱ Ž— ŽŽ›ȱ ž—–’ĴŽ•‹Š›ȱ Ž›ȱ ›ûŒ”œ’Œ‘œ•˜œȱ
˜‹“Ž”’ŸŽ—ȱŠœŒ‘’—Ž—‹Ž Žž—ȱ˜Ž›ȱŽ–ȱ Š—Žȱû›ȱŽ—ȱŽ’—£Ž•—Ž—ȱ
Arbeiter, als Glied einer Gruppe von Arbeitern, deren jeder nur einen ”•Ž’—Ž—ȱŽ’•™›˜£ŽđȱŸŽ››’Œ‘Žǰȱ–’ȱŽ—ȱŠ—Ž›Ž—ȱŒ‘›’Ĵȱ£žȱ‘Š•Ž—ǯȱǻśśşǼ
[Today, we can once again observe such pronounced rhythmical œ›žŒž›Žœȱ’—ǰȱ˜ȱŠ••ȱ™•ŠŒŽœǰȱ‘Žȱ–˜Ž›—ȱŠŒ˜›¢ǯȱ
˜ ŽŸŽ›ǰȱ’—Šœ–žŒ‘ȱ
Šœȱ ‘ŽœŽȱ œ›žŒž›Žœȱ ‹’—ȱ ‘Žȱ ˜›”Ž›ȱ ˜ȱ ‘Žȱ œ›’—Ž—ȱ ›Žšž’›Ž–Ž—ȱ ˜ȱ
performing repetitive identical movements, they have a completely ’쎛Ž—ȱœž‹“ŽŒ’ŸŽȱ–ŽŠ—’—ȱ›˜–ȱ‘Žȱ˜•ȱ ˜›”ȱ›‘¢‘–œǯȱ˜›ȱ‘Žȱ•ŠĴŽ›ȱ
followed the inner demands of physiological-­‐‑psychological energies, ‘’•Žȱ‘Žȱ—Ž ȱ›‘¢‘–œȱŒ˜—˜›–ȱŽ’‘Ž›ȱ˜ȱ‘Žȱ’—’쎛Ž—ȱŠ—ȱ˜‹“ŽŒ’ŸŽȱ
–˜ŸŽ–Ž—ȱ˜ȱ‘Žȱ–ŠŒ‘’—Žœȱ˜›ȱ˜ȱ‘ŽȱŒ˜–™ž•œ˜›¢ȱ›Žšž’›Ž–Ž—ȱ˜›ȱ‘Žȱ
’—’Ÿ’žŠ•ȱ ˜›”Ž›ȱ˜ȱ”ŽŽ™ȱž™ȱ ’‘ȱ‘Žȱ˜‘Ž›ȱ ˜›”Ž›œȱ’—ȱ‘Žȱ›˜ž™ǰȱ
ŽŠŒ‘ȱ˜ȱ ‘˜–ȱ™Ž›˜›–œȱ˜—•¢ȱŠȱœ–Š••ȱ™Š›ȱ˜ȱ‘Žȱ ˜›”ȱ™›˜ŒŽœœǯǾ
›Š—œ˜›–Žȱ ›˜–ȱ Š—ȱ ˜›Š—’Œȱ ŠĜ›–Š’˜—ȱ ˜ȱ ‘Žȱ ‹˜¢ȱ ǻ‘Žȱ ȁ’——Ž›ȱ
demands of physiological-­‐‑psychological energies’) to a mode of compulsory machinic discipline, rhythm, for Simmel, constituted ˜—Žȱ ŸŠ›’Š—ȱ ˜ȱ ‘Žȱ ‹Šœ’Œȱ ȁŒ˜—Ě’ŒȂȱ ˜ȱ –˜Ž›—ȱ Œž•ž›Žǰȱ ’—ȱ ‘’Œ‘ȱ ‘Žȱ
ȁ˜‹“ŽŒ’ŸŽȱŒž•ž›ŽȂȱ˜ȱŽŒ‘—˜•˜¢ȱŠ—ȱ’—œ’ž’˜—œȱŠ”Žœȱ˜—ȱŠȱ•’Žȱ˜ȱ’œȱ
own, threatening to overwhelm the very individuals who produced ’ȱǻśŖŘȮřřǼǯȱœȱ‘ŽȱŽ’–Š›ȱ™œ¢Œ‘˜ŽŒ‘—’Œ’Š—ȱ›’ĵȱ’ŽœŽȱ ˜ž•ȱ•ŠŽ›ȱ
describe it, in a study that points forward to Siegfried Kracauer’s ’—Ž›™›ŽŠ’˜—ȱ ˜ȱ ‘Žȱ ’••Ž›ȱ ’›•œȱ Š—ȱ ‘Žȱ ŠŽœ‘Ž’Œȱ ˜‹“ŽŒ’ęŒŠ’˜—ȱ
of Fordist factory rhythms, the industrial milieu thus confronted its inhabitants with a profoundly inhuman rhythm, one that had emancipated itself from the grasp of its human creators: ’—ȱ‘¢‘–žœǰȱŽ—ȱ“Žĵȱ’ŽœŽȱ—ŽžŽȱ”û—œ•’Œ‘ŽȱŽ•ǰȱ ’Žȱ•˜œŽ•ãœȱŸ˜–ȱ
–Ž—œŒ‘•’Œ‘Ž—ȱŒ‘㙏Ž›ǰȱû›ȱœ’Œ‘ȱ•Ž‹DzȱŽ—ȱœ’Žȱ˜›Ž›ǯȱ’Žȱ›˜đœŠȱ
‘Šȱž—œǰȱ’ŽȱŽŒ‘—’”ȱ‘Šȱž—œǰȱ’Žȱ’›œŒ‘Šȱ‘Šȱž—œDZȱ—’Œ‘ȱ ’›ȱœ’ŽǷȱŠœȱ
’œȱŽ’—ŽȱŽ›ȱ’—Ž›ŽœœŠ—ŽœŽ—ȱ— ’Œ”•ž—œ˜›–Ž—ȱž—ȱ’Žȱ›Š’”ȱŽœȱ
Œ‘㙏Ž›œǰȱŽ–ȱ’Žȱ’—Ž›ȱû‹Ž›ȱŽ—ȱ˜™ȱŽ ŠŒ‘œŽ—ǯŘŞ
ŘŞȳ›’ĵȱ ’ŽœŽǰȱ Girlkultur. Vergleiche zwischen amerikanischem und europäischem Rhythmus und Lebensgefühl [Girl Culture. Comparative Studies of American and European Rhythm and SensibilityǾȱǻž—’Œ‘DZȱŽ•™‘’—ȬŽ›•ŠǰȱŗşŘśǼǰȱŘŝǯ
Řş
Michael Cowan
ǽȱ›‘¢‘–ȱ‘Šȱ‘’œȱ—Ž ȱŠ›’ęŒ’Š•ȱ ˜›•ȱ—˜ ȱŽŸŽ•˜™œȱŠ—ȱ™›˜–˜Žœȱ
˜—ȱ ’œȱ ˜ —ǰȱ Šœȱ ’ȱ ŽŠŒ‘Žȱ ›˜–ȱ ’œȱ ‘ž–Š—ȱ Œ›ŽŠ˜›ǯȱ ‘Žȱ –Ž›˜™˜•’œȱ
Œ˜—›˜•œȱ žœDzȱ ŽŒ‘—˜•˜¢ȱ Œ˜—›˜•œȱ žœDzȱ ‘Žȱ ŽŒ˜—˜–¢ȱ Œ˜—›˜•œȱ žœȱ Ȯȱ —˜ȱ
‘Žȱ ˜‘Ž›ȱ Š¢ȱ ›˜ž—Ƿȱ ‘’œȱ ’œȱ ˜—Žȱ ˜ȱ ‘Žȱ –˜œȱ ’—Ž›Žœ’—ȱ œ˜Œ’Š•ȱ
developments and the tragedy of a creator whose children have ˜ž›˜ —ȱ‘’–ǯǾ
œȱ ȱ ‘˜™Žȱ ‘’œȱ œž¢ȱ ’••ȱ œ‘˜ ǰȱ ’ȱ Šœȱ •Š›Ž•¢ȱ ‘’œȱ ȁŒ˜—Ě’ŒȂȱ Ȯȱ
ŽœŒ›’‹ŽȱŽ•œŽ ‘Ž›Žȱ‹¢ȱ’ŽœŽȱŠœȱŠȱŒ˜—Ě’Œȱ‹Ž ŽŽ—ȱȁ—Šž›Š•Ȭ‹’˜•˜’ŒŠ•Ȃȱ
Š—ȱ ȁŠ›’ęŒ’Š•ȬŽŒ‘—˜•˜’ŒŠ•Ȃȱ ›‘¢‘–œȱ Ȯȱ ‘Šȱ ŒŠ–Žȱ ˜ȱ Œ‘Š›ŠŒŽ›’£Žȱ
the widespread preoccupation with rhythm in German culture ŠŽ›ȱ ŗşŖŖǰȱ ‹ŽŒ˜–’—ȱ ™Š›’Œž•Š›•¢ȱ Ÿ’›ž•Ž—ȱ ž›’—ȱ ‘Žȱ –Ž›’ŒŠ—’œȱ
ŽŒŠŽȱ˜ȱ‘ŽȱŗşŘŖœǯŘş In part, the proponents of that discourse saw in ›‘¢‘–ȱœ˜–Ž‘’—ȱ˜ȱŠȱ›Š••¢’—ȱŒ›¢ȱ˜›ȱŠ—ȱŠ—’ȬŽŒ‘—˜•˜’ŒŠ•ȱœŠ—ŒŽǯȱ
‘Žȱ ”Ž¢ȱ ™•Š¢Ž›ȱ ’—ȱ ‘’œȱ œ˜›¢ȱ ’œȱ œž›Ž•¢ȱ ‘Žȱ Œ˜—œŽ›ŸŠ’ŸŽȱ ™‘’•˜œ˜™‘Ž›ȱ
Ludwig Klages, whose essay Vom Wesen des Rhythmus [On the Essence of RhythmǾǰȱ ›’ĴŽ—ȱ’—ȱŗşŘŘȱ˜›ȱ‘ŽȱŠž—ȱû›ȱ”û—œ•Ž›’œŒ‘Žȱ
㛙Ž›œŒ‘ž•ž—ȱǽ˜—Ž›Ž—ŒŽȱ˜›ȱ›’œ’Œȱ˜’•¢ȱžŒŠ’˜—Ǿȱ’—ȱŽ›•’—ǰȱ
‹ŽŒŠ–Žȱ Š—ȱ ’—ĚžŽ—’Š•ȱ –Š—’Žœ˜ȱ ˜ȱ Ž›–Š—ȱ ž•ž›”›’’” in the ŗşŘŖœǯřŖ In it, Klages insisted on the strictest separation between the ›‘¢‘–œȱ ˜ȱ •’Žȱ Ȯȱ ‘’Œ‘ȱ ‘Žȱ ’Ž—’ꮍȱ ’‘ȱ ™‘Ž—˜–Ž—Šȱ œžŒ‘ȱ Šœȱ ‘Žȱ
‘ŽŠ›‹ŽŠǰȱ‹›ŽŠ‘’—ǰȱ’ŽœȱŠ—ȱœŽŠœ˜—œȱȮȱŠ—ȱ–ŠŒ‘’—’Œȱ›Ž™Ž’’˜—ǰȱ˜›ȱ
which Klages reserved the term Takt ǻ–Ž›Žȱ˜›ȱŒŠŽ—ŒŽǼǯřŗ Rhythm, of course, had long been associated with vital ™‘Ž—˜–Ž—Šǯȱ—ȱ‘’œȱœž¢ȱFirst Principles ǻŗŞŜŘǼǰȱ
Ž›‹Ž›ȱ™Ž—ŒŽ›ȱ‘Šȱ
Š›žŽȱ ‘Šȱ ›‘¢‘–ȱ Š›’œŽœȱ ‘Ž›ŽŸŽ›ȱ ˜›ŒŽœȱ Œ˜–Žȱ ’—˜ȱ Œ˜—Ě’Œǰȱ ‹žȱ
Žœ™ŽŒ’Š••¢ȱ’—ȱŸ’Š•ȱ™‘Ž—˜–Ž—ŠDZȱȁŽ›‘Š™œȱ—˜ ‘Ž›ŽȱŠ›Žȱ‘Žȱ’••žœ›Š’˜—œȱ
of rhythm so numerous and so manifest as among the phenomena ˜ȱ•’ŽȂǯřŘȱ—ŽŽǰȱ‘ŽȱŽ–Ž›Ž—ŒŽȱ˜ȱ‘Žȱȁ‘ž–Š—ȱ–˜˜›Ȃȱ–˜Ž•ȱ˜ȱ‘Žȱ
body in the course of the nineteenth century went hand-­‐‑in-­‐‑hand with a broad process of medical mapping, in which the body’s Ÿ’Š•ȱ ’—Ž›’˜›ȱ Šœȱ ›ŽŒ˜—ŒŽ™žŠ•’£Žȱ Šœȱ Šȱ ˜›ŒŽȬꎕȱ ˜ȱ ˜ŸŽ›•Š™™’—ȱ
›‘¢‘–’ŒŠ•ȱ–˜ŸŽ–Ž—œǯȱŠ›’Œž•Š›•¢ȱ’—ĚžŽ—’Š•ǰȱ’—ȱ‘’œȱ™›˜ŒŽœœǰȱ Šœȱ
‘Žȱ ˜›”ȱ˜ȱ1’Ž——ŽȬž•ŽœȱŠ›Ž¢ǰȱ ‘˜ȱȮȱ•˜—ȱ‹Ž˜›Žȱ‘’œȱ‹ŽĴŽ›Ȭ”—˜ —ȱ
Ž¡™Ž›’–Ž—œȱ ’—ȱ ŒŠ™ž›’—ȱ ™‘ŠœŽœȱ ˜ȱ ‹˜’•¢ȱ –˜ŸŽ–Ž—ȱ ˜—ȱ ꕖȱ Ÿ’Šȱ
ŘşȳŽŽȱ’ŽœŽȱŘśǯȱ
řŖȳ‘ŽȱŽ›–ȱKulturkritik refers to a broad set of intellectual currents, in German thought of the late nineteenth and early twentieth centuries, that focused on ‘Žȱ —ŽŠ’ŸŽȱ Šœ™ŽŒœȱ ˜ȱ ’—žœ›’Š•ȱ ŒŠ™’Š•’œ–ȱ œžŒ‘ȱ Šœȱ Š•’Ž—Š’˜—ǰȱ ›Ž’ęŒŠ’˜—ǰȱ
›Š’˜—Š•’£Š’˜—ȱŠ—ȱ•ŽŸŽ••’—ǯ
řŗȳž ’ȱ•ŠŽœǰȱVom Wesen des Rhythmus ǻŗşŘřǼȱǽOn the Nature of RhythmǾ ǻŠ–™Ž—ȱŠžȱ¢•DZȱ’Ž•œȱŠ–™–Š——ȱŽ›•ŠǰȱŗşřŚǼǯ
řŘȳ
Ž›‹Ž›ȱ™Ž—ŒŽ›ǰȱFirst Principles. Ś‘ȱŽ—ȱǻŽ ȱ˜›”DZȱ™™•Ž˜—ǰȱŗŞŞřǼǰȱŘŜŗǯȱ
řŖ
Technology’s Pulse
Œ‘›˜—˜™‘˜˜›Š™‘¢ȱȮȱ‘ŠȱŽŸŽ•˜™ŽȱŠȱ ‘˜•ŽȱœŽ›’Žœȱ˜ȱŠ™™Š›ŠžœŽœȱ
for the graphic inscription of recurrent internal movements such as the heartbeat (sphygmograph, cardiograph), breathing (pneumograph), Š—ȱ‘ŽȱŒž›ŸŽœȱ˜ȱ–žœŒž•Š›ȱŠ—ȱ—Ž›Ÿ˜žœȱŽ—Ž›¢ȱǻ–¢˜›Š™‘Ǽȱǻꐞ›Žȱ
řǼǯřřȱ ¢ȱ ‘Žȱ ŽŠ›•¢ȱ  Ž—’Ž‘ȱ ŒŽ—ž›¢ǰȱ œžŒ‘ȱ ˜›”ȱ ‘Šȱ ’ŸŽ—ȱ ›’œŽȱ ˜ȱ Šȱ
’Žœ™›ŽŠȱ Šœœ˜Œ’Š’˜—ȱ ‹Ž ŽŽ—ȱ  ˜ȱ ”’—œȱ ˜ȱ ›ŽŒž››Ž—ŒŽDZȱ ‘Ž vital and the ™Ž›’˜’Œǯȱ˜ȱŠ”Žȱ˜—Žȱ˜ȬŒ’ŽȱŽ¡Š–™•Žǰȱ’•‘Ž•–ȱ•’Žđǰȱ’—ȱ‘’œȱ
biological treatise Der Ablauf des Lebens ǻŗşŖŜǼȱǽThe Cycle of Life, ŗşŖŜǾǰȱ
started out from menstrual cycles to identify rhythmical recurrence Šœȱ‘Žȱ›ŠŽ–Š›”ȱ˜ȱŠ••ȱ•’Ÿ’—ȱ˜›Š—’œ–œǯřŚ In many respects, one could see Klages’s arguments as part of ‘’œȱ ‹›˜ŠŽ›ȱ Œ˜—œŽ••Š’˜—Dzȱ •’”Žȱ •’Žđ, ‘Žȱ Œ•ŽŠ›•¢ȱ ’Ž—’ꮍȱ ‘Žȱ Ÿ’Š•ȱ
’‘ȱ ›‘¢‘–’ŒŠ•ȱ ™‘Ž—˜–Ž—Šǰȱ Š—ȱ •’”Žȱ Š›Ž¢ǰȱ ‘Žȱ ꛜȱ Š™™›˜ŠŒ‘Žȱ
‘Žȱ šžŽœ’˜—ȱ ˜ȱ Ÿ’Š•ȱ ›‘¢‘–ȱ Šœȱ Šȱ ™›˜‹•Ž–ȱ ˜ȱ ›Š™‘’Œȱ ’—œŒ›’™’˜—ȱ Ȯ namely in his graphological writings, where he claimed to access ‘Žȱ •’Ÿ’—ȱ ›‘¢‘–œȱ ˜ȱ ‘Žȱ ‹˜¢ȱ ‘›˜ž‘ȱ ‘Žȱ œ™Š’Š•’£Žȱ ›ŠŒŽȱ ˜ȱ
œž‹“ŽŒœȂȱ ‘Š— ›’’—ǯřśȱ ˜ ŽŸŽ›ǰȱ ž—•’”Žȱ ‘Žȱ ™›˜™˜—Ž—œȱ ˜ȱ ‘Žȱ
ȁ‘ž–Š—ȱ –˜˜›Ȃȱ –˜Ž•ǰȱ •ŠŽœȱ ’—œ’œŽȱ ˜—ȱ ‘Žȱ Š‹œ˜•žŽȱ ’œœ˜Œ’Š’˜—ȱ
řřȳ—ȱŠ›Ž¢ȱŠ—ȱ›Š™‘’Œȱ’—œŒ›’™’˜—ǰȱœŽŽȱŠ‹’—‹ŠŒ‘ǰȱThe Human Motor, şŖȮşŝǯȱ
For a fuller account of the medical mapping of the body in terms of internal ›‘¢‘–œǰȱœŽŽȱ˜•œ˜—ǰȱȁ–ȱ—Š—ȱ Š›ȱŽ›ȱ‘¢‘–žœȂǯȱ
řŚȳœȱ •’Žđȱ Ž¡™•Š’—ŽDZȱ ȁǽ’Žȱ ŽŽ— §›’Žȱ ›‹Ž’Ǿȱ œ˜••ȱ ž—œȱ •Ž‘›Ž—ǰȱ Šđȱ Ž›ȱ
£Ž’•’Œ‘Žȱ‹•ŠžȱŸ˜—ȱŽ—œ›žŠ’˜—ȱž—ȱ—‹’—ž—ȱ’–ȱ•ŽĵŽ—ȱ›ž—Žȱ–’ȱŽ–ȱ
£Ž’•’Œ‘Ž—ȱ‹•ŠžȱŽ›ȱŽ‹Ž—œŸ˜›§—Žȱû‹Ž›‘Šž™ȱ’Ž—’œŒ‘ȱ’œǯȱŠđȱž›Œ‘ȱŠ••Žœȱ
Leben einȱ ž•œȱ Ž‘ȱ ž—ȱ ein Rhythmus’ [The present study should teach us that the temporal cycles of menstruation and childbirth are, in the last instance, ’Ž—’ŒŠ•ȱ˜ȱ‘ŽȱŽ–™˜›Š•ȱŒ¢Œ•Žœȱ˜ȱŠ••ȱŸ’Š•ȱ™‘Ž—˜–Ž—Šǯȱ‘ŠȱŠ••ȱ•’Žȱ’œȱ›ŠŸŽ›œŽȱ
by one pulse, one ›‘¢‘–Ǿǰȱ ǯȱ •’Žđǰȱ Der Ablauf des Lebens. Grundlegungen zur exakten Biologie [The Cycle of Life. Fundaments of a Precise BiologyǾȱ ǻŽ’™£’DZȱ
›Š—£ȱ žŽ’Œ”Žǰ ŗşŖŜǼǰȱ Řǯȱ •’ŽđȂœȱ œž¢ȱ Šœȱ ’Ž•¢ȱ ›ŽŒŽ’ŸŽȱ ‹¢ȱ ™›˜™˜—Ž—œȱ ˜ȱ
‘Žȱ ›‘¢‘–ȱ ’œŒ˜ž›œŽǯȱ ˜›ȱ Ž¡Š–™•Žǰȱ ’—ȱ Šȱ ŗşŘŘȱ œž¢ȱ ˜—ȱ ›‘¢‘–ȱ ’—ȱ ŽžŒŠ’˜—ǰȱ
Ž›—‘Š›ȱ ˜Œ‘ȱ Š•”Žȱ ›ŽŠŽ›œȱ ‘›˜ž‘ȱ œŽŸŽ›Š•ȱ ˜ȱ ‘Žȱ Ž¡Š–™•Žœȱ ›˜–ȱ •’ŽđȂœȱ
œž¢ȱ˜ȱŒ˜—Œ•žŽDZȱȁœȱŽ—ûȱǽǯǯǯǾǰȱž–ȱ£žȱŽ›”Ž——Ž—ǰȱ Šœȱ•’Žđȱ‹Ž Ž’œŽ—ȱ ’••ȱȮȱ
Šđȱ—§–•’Œ‘ȱȃž›Œ‘ȱŠ••ŽœȱŽ‹Ž—ȱeinȱž•œȱŽ‘ȱž—ȱein ‘¢‘–žœȄȂȱǽȱœžĜŒŽœȱ˜ȱ
ž—Ž›œŠ—ȱ ‘Šȱ•’Žđȱ ’œ‘Žœȱ˜ȱŽ–˜—œ›ŠŽȱȮȱ‘Šȱ—Š–Ž•¢ȱŠ••ȱ•’Žȱ’œȱ›ŠŸŽ›œŽȱ‹¢ȱ
one pulse, one ›‘¢‘–ǾǰȱŽ›—‘Š›ȱ˜Œ‘ǰȱDer Rhythmus. Untersuchungen über sein Wesen und Wirken in Kunst und Natur und seine Bedeutung für die Schule [Rhythm. —ŸŽœ’Š’˜—œȱ’—˜ȱ’œȱœœŽ—ŒŽȱŠ—ȱ쎌œȱ’—ȱ›ȱŠ—ȱŠž›ŽȱŠ—ȱ’œȱ’—’ęŒŠ—ŒŽȱ˜›ȱ
SchoolǾȱǻŠ—Ž—£Š•ŠDZȱ
Ž›–Š——ȱŽ¢Ž›ȱǭȱ㑗ŽǰȱŗşŘŘǼǰȱśŘǯȱ
řśȳ•ŠŽœȂœȱ ꛜȱ ‘Ž˜›’£Š’˜—ȱ ˜ȱ ›‘¢‘–ȱ ’—ȱ ˜™™˜œ’’˜—ȱ ˜ȱ –Ž›Žȱ ŒŠ—ȱ ‹Žȱ ˜ž—ȱ
’—ȱ‘’œȱ‹˜˜”ȱAusdrucksbewegung und Gestaltungskraft, ꛜȱ™ž‹•’œ‘Žȱ’—ȱŗşŗřȱŠ—ȱ
›Ž™›’—Žȱ Ȯȱ ’‘ȱ Šȱ –žŒ‘ȱ •˜—Ž›ȱ ’œŒžœœ’˜—ȱ ˜ȱ ›‘¢‘–ȱ Ȯȱ ’—ȱ ŗşŘřǯȱ ŽŽȱ •ŠŽœǰȱ
Ausdrucksbewegung und Gestaltungskraft. Grundlegung der Wissenschaft vom Ausdruck [Expressive Movement and Formative Power. A Foundation of the Science of ExpressionǾ, ř›ȱŽ—ȱǻŽ’™£’DZȱ˜‘Š——ȱ–‹›žœ’žœȱŠ›‘ǰȱŗşŘřǼǰȱŗřŚȮŚśǯȱ
řŗ
Michael Cowan
Fig 3. Étienne-­‐‑Jules Marey, sphygmograph for the direct transcription of pulse curves
of rhythm from anything resembling the movement of a machine: ȁǽǾ’Žȱ ŠœŒ‘’—Ž—‹Ž Žž—ȱ vernichte[t] den Rhythmus’ (Klages, Vom Wesen des Rhythmus, ŗśǼȱǽŠŒ‘’—’Œȱ–˜ŸŽ–Ž—ȱdestroys ›‘¢‘–Ǿǯȱ
In particular, Klages argued that rhythm manifested itself not in the repetition of identical elements, but rather in the deviations and irregularities that interrupt serial repetition:
’Ž–Š•œȱ ’—ȱ ›Ž—£Ž—ŠžŽ—ǰȱ ˜‘•ȱ Š‹Ž›ȱ ’—ȱ §‘—•’Œ‘Ž—ȱ ’œŒ‘Ž—£Ž’Ž—ȱ
ŽŒ‘œŽ•—ȱ Ž••Žȱ ž—ȱ ž—”Ž•‘Ž’ǰȱ ‹‹Žȱ ž—ȱ •žǰȱ ’Žȱ ‘ŠœŽ—ȱ Žœȱ
˜—Žœǰȱ ’Žȱ Š‘›Žœ£Ž’Ž—ǰȱ ’Žȱ ’•Ž›ȱ Ž›ȱ ̊—£Ž— Ž•Dzȱ ž—ȱ Žœȱ
wechseln in gleicher Weise Wachen und Schlafen, Frische und û’”Ž’ǰȱ
ž—Ž›ȱž—ȱ§Ĵ’ž—ǰȱž›œȱž—ȱ•ûœœ’”Ž’œ ’Ž› ’••Žǰȱ
“Šȱ‹Ž’–ȱž›œ™›û—•’Œ‘Ž—ȱŽ—œŒ‘Ž—ȱœ˜Š›ȱŠœȱŠŠ›ž—œŸŽ›•Š—Ž—ȱ–’ȱ
ŽœŒ‘•ŽŒ‘•’Œ‘Ž›ȱ•Ž’Œ‘û•’”Ž’ǯȱǻřřǼ ǽ’‘ȱ Š—ȱ Š›”—Žœœǰȱ ‘’‘ȱ Š—ȱ •˜ ȱ ’Žǰȱ ‘Žȱ ™‘ŠœŽœȱ ˜ȱ ‘Žȱ –˜˜—ǰȱ
the seasons and the cycles of plant life never succeed one another ’—ȱ’Ž—’ŒŠ•ȱ’—Ž›ŸŠ•œǰȱ‹žȱ˜—•¢ȱ’—ȱœ’–’•Š›ȱ˜—Žœǯȱ—ȱ‘ŽȱœŠ–ŽȱŒŠ—ȱ‹Žȱ
œŠ’ȱ ˜›ȱ ‘Žȱ Š•Ž›—Š’˜—ȱ ˜ȱ Š”’—ȱ Š—ȱ œ•ŽŽ™’—ȱ œŠŽœǰȱ Ž—Ž›¢ȱ Š—ȱ
Š’žŽǰȱ‘ž—Ž›ȱŠ—ȱœŠ’Š’˜—ǰȱ‘’›œȱŠ—ȱ‘ŽȱŠŸŽ›œ’˜—ȱ˜ȱ̞’œȱȮȱŠ—ȱ’—ȱ
primitive people even the alternation of mating seasons and periods ˜ȱœŽ¡žŠ•ȱ’—’쎛Ž—ŒŽǯǾ
žȱŽŸŽ—ȱ–˜›Žȱ‘Š—ȱ‘ŽȱšžŽœ’˜—ȱ˜ȱ›Žž•Š›’¢ȱŠ—ȱŽŸ’Š’˜—ǰȱ ‘Šȱ
œŽ™Š›ŠŽȱ ›‘¢‘–ȱ ›˜–ȱ –ŽŒ‘Š—’£Žȱ –˜ŸŽ–Ž—ȱ ˜›ȱ •ŠŽœȱ Ȯȱ ‘Ž›Žȱ
ŠŠ™’—ȱŽ›œ˜—ȂœȱŒ›’’šžŽȱ˜ȱœŽ–Ž—Žȱ›Ž™›ŽœŽ—Š’˜—œȱ˜ȱ’–ŽȱȮȱ
was the criterion he termed Stetigkeit ǽŒ˜—’—ž’¢Ǿǯȱ›ž’—ȱ‘Šȱ‘Žȱ
Ž›–ȱȁ›‘¢‘–ȂȱŽ›’ŸŽœȱ›˜–ȱ‘Žȱ›ŽŽ”ȱŸŽ›‹ȱ˜›ȱȁ̘ ȂȱǻȁϹνΝȂǼǰȱ•ŠŽœȱ
insisted that we experience the rise and fall of genuine rhythm ’—ȱ ‘Žȱ ˜›–ȱ ˜ȱ Š—ȱ ž—’Ÿ’Žȱ Œ˜—’—žž–ǰȱ ‘Ž›ŽŠœȱ –ŽŒ‘Š—’£Žȱ
řŘ
Technology’s Pulse
›Ž™Ž’’˜—ȱž—Œ’˜—œȱ‹¢ȱŒžĴ’—ȱ’—˜ȱ—Šž›ŽȱŠ—ȱ›Š ’—ȱ‹˜ž—Š›’Žœǰȱ
‘žœȱ œŽ–Ž—’—ȱ Ž•Ž–Ž—œȱ ’—˜ȱ ’œŒ›ŽŽǰȱ ’œ˜•ŠŽȱ œŽŒ’˜—œDZȱ ȁ’Žȱ
Einteilungsleistung ist Teilungsleistung, und alles Teilen geschieht ž›Œ‘ȱ ›Ž—£Ž—œŽĵž—Ȃȱ ǻŗřǼȱ ǽ‘Žȱ ’œ›’‹ž’˜—ȱ ˜ȱ Ž•Ž–Ž—œȱ ’œȱ Š—ȱ ŠŒȱ
˜ȱ’Ÿ’œ’˜—ǰȱŠ—ȱŠ••ȱ’Ÿ’œ’˜—ȱž—Œ’˜—œȱ‹¢ȱœŽĴ’—ȱ‹˜ž—Š›’ŽœǾǯȱȱ‘Žȱ
dividing activity (teilen) of Takt manifested itself most clearly in ‘Žȱ ™ž—ŒžŠ•ȱ ‹ŽŠœȱ ˜ȱ Œ•˜Œ”œȱ Š—ȱ –Ž›˜—˜–Žœǰȱ Rhythmus was most ’›ŽŒ•¢ȱ™Ž›ŒŽ™’‹•Žȱ’—ȱ‘Žȱ›ŠžŠ•ȱŽ‹‹ȱŠ—ȱ̘ ȱ˜ȱ ŠŸŽœDZ
’ŽȱŠžȱ’Žȱ›œ’œȱ’Žȱ‘Žœ’œȱ˜•ǰȱœ˜ȱ˜•ȱŠžȱŽ—ȱŽ••Ž—‹Ž›ȱŠœȱŠ•Dzȱ
‹Ž’ŽȱŽ—œ™›ŽŒ‘Ž—ȱŽ—ȱ‹Ž›Ž—£Ž—Ž—ȱŒ‘•§Ž—ǰȱŠ••Ž’—ȱ’ŽȱŒ‘•§Žȱœ’—ȱ
—’Œ‘ȱ–Š›”’Ž›ǯȱŽ›–’ĴŽ•ȱž›Œ‘ȱŽ’—Ž—ȱž—Šžœ£§‘•‹Š›Ž—ȱŽŒ‘œŽ•ȱŸ˜—ȱ
’œŒ‘Ž—•ŠŽ—ȱ•Ž’Žȱ’ŽȱžĠŽ Žž—ȱ’—ȱ’Žȱ‹‹Ž Žž—ȱ‘’—û‹Ž›ȱ
ž—ȱ ž–Ž”Ž‘›ǰȱ Ž›Š›ȱ Šđȱ ŽŽ›ȱ Š–ȱ ˜‹Ž›Ž—ȱ —˜Œ‘ȱ Š–ȱ ž—Ž›Ž—ȱ
Ž—Ž™ž—”ȱ Ž’—Žȱ Š—Žȱ Ž—œ™›’—ǯȱ –ȱ œŠĴŽœœŽ—ȱ Ž›œŒ‘Ž’—Ž—Ž—ȱ
˜Ž—ȱ ’›ȱ ž—œȱ Š—œŒ‘Šž•’Œ‘ȱ ˜ěŽ—‹Š›ȱ ’Žȱ ž—£Ž››Ž—£Žȱ Ž’”Ž’ȱ
Ž’—Ž›ȱ Ž Žž—ȱ Ÿ˜—ȱ —’Œ‘ȱ £žȱ ŸŽ›”Ž——Ž—Ž›ȱ •’ŽŽ›ž—ǰȱ ’—˜•Žȱ
Žœȱ ‹Žœ§—’Ž—ȱ ŽŒ‘œŽ•œȱ —§–•’Œ‘ȱ Ž’—Š—Ž›ȱ Ž—ŽŽ—ŽœŽĵŽ›ȱ
žœœŒ‘•§ŽȱŸ˜—ȱŽ›ȱž‘Ž•ŠŽǯȱǻŗŝǼřŜ
ǽžœȱ Šœȱ ‘Žœ’œȱ ˜••˜ œȱ Š›œ’œȱ ǽ’—ȱ –žœ’Œȱ Š—ȱ ŸŽ›œŽǾǰřŝȱ œ˜ȱ ‘Žȱ ™ŽŠ”œȱ ˜ȱ
waves follow the valleys: both extremes correspond to the dividing ‹ŽŠœȱ˜ȱ‘Žȱ–Ž›˜—˜–Žǰȱ‹žȱ‘Ž›Žǰȱ‘Žȱ‹ŽŠœȱŠ›Žȱ—˜ȱ–Š›”ŽǯȱŽ’ŠŽȱ
‹¢ȱŠ—ȱž—šžŠ—’ꊋ•ŽȱœžŒŒŽœœ’˜—ȱ˜ȱ’—Ž›–Ž’Š›¢ȱ™‘ŠœŽœǰȱ‘Žȱž™ Š›ȱ
movement glides into the downward movement and vice versa, so that no hard edges arise on either the upper or the lower transitions ‹Ž ŽŽ—ȱ ŠŸŽœǯȱŠ‘Ž›ǰȱ ‘Šȱ ŽȱœŽŽȱ’œȱŠȱŒž›ŸŽǰȱ ‘’Œ‘ȱŒ•ŽŠ›•¢ȱ›ŽŸŽŠ•œȱ
‘Žȱž—’Ÿ’ŽȱŒ˜—’—ž’¢ȱ˜ȱŠ—ȱž—–’œŠ”ŽŠ‹•¢ȱ˜›Š—’£Žȱ–˜ŸŽ–Ž—ȱ
Ȯȱ ˜›Š—’£Žȱ ˜—ȱ ŠŒŒ˜ž—ȱ ˜ȱ ‘Žȱ Œ˜—’—žŠ•ȱ Š•Ž›—Š’˜—ȱ ˜ȱ ˜™™˜œ’—ȱ
Ž’‘œȱ˜—ȱŽ’‘Ž›ȱœ’Žȱ˜ȱ‘Žȱ‹Š•Š—ŒŽǯǾ
řŜȳ–˜—ȱ ‘˜œŽȱ ’—ĚžŽ—ŒŽȱ ‹¢ȱ •ŠŽœȂœȱ ‘Ž˜›’Žœǰȱ ˜—Žȱ ŒŠ—ȱ Œ˜ž—ȱ Ž•–ž‘ȱ
•Žœœ—Ž›ǯȱ—ȱ‘’œȱ›ŽŠ’œŽȱStufen des Organischen [The Stages of the OrganicǾ, •Žœœ—Ž›ȱ
œŽŽœȱ›‘¢‘–ȱŠœȱ”Ž¢ȱ˜ȱŸ’Š•ȱ™‘Ž—˜–Ž—ŠȱŠ—ȱŽę—Žœȱ’ȱŠœȱ˜••˜ œDZȱȁ••ŽœȱŽ‹Ž—’Žȱ
£Ž’ȱ—œŽ’”Ž’ȱ’–ȱŽ’Ž—ǰȱ›ŽŽ•–§đ’Žȱ—›ŽŽ•–§đ’”Ž’ǯȱǽdzǾȱ¢—Š–’œŒ‘ȱ
›’Ĵȱ›ŽŽ•–§đ’Žȱ—›ŽŽ•–§đ’”Ž’ȱǽdzǾȱ’—ȱŽ—ȱ‘§—˜–Ž—Ž—ȱŽ›ȱ‘¢‘–’”ȱŠžǯȱ
‘›ŽȱŽ›‹›Ž’ž—ȱ’œȱž—Ž‘ŽžŽ›ǰȱœ˜ȱŠđȱ–Š—ȱœŽ‘›ȱ ˜‘•ȱŸŽ›œŽ‘Ž—ȱ”Š——ǰȱ ’ŽȱŽ›ȱ
‘¢‘–žœȱŽ›ŠŽ£žȱ£ž–ȱŽ—›Š•–˜–Ž—ȱŠ••ŽœȱŽ‹Ž—’Ž—ȱ™›˜”•Š–’Ž›ȱ Ž›Ž—ȱ
”˜——ŽȂȱǽ••ȱ•’Ÿ’—ȱ‘’—œȱœ‘˜ ȱ’œŒ˜—’—ž’¢ȱ’—ȱŒ˜—’—ž’¢ȱ˜›ȱ›Žž•Š›ȱ’››Žž•Š›’¢ǯȱ
ǽǯǯǯǾȱŽž•Š›ȱ’››Žž•Š›’¢ȱŠ™™ŽŠ›œȱ¢—Š–’ŒŠ••¢ȱǽǯǯǯǾȱ’—ȱ‘Žȱ™‘Ž—˜–Ž—˜—ȱ˜ȱ›‘¢‘–ǯȱ
This phenomenon is so widespread that we can easily understand how rhythm Œ˜ž•ȱ ‹Žȱ ŽŒ•Š›Žȱ ‘Žȱ ŒŽ—›Š•ȱ Œ‘Š›ŠŒŽ›’œ’Œȱ ˜ȱ Š••ȱ •’ŽǾǰȱ Ž•–ž‘ȱ •Žœœ—Ž›ǰȱ Die Stufen des Organischenȱ ǻŗşŘŞǼǰȱ Gesammelte Schriften Ś, Žǯȱ û—Ž›ȱ ž¡ǰȱ ˜ȱ
Š›šžŠ›ȱž—ȱ•’œŠ‹Ž‘ȱ›ã”Ž›ȱǻ›Š—”ž›ȱŠ–ȱŠ’—DZȱž›”Š–™ǰȱŗşŞŗǼǰȱŗŝŞǯ
řŝȳ—ȱ –žœ’Œȱ Š—ȱ ŸŽ›œŽǰȱ ȁŠ›œ’œȂȱ Š—ȱ ȁ‘Žœ’œȂȱ ›ŽŽ›ȱ ˜ȱ ŠŒŒŽ—Žȱ Š—ȱ ž—ŠŒŒŽ—Žȱ
™Š›œȱ˜ȱŠȱ‹ŽŠȱ˜›ȱŠȱ™˜Ž’Œȱ˜˜ǯ
řř
Michael Cowan
•ŠŽœȂœȱ ŒŽ•Ž‹›Š’˜—ȱ ˜ȱ ‘Žȱ •’’—ȱ –˜ŸŽ–Ž—ȱ ˜ȱ ŠŸŽœȱ ˜˜”ȱ ž™ȱ Šȱ
•˜—œŠ—’—ȱ’—Ž›Žœȱ’—ȱ‘ŽȱœŽŽ–’—•¢ȱ—˜—ȬšžŠ—’ꊋ•Žȱž—ž•Š’˜—œȱ
of wave-­‐‑movement in the arts and sciences of the late nineteenth century which had left a particularly strong imprint on the imaginary œž››˜ž—’—ȱ –˜Ž›—ȱ Š—ŒŽǯřŞ For Isadora Duncan, the undulating •’—Žœȱ˜ȱ ŠŸŽȱ–˜’˜—ȱ˜›–Žȱ‘ŽȱŸŽ›¢ȱ–˜Ž•ȱ˜ȱ—Šž›Š•ȱ–˜ŸŽ–Ž—ǯȱȁ••ȱ
the movements of the earth’, Duncan had explained in a publication ˜ȱŗşŖşǰȱȁ˜••˜ ȱ‘Žȱ•’—Žœȱ˜ȱ ŠŸŽȱ–˜’˜—Ȃȱǻꐞ›ŽȱŚǼǯřşȱŠ”’—ȱž™ȱ‘Žȱ
Bergsonian currents of turn-­‐‑of-­‐‑the-­‐‑century art and thought, Duncan Š—ȱ˜‘Ž›ȱ–˜Ž›—ȱŠ—ŒŽ›œȱœ˜ž‘ȱ˜ȱ–Š”Žȱ‘Žȱ‹˜¢ȱ’—˜ȱŠȱŒ˜—ž’ȱ˜›ȱ
œžŒ‘ȱŠȱœ›žŒž›Žǰȱ‹žȱ—˜—Ž‘Ž•Žœœȱž—’Ÿ’ŽǰȱŒ˜—’—ž˜žœ•¢ȱ̘ ’—ȱ
–˜ŸŽ–Ž—ǯȱ ‘žœȱ ‘Žȱ Š‹˜ŸŽȱ ™ŠœœŠŽȱ Œ˜—’—žŽœDZȱ ȁȱ ‘Ž—ȱ ˜—Žȱ œŽŽ”œȱ Šȱ
point of physical beginning for the movement of the human body, ‘Ž›Žȱ’œȱŠȱŒ•žŽȱ’—ȱ‘Žȱž—ž•Š’—ȱ–˜’˜—ȱ˜ȱ‘Žȱ ŠŸŽȂȱǻŝŞǼǯȱ˜›ȱ•ŠŽœǰȱ
‘Ž›Žȱ Šœȱ—˜ȱ™˜œœ’‹•Žȱ›ŽŒ˜—Œ’•’Š’˜—ȱ‹Ž ŽŽ—ȱœžŒ‘ȱ ŠŸŽ•’”Žȱ–˜’˜—ȱ
and the serial movement of machines, between the process of organic ȁ›Ž—Ž Š•Ȃȱ Œ‘Š›ŠŒŽ›’£’—ȱ •’Žȱ Œ¢Œ•Žœȱ Š—ȱ ‘Žȱ œŽ›’Š•ȱ ȁ›Ž™Ž’’˜—Ȃȱ ˜ȱ
ŽŒ‘—˜•˜¢ǰȱ˜›ȱ’—ȱ•ŠŽœȂœȱ–˜›ŽȱŠ–˜žœȱŽ›–’—˜•˜¢ȱ‹Ž ŽŽ—ȱȁŽŽ•ŽȂȱ
ǽœ˜ž•ǾȱŠ—ȱȁŽ’œȂȱǽ’—Ž••ŽŒǾǯȱȱœŠ”Ž in this dichotomy was precisely the desire to draw a strict distinction between the experience of the body and that of the machine: Beobachten wir insbesondere das Leibes-­‐‑ und Seelenleben des Menschen, so stoßen wir vollends auf eine es Zug um Zug ž›Œ‘ Š•Ž—Žȱ‘¢‘–’”DZȱ–Š—ȱŽŽ—”ŽȱŽœȱž•œŽœǰȱŽœȱŽ–œǰȱŽ›ȱ
Ž’‹•’Œ‘Ž—ȱ ˜—Šœ›ŽŽ•ǰȱ Ž›ȱ ŠŽœȬȱ ž—ȱ Š‘›ŽœœŒ‘ Š—”ž—ȱ Žœȱ
㛙Ž›Ž ’Œ‘Žœȱ ǽǯǯǯǾǰȱ Š‹Ž›ȱ ’›ȱ û›Ž—ȱ Ž—ȱ Ž‹Ž—œŸ˜›Š—ȱ —’Ž–Š•œȱ
Ž›Š›ȱŽ››ŽŒ‘—Ž—ȱ ˜••Ž—ǰȱ ’Žȱ–Š—ȱŽœȱû›ȱ’ŽȱŠ‹Ž£˜Ž—Ž—ȱ˜›§—Žȱ
žǰȱ’Žȱœ™›ŠŒ‘Ž‹›§žŒ‘•’Œ‘ȱ–ŽŒ‘Š—’œŒ‘Žȱ‘Ž’đŽ—ǯȱǻ•ŠŽœǰȱVom Wesen des Rhythmus, řŚǼŚŖ
řŞȳ–˜—ȱ ˜‘Ž›ȱ —’—ŽŽŽ—‘ȬŒŽ—ž›¢ȱ ›ŽœŽŠ›Œ‘Ž›œȱ ˜ȱ Š”Žȱ Š—ȱ ’—Ž›Žœȱ ’—ȱ ŠŸŽȱ
–˜ŸŽ–Ž—ȱ ŠœȱŠ›Ž¢ǯ ŽŽȱŽ˜›Žœȱ’’Ȭ
ž‹Ž›–Š—ǰȱȁŠȱŠ—œŽȱŽȱ˜žŽœȱŒ‘˜œŽœȂǰȱ
ǽ‘ŽȱŠ—ŒŽȱ˜ȱ••ȱ‘’—œǾȱ’—ȱŽ˜›Žœȱ’’Ȭ
ž‹Ž›–Š—ȱŠ—ȱŠž›Ž—ȱŠ—˜—’ǰȱLes –˜žŸŽ–Ž—œȱŽȱ•ȂŠ’›ǯȱ1’Ž——ŽȬž•ŽœȱŠ›Ž¢ǰȱ™‘˜˜›Š™‘ŽȱŽœȱ̞’Žœȱ[Movements of the Air. Étienne-­‐‑Jules Marey, Photographer of FluidsǾ ǻŠ›’œDZȱ Š••’–Š›ǰȱ ŘŖŖŚǼǰȱ ŗŝŝȮ
řŗŝȱ ǻŘŚşȮŜŝǰȱ ŘŞŗȮřŗŝǼǯȱ —ȱ ‘Žȱ ™›Ž’•ŽŒ’˜—ȱ ˜›ȱ •’šž’ȱ ̘ œȱ ’—ȱ –˜Ž›—ȱ Š›ǰȱ œŽŽȱ
especially Christoph Asendorf, Ströme und Strahlen. Das langsame Verschwinden der Materie um 1900 [›ŽŠ–œȱŠ—ȱŠ¢œǯȱ‘Žȱ›ŠžŠ•ȱ’œŠ™™ŽŠ›Š—ŒŽȱ˜ȱŠĴŽ›ȱŒǯ 1900Ǿ, Ž›”‹ž—Ȭ›Œ‘’ŸȱŗŞ ǻ’ŽđŽ—DZȱ—Š‹ŠœǰȱŗşŞşǼǯȱ
řşȳœŠ˜›Šȱž—ŒŠ—ǰȱThe Art of the Dance ǻŽ ȱ˜›”DZȱ‘ŽŠŽ›ȱ›œȱ—ŒǯǰȱŗşŝŖǼǰȱŝŞǯ
ŚŖȳ••ȱ•ŠŽœȂœȱŒ›’Ž›’Šȱ˜›ȱ’œ’—ž’œ‘’—ȱ›‘¢‘–ȱŠ—ȱ–Ž›ŽȱŒŠ—ȱ‹Žȱ˜ž—ȱ’—ȱ
‘’œȱ ›Š™‘˜•˜’ŒŠ•ȱ ›’’—œȱ Šœȱ Ž••ǯȱ —ȱ ‘Ž–ǰȱ •ŠŽœȱ œ˜ž‘ȱ ˜ȱ œŽ™Š›ŠŽȱ ȁŸ’Š•Ȃȱ
‘Š— ›’’—ȱ›˜–ȱŠ—¢‘’—ȱ›ŽœŽ–‹•’—ȱŠž˜–Š’Œȱ˜›ȱ›Ž™›˜žŒ’‹•Žȱ’—œŒ›’™’˜—œǯȱ
ȁžœ›žŒ”ȱŽœȱŽ‹Ž—œȂǰȱ‘ŽȱŠ›žŽǰȱȁ’œȱŽ›ȱ‘¢‘–žœǰȱžœ›žŒ”ȱŽœȱŽ’œŽœȱ’Žȱ
řŚ
Technology’s Pulse
Fig 4. Isadora Duncan photographed by Arnold Genthe c. 1915, courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundations
Ž››§—ž—ȱŽœȱ‘¢‘–žœȱž›Œ‘ȱ’Žȱ›ŽŽ•—Žȱ›ŠȱŽœȱŽœŽĵŽœǯȱŽȱ–Ž‘›ȱ’–ȱ
ȃ——Ž›Ž—ȄȱŽ›ȱŽ’œȱŠœȱŽ‹Ž—ȱû‹Ž› §•’ȱ‘Šǰȱž–œ˜–Ž‘›ȱ›’ĴȱŠ—ȱŽ›ȱErscheinung ŽœȱŽ‹Ž—œȱŽ›ȱ‘¢‘–žœȱ‘’—Ž›ȱŽ›ȱŽŽ•ȱ£ž›ûŒ”ǯȱ’ŽȱŠ‹Ž›ȱ—’Ž–Š•œȱ’Žȱ‹•˜đŽȱ
ŠŒ‘Š‘–ž—ȱŽ’—ŽœȱœŒ‘˜—ȱŸ˜›‘Š—Ž—Ž—ȱŽ‹’•ŽœȱŽ—ȱŠ–Ž—ȱŽ’—Ž›ȱŒ‘㙏ž—ȱ
ŸŽ›’Ž—ǰȱ Ž‹Ž—œ˜ Ž—’ȱ Ž—ȱ Ž›ȱ ›œ™›û—•’Œ‘”Ž’ȱ Ž’—Žȱ 㛙Ž›‹Ž Žž—ǰȱ
soweit sie nichts als Befolgung einer vorgeschriebenen Regel bietet’ (Klages, Ausdrucksbewegung und Gestaltungskraft, ŗřşǼȱ ǽ‘¢‘–ȱ ’œȱ ‘Žȱ Ž¡™›Žœœ’˜—ȱ ˜ȱ •’Žǰȱ
řś
Michael Cowan
[If we observe the bodily and spiritual life of human beings in particular, we discover that they are regulated through and through ‹¢ȱ›‘¢‘–DZȱ˜—Žȱ—ŽŽȱ˜—•¢ȱ‘’—”ȱ˜ȱ‘Žȱ™ž•œŽǰȱ‘Žȱ‹›ŽŠ‘ǰȱ‘Žȱ–˜—‘•¢ȱ
–Ž—œ›žŠ•ȱŒ¢Œ•Žȱ˜ȱ ˜–Ž—ǰȱ‘ŽȱŠ’•¢ȱŠ—ȱ¢ŽŠ›•¢ȱ̞ŒžŠ’˜—œȱ˜ȱ‹˜¢ȱ
Ž’‘ȱ ǽǯǯǯǾǰȱ ‹žȱ Žȱ –žœȱ —ŽŸŽ›ȱ ›¢ȱ ˜ȱ ŒŠ•Œž•ŠŽȱ •’Žȱ ™›˜ŒŽœœŽœȱ ’—ȱ ‘Žȱ
way that we would for those abstract processes that we habitually ›ŽŽ›ȱ˜ȱŠœȱ–ŽŒ‘Š—’ŒŠ•ǯǾ
—•’”Žȱ ûŒ‘Ž›ǰȱ •ŠŽœȱ ‘Šœȱ —˜ȱ žœŽȱ ˜›ȱ —˜’˜—œȱ ˜ȱ ‘Žȱ ‹˜¢ȱ Šœȱ Šȱ
‘ž–Š—ȱ –˜˜›ȱ ›Žž•ŠŽȱ ‹¢ȱ ™›’—Œ’™•Žœȱ ˜ȱ ŽĜŒ’Ž—Œ¢ǰȱ ›Š’˜—Š•’¢ȱ ˜›ȱ
ŒŠ•Œž•Š‹’•’¢ǯȱ—ȱ‘ŽȱŒ˜—›Š›¢ǰȱ’ȱȁ›‘¢‘–Ȃȱ Šœȱ‘Žȱ™‘Ž—˜–Ž—˜•˜’ŒŠ•ȱ
manifestation of the vital, this was true precisely to the extent that it ›Žœ’œŽȱ›Š’˜—Š•ȱŒ˜—›˜•ǯȱ›’’Œ’£’—ȱ’—ȱ™Š›’Œž•Š›ȱ‘Žȱž—Ž›œŠ—’—ȱ
of rhythm developed by experimental psychologists such as Wilhelm Wundt, Ernst Meumann and Theodor Lipps, who saw rhythm as a manifestation of the mind’s fundamental capacity to order its ™Ž›ŒŽ™’˜—œȱ ǻŗŖȮŗŘǼǰȱ •ŠŽœȱ ’—œ’œŽȱ ‘Šȱ ‘Žȱ Ž—ž’—Žȱ Ž¡™Ž›’Ž—ŒŽȱ ˜ȱ
›‘¢‘–ȱŽ—Š’•ŽȱŠȱ ‘˜•ŽœŠ•Žȱ›Ž•’—šž’œ‘’—ȱ˜ȱ›Š’˜—Š•ȱŒ˜—›˜•ȱŠ—ȱ‘Žȱ
Š˜™’˜—ȱ˜ȱŠȱ–¢œ’ŒŠ•ȱŠĴ’žŽȱ‘Žȱ•Š‹Ž••Žȱȁ››’쎗‘Ž’ȂȱǽŠȱœŠŽȱ˜ȱ
‹Ž’—ȱœŽ’£Žȱ˜›ȱ›Š—œ™˜›ŽǾǯŚŗ
while the suppression of rhythm through the regulating power of law is the Ž¡™›Žœœ’˜—ȱ˜ȱ‘Žȱœ™’›’ǯȱ‘Žȱ–˜›Žȱ‘Žȱœ™’›’ȱ‘Šœȱ˜ŸŽ›™˜ Ž›Žȱ•’Žȱ’—ȱ’œȱȁ’——Ž›Ȃȱ
aspects, the more the appearanceȱ˜ȱ•’Žȱ’œȱŒ‘Š›ŠŒŽ›’£Žȱ‹¢ȱŠȱ›ŽŒŽ’—ȱ˜ȱ›‘¢‘–ȱ’—ȱ
ŠŸ˜ž›ȱ˜ȱ›Žž•Š›’¢ǯȱžȱ“žœȱŠœȱ‘Žȱ–Ž›Žȱ’–’Š’˜—ȱ˜ȱŠ—ȱŠ•›ŽŠ¢ȱ™›ŽœŽ—ȱœ›žŒž›Žȱ
never deserves to be called a creation, no more does a bodily movement merit ‹Ž’—ȱŒŠ••Žȱ˜›’’—Š›¢ȱ’—Šœ–žŒ‘ȱŠœȱ’ȱ˜ěŽ›œȱ—˜‘’—ȱ–˜›Žȱ‘Š—ȱ‘ŽȱŽ¡ŽŒž’˜—ȱ˜ȱŠȱ
™›ŽŽŽ›–’—Žȱ›ž•ŽǾǯȱ—ȱ‘Žȱ–Š—¢ȱ‘Š— ›’’—ȱœŠ–™•Žœȱ‘ŽȱŽ¡Š–’—Žœ, Klages thus Œ•Š’–Žȱ˜ȱ™Ž›ŒŽ’ŸŽȱ‘ŽȱŸ’œ’‹•Žȱ’–™›’—ȱ˜ȱŠ—ȱȁŽŽ›—Š•ȱœ›ž•ŽȂȱ‹Ž ŽŽ—ȱŒ›ŽŠ’Ÿ’¢ȱ
Š—ȱ’–™˜œŽȱ™ŠĴŽ›—œǰȱœ™˜—Š—Ž˜žœȱ•’ŽȱŠ—ȱ›’’ȱ•Š ǰȱ›‘¢‘–ȱŠ—ȱ–Ž›Žǯȱ‘Žȱ
–˜›Žȱ‘Žȱ‘Š— ›’’—ȱŽŸ’ŠŽȱ›˜–ȱŠŒšž’›Žǰȱ–ŽŒ‘Š—’ŒŠ•ȱŽŒ‘—’šžŽœǰȱ‘Žȱ–˜›Žȱ
Ÿ’Š•’¢ȱ•ŠŽœȱŒ•Š’–Žȱ˜ȱꗍȱ’—ȱ’ǯȱ—ȱ‘’œȱŽœŒ›’™’˜—ȱ˜ȱ’ŽĵœŒ‘ŽȂœȱ‘Š— ›’’—ȱ
Žȱ›ŽŠDZȱȁ›˜ĵȱ›ã𝎛ȱŽœŽ›•’Œ‘”Ž’ȱ‘Šȱǽ’ŽĵœŒ‘ŽœȱŒ‘›’ǾȱŸ˜••Ž—ŽŽȱ’Ž—Š›ȱ
ǽǯǯǯǾȱž—ȱŽ’—Ž—ȱ™Ž›•Ž—Ž—ȱ‘¢‘–žœǰȱŽ›ȱ’ŽȱŒ‘§›Ž—ȱ£Š‘•›Ž’Œ‘Ž›ȱ’—”Ž•ȱœ™’Ž•Ž—ȱ
Ž’—ŸŽ›•Ž’‹ȂȱǻŗŚŗǼȱǽŽœ™’Žȱ’œȱ‘’‘ȱŽ›ŽŽȱ˜ȱ•Ž’‹’•’¢ǰȱ’ŽĵœŒ‘ŽȂœȱ‘Š— ›’’—ȱ
possesses a perfect originality and a sprightly rhythm that playfully absorbs the ‘Š›ȱŽŽœȱ˜ȱ—ž–Ž›˜žœȱŠ—•ŽœǾǯ
Śŗȳȁ•œȱ žœŒ‘ŠžŽ›ȱ Ž›•Ž‹Ž—ȱ ”Š——ȱ ’Œ‘ȱ Ž—ȱ ‘¢‘–žœȱ —ž›ǰȱ œ˜Ž›—ȱ ’Œ‘ȱ û‹Ž›ȱ Šœȱ
bloße Zuschauertum hinaus von ihm Ž››’쎗ȱ werde, und als Bildner leisten ”Š——ȱ ’Œ‘ȱ Ž—ȱ ‘¢‘–žœȱ —’Œ‘ȱ ”›Šȱ –Ž’—Ž›ȱ ’••”û›ǰȱ ’Žȱ ›Ž’•’Œ‘ȱ ŠđŽȱ ž—ȱ
Š”Žȱ £žȱ Ž›£ŽžŽ—ȱ ŽœŠĴŽǰȱ œ˜—Ž›—ȱ ’ŽŽ›ž–ȱ —ž›ȱ Šžœȱ ››’쎗‘Ž’ǯȱ ’Žȱ
’Ž—§’”Ž’ȱŠžŒ‘ȱŽœȱ’•—Ž›œȱ ’›ȱŽ—Šžȱ’—ȱœ˜ Ž’ȱ‘¢‘–žœȱ‹’•Ž—ǰȱŠ•œȱœ’Žȱ
‹Ž’ȱ Ž—–§Œ‘’Ž›ȱ ’••”û›ȱ Ÿ˜–ȱ ›‘¢‘–’œŒ‘Ž—ȱ ž•œŽȱ getragen ist’ (Klages, Vom Wesen des Rhythmus, śŝǼȱǽœȱœ™ŽŒŠ˜›ǰȱȱŒŠ—ȱ˜—•¢ȱŽ¡™Ž›’Ž—ŒŽȱ›‘¢‘–ȱ˜ȱ‘ŽȱŽ¡Ž—ȱ
that I transcend the position of mere spectator and allow myself to be seized by ’ǯȱœȱŒ›ŽŠ˜›ǰȱȱŒŠ——˜ȱŠŒ‘’ŽŸŽȱ›‘¢‘–ȱ‹¢ȱ‘Žȱ™˜ Ž›ȱ˜ȱ–¢ȱ ’••ǰȱŽŸŽ—ȱ’ȱ‘Žȱ ’••ȱ
Š••˜ œȱ–Žȱ˜ȱ™›˜žŒŽȱ–ŽŠœž›ŽȱŠ—ȱ–Ž›ŽǯȱŠ‘Ž›ǰȱ˜—ŒŽȱŠŠ’—ǰȱȱŒŠ—ȱ˜—•¢ȱŠŒ‘’ŽŸŽȱ
řŜ
Technology’s Pulse
•ŠŽœȂœȱ Žě˜›ȱ ˜ȱ ›Š ȱ Šȱ ™‘Ž—˜–Ž—˜•˜’ŒŠ•ȱ •’—Žȱ ’—ȱ ‘Žȱ œŠ—ȱ
between vital and mechanical movement was not without its Œ˜—›Š’Œ’˜—œDzȱ‘ŽœŽȱŠ›ŽȱŸ’œ’‹•Žȱ‘›˜ž‘˜žȱ‘ŽȱŽ¡ȱŠœȱ‘Žȱœ›ž•Žœȱ
’‘ȱ‘Žȱ™˜œœ’‹•Žȱ’–‹›’ŒŠ’˜—œȱ‹Ž ŽŽ—ȱ‘Žȱ ˜ȱ–˜Žœǯȱȱ˜—Žȱ™˜’—ǰȱ
˜›ȱŽ¡Š–™•Žǰȱ‘ŽȱŠœ”œȱ ‘¢ȱ‘ŽȱŸŽ›¢ȱ›Žž•Š›’£Žȱ›ŠĴ•’—ȱ˜ȱŠȱ›Š’—ȱŒŠ›ȱ
›˜••’—ȱ˜ŸŽ›ȱŽŸŽ—•¢ȱœ™ŠŒŽȱ›ŠŒ”œȱȮȱŠȱœ¢–‹˜•ȱ˜ȱ’—žœ›’Š•ȱ–˜Ž›—’¢ȱ
’ȱ ŽŸŽ›ȱ ‘Ž›Žȱ Šœȱ ˜—Žȱ Ȯȱ ’œȱ Š‹•Žȱ ˜ȱ ™žȱ ™ŠœœŽ—Ž›œȱ ’—˜ȱ Šȱ ›Š—ŒŽȬ•’”Žȱ
œŠŽȱ—˜ȱ•Žœœȱ‘Š—ȱ‘Žȱ’››Žž•Š›ȱ•Š™™’—ȱ˜ȱ ŠŸŽœǯȱ—ȱ˜›Ž›ȱ˜ȱŽ¡™•Š’—ȱ
the problem, Klages speculates that what lulls the passengers to œ•ŽŽ™ȱŠ›Žȱ—˜ȱ‘Žȱ™Ž›Œžœœ’ŸŽȱ—˜’œŽœȱ‘Ž–œŽ•ŸŽœǰȱ–Š›”’—ȱŠœȱ‘Ž¢ȱ˜ȱ
dividing intervals, but rather the uninterrupted forward movement ˜ȱ‘Žȱ›Š’—ȱ‘Šȱ‘ŽœŽȱ—˜’œŽœȱ’—’ŒŠŽǯȱžȱŽœ™’Žȱ‘’œȱŽ¡™•Š—Š’˜—ǰȱŠȱ
™‘’•˜œ˜™‘’ŒŠ•ȱ˜ž‹ȱ›Ž–Š’—œDZȱ’ȱ–˜Ž›—’¢Ȃœȱę¡Š’˜—ȱ˜—ȱ–ŽŒ‘Š—’ŒŠ•ȱ
metre has largely extinguished our access to rhythm, it nonetheless œ˜–Ž’–Žœȱ Š••˜ œȱ ›‘¢‘–ȱ ˜ȱ Š™™ŽŠ›DZȱ ȁŽ›ȱ ™Ž›’˜’œŒ‘Žȱ ŽŒ‘œŽ•ǰȱ
ŽœœŽ—ȱŽœȱ‹ŽŠ›ǰȱŠ–’ȱ’ŽȱŽ’”Ž’ȱŽ›ȱŽ Žž—ȱ£ž–ȱ‘¢‘–žœȱ
Ž›Žȱ ǽǯǯǯǾȱ kann ˜ěŽ—‹Š›ȱ ŠžŒ‘ȱ ž›Œ‘ȱ ’—û‘›ž—ȱ Ž’—Žœȱ Š”Žœȱ
Ž—œŽ‘Ž—ǰȱŸ˜›ŠžœŽœŽĵǰȱŽ›ȱŽ’”Ž’œ Ž›ȱŽœȱŽ ŽœŽ’—œȱ‹Ž‘Š•Žȱ
’Žȱ ˜›–ŠŒ‘ȱ Ÿ˜›ȱ Ž–ȱ Ž’•ž—œ Ž›ȱ Ž›ȱ £Ž››Ž—£Ž—Ž—ȱ Œ‘Š••ŽȂȱ
ǻŘşǼȱ ǽ‘Žȱ ™Ž›’˜’Œȱ Š•Ž›—Š’˜—ȱ —ŽŒŽœœŠ›¢ȱ ’—ȱ ˜›Ž›ȱ ‘Šȱ Œ˜—’—ž˜žœȱ
–˜ŸŽ–Ž—ȱ –Š¢ȱ Šœœž–Žȱ ‘Žȱ ˜›–ȱ ˜ȱ ›‘¢‘–ǰȱ ǽǯǯǯǾȱ Œ•ŽŠ›•¢ȱ can arise through the introduction of metre, provided that the continuity of –˜ŸŽ–Ž—ȱ›ŽŠ’—œȱ™›ŽŒŽŽ—ŒŽȱ˜ŸŽ›ȱ‘Žȱ’Ÿ’œ’˜—œȱ˜ȱ˜›Ž›’—ȱœ˜ž—œǾǯȱ
The hesitancy palpable in this passage will become much more pronounced by the end of Klages’s study, where he begins to suspect that, for modern individuals no longer immersed in vital and cosmic rhythms, it is only through the ordering presence of mechanical or ’—Ž••ŽŒžŠ•ȱ–Ž›Žȱ‘Šȱ›‘¢‘–ȱŒŠ—ȱ–Š—’Žœȱ’œŽ•ȱŠȱŠ••ǯȱ‘žœȱ‘ŽȱŸŽ›¢ȱ
phenomenon so detrimental to rhythm might be, paradoxically, the ™›ŽŒ˜—’’˜—ȱ˜›ȱ‘Žȱ•ŠĴŽ›ȂœȱŒ˜—’—žŽȱ™‘Ž—˜–Ž—˜•˜’ŒŠ•ȱ™›ŽœŽ—ŒŽDZ
Wenn darnach der Rhythmus, ungeachtet er fraglos verdrängt ’›ȱ ž›Œ‘ȱ û‹Ž›œŠ›”Žȱ Betonungȱ Žœȱ Ž›ž–œǰȱ ˜ěŽ—‹Š›ȱ ŠžŒ‘ȱ œ’Œ‘ȱ
ŸŽ›ĚûŒ‘’Ž—ȱ ”Š——ȱ ž›Œ‘ȱ žĢŽ‹ž—ȱ Žœȱ Ž›ž–œǰȱ œ˜ȱ •’Žȱ £ž—§Œ‘œȱ
Ž’—–Š•ȱ’Žȱ› §ž—ȱ—Š‘Žǰȱ˜‹ȱ—’Œ‘ȱ’–ȱŽ’œ‹Ž‘ŠŽŽ—ȱ’Ž— ŽœŽ—ȱ
Ž–ȱ Ž’œŽȱ ’–ȱ Ž›‘§•—’œȱ £ž–ȱ Ž‹Ž—ȱ û—œ’Ž—Š••œȱ ’Žȱ ˜••Žȱ Žœȱ
Gegenspielersȱ£žŽ’•ȱ Ž›Ž—ȱ”ã——Žǰȱ–’ȱŽœœŽ—ȱÜberwindung allererst ’ŽœŽœȱœŽ’—Žȱ›‘¢‘–’œŒ‘Ž—ȱ㐕’Œ‘”Ž’Ž—ȱŽ—Š•ŽǯȱǻśŗȮśŘǼ
[Accordingly, we see that rhythm, although clearly suppressed by an overemphasis on metre, can also disappear through the abolition of ›‘¢‘–ȱ›˜–ȱŠȱœŠŽȱ˜ȱœŽ’£ž›Žǯȱ‘ŽȱŒ›ŽŠ˜›ȂœȱŠŒ’˜—ȱŒŠ—ȱŒ›ŽŠŽȱ›‘¢‘–ȱ˜—•¢ȱ˜ȱ
the extent that its will is disempowered and it is carried ‹¢ȱ‘Žȱ›‘¢‘–’ŒŠ•ȱ™ž•œŽǾǯ
řŝ
Michael Cowan
–Ž›Žǯȱȱ‘žœȱœŠ—œȱ˜ȱ›ŽŠœ˜—ȱ‘Šǰȱ˜›ȱ‘Žȱ’—Ž••ŽŒžŠ•’£Žȱ’—’Ÿ’žŠ•ǰȱ
the intellect can, in fortunate cases, assume the role of an adversary ˜ȱ•’ŽǰȱŠ—ȱ‘Šȱ’ȱ’œȱ‘›˜ž‘ȱ˜ŸŽ›Œ˜–’—ȱ‘’œȱŠŸŽ›œŠ›¢ȱ‘Šȱ•’Žȱꛜȱ
ž—˜•œȱ’œȱ›‘¢‘–’ŒŠ•ȱ™˜œœ’‹’•’’ŽœǯǾ
Foreshadowing his later study Der Geist als Widersacher der Seele ǻŗşŘşǼ [The Intellect as Adversary of the SoulǾǰȱ •ŠŽœȂœȱ –˜Ž•ȱ ˜ȱ
‘Žȱ ’—Ž›™•Š¢ȱ ‹Ž ŽŽ—ȱ ’—Ž••ŽŒȱ Š—ȱ •’Žȱ ˜ěŽ›œȱ Šȱ Ž¡‹˜˜”ȱ ŒŠœŽȱ ˜ȱ
ȁœž™™•Ž–Ž—Š›¢Ȃȱ•˜’ŒDZȱ‘ŽȱŸŽ›¢ȱ™›ŽœŽ—ŒŽȱ˜ȱ’—Ž••ŽŒžŠ•ǰȱ–Ž›’ŒȱŠ—ȱ
machinic modernity (everything Klages understood under the term Geist) which is responsible for the death of rhythm appears at once as ‘Žȱ˜—•¢ȱ‘’—ȱŠ••˜ ’—ȱ›‘¢‘–ȱ˜ȱœž›Ÿ’ŸŽǯŚŘ •ŠŽœȂœȱ ŽœœŠ¢ȱ Šœȱ ™’Œ”Žȱ ž™ȱ ‹¢ȱ —ž–Ž›˜žœȱ ‘Ž˜›’œœȱ ˜ȱ ‹˜¢ȱ
Œž•ž›Žȱ Ȯȱ ™Š›’Œž•Š›•¢ȱ ’—ȱ ’œȱ –˜›Žȱ ȁŸ˜•”’œŒ‘Ȃȱ ŸŠ›’Š—œȱ Ȯȱ ž›’—ȱ ‘Žȱ
ŗşŘŖœǰȱ ‘˜ž‘ȱ ˜›ȱ ‘Žȱ –˜œȱ ™Š›ȱ ‘Ž¢ȱ ’—˜›Žȱ œžŒ‘ȱ ™‘’•˜œ˜™‘’ŒŠ•ȱ
’—›’ŒŠŒ’Žœȱ ˜ȱ ’—œ’œȱ ˜—ȱ ‘Žȱ žĴŽ›ȱ ’—Œ˜–™Š’‹’•’¢ȱ ˜ȱ •’Ÿ’—ȱ ›‘¢‘–ȱ
Š—ȱ –ŠŒ‘’—’Œȱ ›Ž™Ž’’˜—ǯȱ ›’’—ȱ ’—ȱ ŗşŘřǰȱ ‘Žȱ ¢–—Šœ’Œœȱ ŽŠŒ‘Ž›ȱ
Š—ȱžž›Žȱ™›˜™˜—Ž—ȱ˜ȱŠ£’ȱ‹˜¢ȱŒž•ž›Žȱž˜•ȱ˜ŽȱȮȱ ‘˜ȱ‘Šȱ
devised a school of eurhythmical gymnastics designed to restore the Š•Ž›—Š’˜—ȱ ‹Ž ŽŽ—ȱ Ž—œ’˜—ȱ Š—ȱ ›Ž•Š¡Š’˜—ȱ Ȯȱ ŠĴŠŒ”Žȱ ‘Žȱ ‘Ž˜›’Žœȱ
˜ȱûŒ‘Ž›ȱŠ—ȱŠšžŽœȬŠ•Œ›˜£Žȱ’—ȱ™Š›’Œž•Š›ǰȱŠ›ž’—ȱ‘Šȱ‹˜‘ȱ‘Šȱ
confused the instrumental and mechanical world of Takt for the Ž¡™Ž›’Ž—ŒŽȱ ˜ȱ Šž‘Ž—’Œȱ ›‘¢‘–ȱ ǻꐞ›Žȱ śǼǯŚřȱœȱ Šȱ –Š›”ȱ ˜ȱ ™›’–’’ŸŽȱ
Œž•ž›Žœȱœ’••ȱœ ’––’—ȱ’—ȱ‘Žȱȁ›˜–ȱŽœȱŽ‹Ž—œȂȱǻŘśǼȱǽœ›ŽŠ–ȱ˜ȱ•’ŽǾȱ
Š—ȱȁŽ’—Ž‹ŽĴŽȱ’—ȱŽ’—Ž–ȱ›ãđŽ›Ž—ȱžœŠ––Ž—‘Š—ȂȱǻŘşǼȱǽŽ–‹ŽŽȱ
’—ȱŠȱ›ŽŠŽ›ȱ›‘¢‘–’ŒŠ•ȱ ‘˜•ŽǾǰȱ›‘¢‘–’ŒŠ•ȱŽ¡™›Žœœ’˜—ǰȱ˜Žȱ’—œ’œŽǰȱ
Šœȱ’—ŽŸ’Š‹•¢ȱŽœ›˜¢Žȱ‹¢ȱŠ—¢ȱŠĴŽ–™ȱ˜ȱœž‹“ŽŒȱ’ȱ˜ȱ‘Žȱ›Žž•Š›’¢ȱ
˜ȱ ŽŒ‘—˜•˜’ŒŠ•ȱ ˜›Ž›DZȱ ȁǽJǾede ȃŽŒ‘—’”Ȅǰȱ œŽ’ȱ Žœȱ ’Žȱ ŽŒ‘—’”ȱ Ž’—Žœȱ
—œ›ž–Ž—œǰȱ œŽ’ȱ Žœȱ ’Žȱ ŽŒ‘—’”ȱ Ž›ȱ 㛙Ž›‹Ž‘Ž››œŒ‘ž—ǰȱ ’œȱ Ž–ȱ
‘¢‘–žœȱŠ—Š˜—’œ’œŒ‘ǰȱ Ž’•ȱ“ŽŽȱȃŽŒ‘—’”ȄȱŠžȱȃ•’ŽŽ›ž—Ȅȱž—ȱ
ŚŘȳ—ȱ‘’œȱ™˜’—ǰȱœŽŽȱž‹”˜••ǰȱȁ‘¢‘–žœȂǰȱŞŚDzȱ˜›ȱ‘Žȱ•˜’Œȱ˜ȱ‘Žȱœž™™•Ž–Ž—ǰȱœŽŽȱ
˜ȱŒ˜ž›œŽȱŠŒšžŽœȱŽ››’ŠǰȱDe la grammatologie [On GrammatologyǾȱǻŠ›’œDZȱ’—ž’ǰȱ
ŗşŜŝǼǰȱŘŖřȮřśǯ
ŚřȳŽŽȱ ž˜•ȱ ˜Žǰȱ Rhythmus und Körpererziehung [Rhythm and Bodily EducationǾ, ؗȱ Ž—ȱ ǻŽ—ŠDZȱ žŽ—ȱ ’Ž›’Œ‘œǰȱ ŗşŘśǼǰȱ Řŗǯȱ —ȱ ˜ŽȂœȱ ŒŠ›ŽŽ›ȱ ž—Ž›ȱ
Š£’œ–ǰȱœŽŽȱŠ›•ȱ˜Ž™Ž›ǰȱEmpire of Ecstasy. Nudity and Movement in German Body Culture, 1910Ȯ1935 ǻŽ›”Ž•Ž¢DZȱ—’ŸŽ›œ’¢ȱ˜ȱŠ•’˜›—’Šȱ›ŽœœǰȱŗşşŝǼǰȱŗŘŝȮŘşǯȱ—ȱ‘’œȱ
Žœ™˜žœŠ•ȱ˜ȱŠȱœ™ŽŒ’ęŒŠ••¢ȱȁŽ›–Š—’ŒȂȱ›‘¢‘–ǰȱ˜Žȱ ŠœȱŠȱ”Ž¢ȱ™•Š¢Ž›ȱ’—ȱ ‘Šȱ—Žȱ
Š¡–Š——ȱ‘Šœȱ•Š‹Ž••Žȱ‘Žȱȁ—Š’˜—Š•’£Š’˜—ȱ˜ȱ›‘¢‘–Ȃȱ’—ȱŽ›–Š—¢ȱ‹Ž’——’—ȱ’—ȱ
‘ŽȱŗşŘŖœȱŠ—ȱŒ˜—’—ž’—ȱ’—ȱ‘ŽȱŒ˜—ŒŽ™’˜—ȱ˜ȱ›ŠŒ’Š•ȱ›‘¢‘–œȱž—Ž›ȱ‘ŽȱŠ’˜—Š•ȱ
˜Œ’Š•’œœǯȱŽŽȱ—ŽȱŠ¡–Š——ǰȱMythos: Gemeinschaft. Körper-­‐‑ und Tanzkulturen in der Moderne [The Myth of Community: Cultures of the Body and Dance in ModernityǾ ǻž—’Œ‘DZȱ ’—”ǰȱ ŘŖŖŖǼǰȱ ŘřŘȮśŘǯȱ —ȱ ‘Žȱ Œ˜——ŽŒ’˜—ȱ ˜ȱ ›‘¢‘–ȱ Š—ȱ ›ŠŒŽǰȱ œŽŽȱ Š•œ˜ȱ
˜•œ˜—ǰȱȁȃ–ȱŠ—Š—ȱ Š›ȱŽ›ȱ›‘¢‘–žœȂȄǯȱ
řŞ
Technology’s Pulse
Fig 5. Rhythmical group gymnastics from Rudolf Bode, Rhythmus und
㛙Ž›Ž›£’Ž‘ž— (1923)
ȃ˜–‹’—Š’˜—Ȅȱ‹Ž›ž‘ǷȂȱǻřśǼȱǽEvery form of technology, be it that of Š—ȱ’—œ›ž–Ž—ȱ˜›ȱ‘Šȱ˜ȱ‹˜’•¢ȱ’œŒ’™•’—Žǰȱ’œȱŠ—Š˜—’œ’Œȱ˜ȱ›‘¢‘–ǯȱ
˜›ȱŠ••ȱŽŒ‘—˜•˜¢ȱ›Ž•’Žœȱ˜—ȱȁ’Ÿ’œ’˜—ȂȱŠ—ȱȁŒ˜–‹’—Š’˜—ȂǷǾǯŚŚ Whereas Ž’ŽŽ›ȱ ˜ž•ȱ œŽŽȱ ‘Žȱ ŽœœŽ—ŒŽȱ ˜ȱ ŽŒ‘—˜•˜¢ȱ ’—ȱ ‘Žȱ œ™Š’Š•’£’—ȱ
ŒŠŽ˜›¢ȱ˜ȱ‘ŽȱȁŽœŽ••ȂȱǽŽ—›Š–Ž–Ž—Ǿǰȱ•ŠŽœȱŠ—ȱ‘’œȱ’œŒ’™•Žœǰȱ’—ȱ
‘Žȱ Š”Žȱ˜ȱ—Ž ȱŠ¢•˜›’œȱŠ—ȱ˜›’œȱ™›˜žŒ’˜—ȱ™›˜ŒŽœœŽœǰȱ•˜ŒŠŽȱ
’ȱŠ‹˜ŸŽȱŠ••ȱ’—ȱ‘ŽȱŠŒȱ˜ȱœŽ–Ž—’—ȱŠȱŽ–™˜›Š•ȱ̘ ǯ
Focusing on such vitalist models of rhythm, much of the recent ˜›”ȱ˜—ȱ›‘¢‘–ȱ’—ȱ‘ŽȱŽ›–Š—ȱŒ˜—Ž¡ȱ‘Šœȱ’—Ž›™›ŽŽȱ‘Žȱ’—Ž—œŽȱ
preoccupation with the topic in the art and science of the Wilhelmine and Weimar periods largely as a proto-­‐‑fascist phenomenon and a ŚŚȳ’–’•Š›•¢ǰȱ’—ȱŠȱŽ¡ȱ˜ȱŗşŘŜǰȱŠ—˜‘Ž›ȱ•ŠŽœȱ’œŒ’™•ŽǰȱŠ¡ȱŽ›£ǰȱ ˜ž•ȱ™›ŽœŽ—ȱ
›‘¢‘–’ŒŠ•ȱ¢–—Šœ’ŒœȱŠœȱŠ—ȱŽě˜›ȱ™›ŽŒ’œŽ•¢ȱ˜ȱ˜™™˜œŽȱ‘ŽȱœŽ™Š›Š’—ȱž—Œ’˜—ȱ˜ȱ
–ŠŒ‘’—ŽœDZȱȁœȱ”Š——ȱ”Ž’—ȱžŠ••ȱœŽ’—ǰȱŠđȱŽ›ŠŽȱ’—ȱž—œŽ›Ž–ȱŠœŒ‘’—Ž—£Ž’Š•Ž›ȱ
’Žȱ 㛙Ž›”ž•ž›ȱ –’ȱ œ˜•Œ‘Ž›ȱ Žœ’––‘Ž’ȱ ’—œȱ Ž—›ž–ȱ Žœȱ –Ž—œŒ‘•’Œ‘Ž—ȱ
Ž žđœŽ’—œȱ›ûŒ”ǯȱ—ȱ’‘›ȱ‘Š‹Ž—ȱ ’›ȱ’Žȱ—’‘ŽœŽǰȱ’ŽȱŽ•Ž–Ž—Š›Žȱ’—û‘›ž—ȱ
in die Welt des Organischen’ [It cannot be an accident that body culture has moved so decisively into the forefront of human consciousness precisely in our ’—žœ›’Š•ȱŽ›Šǯȱȱ’œȱ‘ŽȱŠ—’‘Žœ’œȱ˜ȱ’—žœ›¢ǰȱ‘ŽȱŽ•Ž–Ž—Š•ȱ’—›˜žŒ’˜—ȱ’—˜ȱ‘Žȱ
˜›•ȱ˜ȱ‘Žȱ˜›Š—’ŒǾȱŠ¡ȱŽ›£ǰȱKörperbildung und Rhythmus [Body Building and RhythmǾȱǻ’Ž——ŠDZȱž—ŒŠ—ǰȱŗşŘŜǼǰȱŝ
řş
Michael Cowan
™›Ž•žŽȱ˜ȱ‘Žȱ›ŠŒ’Š•ȱ™˜•’’Œœȱ˜ȱ‘Žȱ‘’›ȱŽ’Œ‘ǯŚś But while notions of ›‘¢‘–ȱ Šœȱ Šȱ –Š›”Ž›ȱ ˜ȱ —Š’˜—Š•ȱ ˜›ȱ ›ŠŒ’Š•ȱ ’쎛Ž—ŒŽȱ ŒŽ›Š’—•¢ȱ
ꐞ›Žȱ’—˜ȱ‘ŽȱŽ‹ŠŽœǰȱ‘’œȱ’œȱœž›Ž•¢ȱ—˜ȱ‘ŽȱŽ—’›Žȱœ˜›¢ǯŚŜ On the ˜—Žȱ ‘Š—ǰȱ ‘Žȱ ’—Ž›Žœȱ ’—ȱ ›‘¢‘–ȱ Šœȱ ‘Š›•¢ȱ ž—’šžŽȱ ˜ȱ Ž›–Š—¢Dzȱ
not only among international dancers such as Duncan, but also in domains as diverse as psychology,Śŝ anthropology,ŚŞ anthroposophy,Śş art criticismśŖǰȱ –Ž’Šȱ Š—ȱ ꕖǰśŗ rhythm formed the object of a ŚśȳŽŽȱ’Œ‘ŠŽ•ȱ˜•œ˜—ǰȱRhythm and Race in Modernist Poetry and Science (NY: ˜•ž–‹’Šȱ—’ŸŽ›œ’¢ȱ›ŽœœǰȱŘŖŖŞǼDzȱ’Œ‘ŠŽ•ȱŠŒ”Ž—£’Žǰȱȁ›˜–ȱ‘Ž—œȱ˜ȱŽ›•’—DZȱ
‘ŽȱŗşřŜȱ•¢–™’ŒœȱŠ—ȱŽ—’ȱ’ŽŽ—œŠ‘•Ȃœȱ•¢–™’ŠȂǰȱCritical Inquiry ŘşDZŘȱǻŘŖŖřǼǰȱ
řŖŘȮřŜǯȱ Šž›Žȱ ž’•‹Ž›ǰȱ Danser avec le IIIe Reich. Les danseurs modernes sous le nazisme [Dancing with the Third Reich. Modern Dancers under NazismǾȱ ǻŠ›’œDZȱ
1’’˜—œȱ˜–™•Ž¡ŽǰȱŘŖŖŖǼǯ
ŚŜȳǯȱ ’Ž›’Žȱ Ž‘—ǰȱ Ž›ȱ ŽžœŒ‘Žȱ ‘¢‘–žœȱ ž—ȱ œŽ’—ȱ Ž’Ž—Žœȱ ŽœŽĵǯȱ ’—Žȱ
experimentelle Untersuchung [Ž›–Š—ȱ‘¢‘–ȱŠ—ȱ’œȱ™ŽŒ’ęŒȱŠ ǯȱ—ȱ¡™Ž›’–Ž—Š•ȱ
InvestigationǾ ǻ›Šœœ‹ž›DZȱŽ›•ŠȱŸ˜—ȱŠ›•ȱǯȱ›û‹—Ž›ǰȱŗşŗŘǼǯ
ŚŝȳŽŽȱ ˜›ȱ Ž¡Š–™•Žȱ ‘Žȱ ’—ĚžŽ—’Š•ȱ ŽœœŠ¢ȱ ‹¢ȱ ‘ŠŽžœȱ ˜•˜—ǰȱ ȁ‘¢‘–Ȃǰȱ The American Journal of Psychology ŜDZŘȱ ǻŗŞşŚǼǰȱ ŗŚśȮŘřŞǯȱ —ȱ Ž›–Š—¢ǰȱ ‘Žȱ ›ŽœŽŠ›Œ‘ȱ
˜—ȱ ›‘¢‘–ȱ ’—ȱ Ž¡™Ž›’–Ž—Š•ȱ ™œ¢Œ‘˜•˜¢ȱ Šœȱ Ž¡Ž—œ’ŸŽǰȱ ™Š›’Œž•Š›•¢ȱ ’—ȱ Ž’™£’ȱ
‘Ž›Žȱ ûŒ‘Ž›ȱ Šœȱ ŠŒ’ŸŽǯȱ ŽŽȱ ˜›ȱ Ž¡Š–™•Žȱ ›—œȱ Žž–Š——ǰȱ Psychologie und Ästhetik des Rhythmus [Psychology and Aesthetics of RhythmǾ ǻŽ’™£’DZȱ ’•‘Ž•–ȱ
—Ž•–Š——ǰȱ ŗŞşŚǼDzȱ ž›ȱ ˜ĥŠǰȱ Experimenal-­‐‑Untersuchungen zur Lehre vom Rhythmus [Experimental Investigations into the Theory of RhythmǾ ǻŽ’™£’DZȱŠ›‘ǰȱ
ŗşŖŞǼDzȱ’•‘Ž•–ȱž—ǰȱGrundzüge der physiologischen Psychologie [An Outline of Physiological PsychologyǾ,ȱŜ‘ȱŽ—ȱǻŽ’™£’DZȱ›ã—Ž›ǰȱŗşŗŗǼǰȱŗŚŗǯȱ
ŚŞȳ‘Žȱ”Ž¢ȱꐞ›Žȱ‘Ž›Žȱ’œȱœž›Ž•¢ȱŠ›ŒŽ•ȱŠžœœǰȱ ‘˜ȱŽœŒ›’‹Žȱ‘Žȱ‘ž–Š—ȱ‹Ž’—ȱ
Šœȱ Š—ȱ ȁŠ—’–Š•ȱ ›¢‘–·Ȃȱ ǽ›‘¢‘–’ŒŠ•ȱ Š—’–Š•Ǿȱ ’—ȱ ‘’œȱ •ŽŒž›Žœȱ Šȱ ‘Žȱ —’ŸŽ›œ’¢ȱ ˜ȱ
Š›’œǯȱ ŽŽȱ Šžœœǰȱ Manuel d’ethnographie [Manual of EthnographyǾ ǻŠ›’œDZȱ Š¢˜ǰȱ
ŗşŚŝǼǰȱŞśǯ
ŚşȳŽŽȱ˜›ȱŽ¡Š–™•Žȱ›Œ‘’‹Š•ȱŽ’‘•Ž¢ǰȱThe Rhythm of Life: Character Building as an Aid to Health ǻ˜—˜—DZȱ
Ž—›¢ȱǯȱ•Šœ’œ‘Ž›ǰȱŗşŖŝǼǯ
śŖȳŽŽȱ ˜›ȱ Ž¡Š–™•Žȱ ǯȱ ǯȱ ˜•–Žœǰȱ ȁ›Š¢ȱ ‘˜ž‘œȱ ˜—ȱ ‘¢‘–ȱ ’—ȱ Š’—’—Ȃǰȱ
RhythmȱŗDZȱřȱǻŗşŗŗǼǰȱŗȮřǯȱ
˜•–ŽœȱŠ›’Œ•ŽȱŠ™™ŽŠ›Žȱ’—ȱRhythm ǻŗşŗŗȮŗřǼ, a journal founded by the British writer Middelton Murray to cover the latest movements ’—ȱ•’Ž›Šž›ŽȱŠ—ȱŠ›ǯȱ—ȱŽ›–Š—¢ȱŠ—ȱžœ›’Šǰȱ›‘¢‘–ȱ ŠœȱŠ•œ˜ȱŠȱŒŽ—›Š•ȱ˜™’Œȱ˜ȱ
Ž‹ŠŽȱ’—ȱ‘Žȱ‹ž›Ž˜—’—ȱꎕȱ˜ȱŠ›ȱ‘’œ˜›¢ǯȱŽŽȱ˜›ȱŽ¡Š–™•Žȱ
Ž›–Š——ȱžœœŠŒ”ǰȱ
Ž›ȱŽ›’ěȱŽœȱ‘¢‘–žœȱ‹Ž’ȱŽ—ȱŽžœŒ‘Ž—ȱž—œ‘’œ˜›’”Ž›—ȱŽœȱǯȱŠ‘›‘ž—Ž›œ [The Concept of Rhythm among German Art Historians of the 19th CenturyǾȱǻŽ’Šȱ
’—ȱ‘û›’—Ž—DZȱ‘˜–Šœȱǭȱ
ž‹Ž›ǰȱŗşŗŖǼǯȱ˜›ȱŠ—ȱŽ¡ŒŽ••Ž—ȱ’œŒžœœ’˜—ȱ˜ȱ›‘¢‘–ȱ
’—ȱŠ›ȱ‘’œ˜›¢ȱŠ›˜ž—ȱŗşŖŖȱǻ˜Œžœ’—ȱ˜—ȱŽ‹ŠŽœȱ‹Ž ŽŽ—ȱ•˜’œȱ’Ž•ȱ’—ȱ’Ž——Šȱ
Š—ȱžžœȱŒ‘–Š›œ˜ ȱ’—ȱŽ’™£’ǼǰȱœŽŽȱœŽŽȱŽ˜›ȱŠœ˜•ǰȱȁ™’šžŽȱ˜žȱ‘Š™’šžŽDZȱ
•Žȱ ›¢‘–Žȱ Š—œȱ •Žœȱ ·žŽœȱ œž›ȱ •ȂŠ›ȱ Šžȱ ·‹žȱ žȱ ŘŖŽȱ œ’¸Œ•ŽȂǰȱ Intermédialitésȱ ŗŜȱ
ǻŠž˜–—ŽȱŘŖŗŖǼǰȱřśȬśśǯ
śŗȳ˜›ȱŠ—ȱŽ¡ŒŽ••Ž—ȱ›ŽŠ–Ž—ȱ˜ȱ‘ŽȱšžŽœ’˜—ȱ˜ȱ›‘¢‘–ȱ’—ȱ›Ž—Œ‘ȱꕖȱ‘Ž˜›¢ǰȱ
see Laurent Guido, L’Âge du rythme. Cinéma, musicalité et culture du corps dans les théories françaises des années 1910Ȯ1930 [The Age of Rhythm. Cinema, Musicality and Body Culture in French Theory from the 1910s to the 1930sǾȱǻŠžœŠ——ŽDZȱŠ¢˜ǰȱŘŖŖŝǼǯȱ
ŚŖ
Technology’s Pulse
‘˜›˜ž‘•¢ȱ ›Š—œ—Š’˜—Š•ȱ –˜Ž›—’œȱ ’œŒ˜ž›œŽǯȱ —ȱ ‘Žȱ ˜‘Ž›ȱ ‘Š—ǰȱ
‘’œȱ ’œŒžœœ’˜—ȱ Ȯȱ ‹˜‘ȱ ’‘’—ȱ Š—ȱ ˜žœ’Žȱ Ž›–Š—¢ȱ Ȯȱ œ›ŽŒ‘Žȱ
ŠŒ›˜œœȱ‘Žȱ™˜•’’ŒŠ•ȱŠ—ȱ’Ž˜•˜’ŒŠ•ȱœ™ŽŒ›ž–ǯȱȱšžŽœ’˜—œȱ˜ȱ›‘¢‘–ȱ
ŠĴ›ŠŒŽȱ Œ˜—œŽ›ŸŠ’ŸŽȱ ‘’—”Ž›œȱ œžŒ‘ȱ Šœȱ •ŠŽœǰȱ ‘Ž¢ȱ Š•œ˜ȱ ŠĴ›ŠŒŽȱ
liberal intellectuals such as Simmel and socialist theorists such as Ž˜›ȱž”¤Œœǰȱ ‘˜ȱ›Ž ȱ˜—ȱûŒ‘Ž›ȂœȱŽ›’ŸŠ’˜—ȱ˜ȱŠŽœ‘Ž’Œȱ›‘¢‘–œȱ
›˜–ȱ ˜›”ȱ˜ȱŠ›žŽȱ˜›ȱŠ—ȱž—Ž›œŠ—’—ȱ˜ȱ›‘¢‘–ȱ’—ȱ•¢›’Œȱ™˜Ž›¢ȱ
Ȯȱ ™Š›’Œž•Š›•¢ȱ ’—ȱ ’œȱ ˜™™˜œ’’˜—ȱ ˜ȱ –Ž›Žȱ Ȯȱ Šœȱ Šȱ ȁ’ŽŽ›œ™’ŽŽ•ž—Ȃȱ
ǽ›ŽĚŽŒ’˜—Ǿȱ ˜ȱ ‘Žȱ ‘ž–Š—ȱ ‹Ž’—Ȃœȱ ™›˜žŒ’ŸŽȱ •Š‹˜ž›ȱ Š—ȱ ˜›Ž›’—ȱ
™˜ Ž›œȱ˜ŸŽ›ȱ—Šž›ŽǯśŘ
Most importantly, perhaps, many writers saw in rhythm not simply an organic force opposed to the machine, but rather the very ‘Š••–Š›”ȱ ˜ȱ –ŠŒ‘’—’Œȱ ™›˜žŒ’Ÿ’¢ǯȱ —ȱ ‘Ž¢ȱ Œ˜ž•ȱ Œ’Žȱ ûŒ‘Ž›Ȃœȱ
‘Ž˜›’Žœȱ ˜ȱ ›‘¢‘–ǰȱ ™•ŽŠœž›Žȱ Š—ȱ ŽĜŒ’Ž—Œ¢ȱ Šœȱ ‘Ž’›ȱ Šž‘˜›’¢ǯȱ —ȱ Šȱ
›ŽŠ’œŽȱ˜—ȱ‘ŽȱžœŽȱ˜ȱ›‘¢‘–ȱ˜›ȱŽžŒŠ’˜—ȱ›˜–ȱŗşŘŘǰȱ˜ȱŠ”Žȱ“žœȱ˜—Žȱ
Ž¡Š–™•Žǰȱ ‘Žȱ ™‘¢œ’Œ’Š—ȱ Ž›—‘Š›ȱ ˜Œ‘ȱ Ž¡™•’Œ’•¢ȱ ŽŽ—Žȱ ûŒ‘Ž›ȱ
Š—ȱŠ•Œ›˜£ŽȱŠŠ’—œȱ˜ŽȂœȱŒ›’’šžŽœǰȱŠ›ž’—ȱ‘Šȱ›‘¢‘–ǰȱŠ•‘˜ž‘ȱ
a natural phenomenon, constituted above all a mode of calculable alternation serving to regulate energy expenditure:
’›ȱ ”ã——Ž—ȱ Žœ‘Š•‹ȱ Ž›ȱ Ž’—ž—ȱ ˜Žœȱ —’Œ‘ȱ ‹Ž’›ŽŽ—ǰȱ Ž›ȱ Šœȱ
ŽœŽĵ–§đ’ŽȱŠ•œȱŽ—ȱ˜ȱŽœȱ‘¢‘–žœȱ‹Ž£Ž’Œ‘—Žǯȱ’Ž•–Ž‘›ȱ–žđȱ
hinter jeder Bewegung, die doch an Zeit und Raum gebunden ist, Ž’—ȱ ŽœŽĵǰȱ Ž’—ȱ ’••Žȱ œŽ‘Ž—ǰȱ Ž›ȱ —㝒ǰȱ œ’Žȱ –’ȱ Ž•‹œ‹Ž˜‹ŠŒ‘ž—ȱ
Šžœ£žû‘›Ž—ǰȱ Ž›ȱ ’Žȱ ›§Žȱ —ŠŒ‘ȱ ŽŒ”ȱ ž—ȱ ’Ž•ȱ Ž—Šžȱ Š‹ §ǯȱ
ǽǯǯǯǾȱŽœ•Ž’Œ‘Ž—ȱ”ã——Ž—ȱ ’›ȱž—œȱŽ›ȱ—œ’Œ‘ȱûŒ‘Ž›œȱž—ȱŠ•Œ›˜£Žœȱ
Š—œŒ‘•’ŽđŽ—ǰȱŠđȱŽ›ȱ‘¢‘–žœǰȱŠ•œȱŽ—ȱ›§ŽŸŽ›‹›ŠžŒ‘ȱ›Žž•’Ž›Ž—ǰȱ
Š•œȱ㔘—˜–’œŒ‘Žœȱ›’—£’™ȱ£žȱ‹Ž›ŠŒ‘Ž—ȱ’œǯȱǻ˜Œ‘ȱřŘǼśř
śŘȳȱŽŽȱŽ˜›ȱž”¤ŒœǯȱÄsthetik 1 [Aesthetics 1Ǿ, WerkeȱŗŗȱǻŽž ’ŽDZȱžŒ‘Ž›‘Š—ǰȱ
ŗşŝŘǼǰȱŘŜŜǰȱŘŝşǰȱŘŞŗǯȱ‘’•Žȱ‘žœȱœž‹œŒ›’‹’—ȱ˜ȱŠȱ™›˜žŒ’Ÿ’œȱ—˜’˜—ȱ˜ȱ›‘¢‘–ǰȱ
ž”¤Œœȱ Š•œ˜ȱ Œ˜—Œž››Žȱ ’‘ȱ ûŒ‘Ž›Ȃœȱ ’—œ’œŽ—ŒŽȱ ‘Šȱ ›‘¢‘–ȱ Ž—Žȱ ‘Ž›Žȱ ‘Žȱ
‘ž–Š—ȱ ˜›”Ž›ȱ‹ŽŒŠ–ŽȱŠȱœŽ›ŸŠ—ȱ˜ȱ‘Žȱ–ŠŒ‘’—ŽDZȱȁ˜‹Š•ȱ’Žȱ›‹Ž’ȱǽǯǯǯǾǰȱ–’ȱŽ›ȱ
Ž››œŒ‘ŠȱŽ›ȱŠœŒ‘’—Žǰȱ—’Œ‘ȱ–Ž‘›ȱ”˜—”›ŽȱŸ˜–ȱŽ—œŒ‘Ž—ȱŠžœȱ‹Žœ’––ȱ’œǰȱ
‘㛝ȱŽ›ȱ‘¢‘–žœȱŠžǰȱ’—ȱ’ŽœŽ–ȱ’——Žȱ£žȱŽ¡’œ’Ž›Ž—ȱž—ȱ£žȱ ’›”Ž—ǰȱ˜‹ ˜‘•ȱ
Ȯȱ›Ž’—ȱ˜‹“Ž”’ŸȱŠ—ŽœŽ‘Ž—ǰȱ‹Ž›’ĝ’Œ‘ȱ‹Ž›ŠŒ‘ŽȱȮȱ’ŽȱŠœŒ‘’—ŽȱŽ‹Ž—Š••œȱŽ’—Ž—ȱ
‘¢‘–žœȱ Ž›ȱ Ž Žž—Ž—ȱ ‘Š‹Ž—ȱ ”Š——Ȃȱ ǻŘŞřǼȱ ǽœȱ œ˜˜—ȱ Šœǰȱ ’‘ȱ ‘Žȱ ›ž•Žȱ ˜ȱ
machines, labour ceases to be determined concretely by human beings, rhythm ŒŽŠœŽœȱ˜ȱŽ¡’œȱŠ—ȱž—Œ’˜—ȱ’—ȱ‘’œȱœŽ—œŽǰȱŠ•‘˜ž‘ȱȮȱŒ˜—œ’Ž›Žȱ›˜–ȱŠȱ™ž›Ž•¢ȱ
˜‹“ŽŒ’ŸŽȱ˜›ȱŒ˜—ŒŽ™žŠ•ȱœŠ—™˜’—ȱȮȱ–ŠŒ‘’—ŽœȱŒŠ—ȱŠ•œ˜ȱ’œ™•Š¢ȱŠȱ›‘¢‘–ȱ’—ȱ‘Ž’›ȱ
–˜ŸŽ–Ž—œǾǯ
śřȳ˜Œ‘ȱŠ•œ˜ȱ˜˜”ȱ’œœžŽȱ ’‘ȱ•ŠŽœȂœȱŽ›’ŸŠ’˜—ȱ˜ȱ‘ŽȱŽ›–ȱȁ‘¢‘–žœȂȱ›˜–ȱ
ȁϹνΝȂȱ ǻȁ̘ ȂǼǰȱ Š›ž’—ȱ ’—œŽŠȱ ‘Šȱ ‘Žȱ ˜›ȱ Ž›’ŸŽȱ ›˜–ȱ ‘Žȱ ›ŽŽ”ȱ ȁϹϾΝȂȱ
ǻȁ™ž••ȂǼǯȱ œȱ œžŒ‘ǰȱ ›‘¢‘–ȱ ˜ž•ȱ Žœ’—ŠŽȱ Šȱ Ÿ˜•’’˜—Š•ǰȱ ’—œ›ž–Ž—Š•ȱ ŠŒ’Ÿ’¢DZȱ
ȁ—ȱ Ž›ȱ ŽŽžž—ȱ Ÿ˜—ȱ ȃ£’Ž‘Ž—Ȅȱ ’œȱ Ž›ȱ ‘¢‘–žœȱ —’Œ‘ȱ —ž›ȱ Ž’—ȱ ™Šœœ’ŸŽœȱ
ŽœŒ‘Ž‘Ž—•ŠœœŽ—ǰȱ ’Žȱ£ǯȱǯȱŽ›ȱ›˜™Ž—Š••ǰȱœ˜—Ž›—ȱŽ’—ȱŠ”’ŸŽœȱž—ǰȱŽ’—Žȱ—Ž›’Žǰȱ
Śŗ
Michael Cowan
[For this reason, we cannot agree with Bode’s argument that conformity to rules and laws means ‘ŽȱŽŠ‘ȱ˜ȱ›‘¢‘–ǯȱŠ‘Ž›ǰȱœ’—ŒŽȱ
all movements are bound to time and space, each one must be driven ‹¢ȱŠȱ•Š ȱŠ—ȱŠȱ ’••ǰȱ ‘’Œ‘ȱ›Žšž’›Žœȱžœȱ˜ȱŽ¡ŽŒžŽȱ’ȱœŽ•ȬŒ˜—œŒ’˜žœ•¢ǰȱ
ŒŠ›Žž••¢ȱŠ™™•¢’—ȱ˜ž›ȱŽ—Ž›’ŽœȱŠŒŒ˜›’—ȱ˜ȱ˜ž›ȱŠ’–œȱŠ—ȱ™ž›™˜œŽœǯȱ
ǽǯǯǯǾȱ’”Ž ’œŽǰȱ ŽȱŒŠ—ȱŠ›ŽŽȱ ’‘ȱûŒ‘Ž›ȱŠ—ȱŠ•Œ›˜£Žȱ‘Šȱ›‘¢‘–ǰȱŠœȱ
a means of regulating energy expenditure, can be seen as an economic ™›’—Œ’™•ŽǯǾ
Indeed, the very vehemence with which Klages and his disciples ’—œ’œŽȱ ˜—ȱ •’–’’—ȱ ‘Žȱ žœŠŽȱ ˜ȱ ‘Žȱ Ž›–ȱ ȁ›‘¢‘–Ȃȱ ˜ȱ Žœ’—ŠŽȱ
irrational phenomena should be understood as a reaction to the term’s ŽȱŠŒ˜ȱŠ–‹’ž˜žœȱȮȱ˜›ǰȱ’ȱ˜—Žȱ™›ŽŽ›œǰȱȁ™˜•¢œŽ–’ŒȂȱȮȱœŠžœǰȱ’œȱŠ‹’•’¢ȱ
to designate phenomena understood as both organic and mechanical, ‹˜‘ȱ‘Žȱȁ—Šž›Š•Ȭ‹’˜•˜’ŒŠ•Ȃȱandȱ‘ŽȱȁŠ›’ęŒ’Š•ȬŽŒ‘—˜•˜’ŒŠ•ȂǯȱœȱŠȱ”Ž¢ȱ
Ž›–ȱ’—ȱ–˜Ž›—’¢Ȃœȱ™Ž›ŒŽ™’˜—ȱ˜ȱ–˜Ž›—’£Š’˜—ǰȱȁ›‘¢‘–Ȃȱ Šœȱ‘žœȱ
ž™ȱ˜›ȱ›Š‹œǰȱŠ—ȱ’ȱ ˜ž•ȱ‹ŽȱŠȱ–’œŠ”Žȱ˜—ȱ‘Žȱ™Š›ȱ˜ȱŒ˜—Ž–™˜›Š›¢ȱ
Œž•ž›Š•ȱ‘’œ˜›’Š—œȱ˜ȱ›ŽžŒŽȱ ‘ŠȱœŽ›ŸŽȱŠœȱ‘Žȱ˜‹“ŽŒȱ˜ȱŒ˜—Ě’Œ’—ȱ
’—Ž›™›ŽŠ’˜—œȱ ˜ȱ –˜Ž›—’£Š’˜—ȱ Š—ȱ ’œȱ –ŽŠ—’—œȱ ˜ȱ Šȱ ž—’Ÿ˜ŒŠ• —Š››Š’ŸŽȱ˜ȱŠ—’ȬŽŒ‘—˜•˜’ŒŠ•ȱ‘˜ž‘ǯśŚ
ȱ‘Žȱȁ›‘¢‘–Ȃȱ’œŒ˜ž›œŽȱ’—ȱŽ›–Š—¢ȱŽ—Œ˜–™ŠœœŽȱœŽŸŽ›Š•ȱŸ˜’ŒŽœȱ
and positions, however, those voices were nonetheless responding to a shared set of concerns about the transformations in bodily Ž¡™Ž›’Ž—ŒŽȱ Š—ȱ ˜›–œȱ ˜ȱ Œ˜––ž—’¢ȱ ’—ȱ ‘Žȱ Š”Žȱ ˜ȱ Ž›–Š—¢Ȃœȱ
›Š™’ȱ ’—žœ›’Š•’£Š’˜—ȱ Š›˜ž—ȱ ŗşŖŖǯȱ —Žȱ ˜ȱ ‘Žȱ ŒŽ—›Š•ȱ œŠ”Žœȱ ’—ȱ
–˜Ž›—’¢Ȃœȱ›‘¢‘–ȱŽ‹ŠŽœȱ Šœȱ‘žœȱ™›ŽŒ’œŽ•¢ȱŠ—ȱŽě˜›ȱ˜ȱŒ˜–Žȱ˜ȱ
terms with the increasingly palpable changes in the interfaces between the body and technology, the organic and the machinic, resulting from such processes as urban expansion and migration, new forms of rapid transit, the increasing reach of industrial production and, —˜ȱ•ŽŠœǰȱ‘Žȱ’—ĚžŽ—ŒŽȱ˜ȱŠ¢•˜›’œȱŠ—ȱ˜›’œȱ ˜›”ȱ™›’—Œ’™•Žœǯȱ—ȱ
while some observers of these new interfaces might have sought an imaginary restoration of natural purity through phenomenological Ž’—ȱ›žŒ”ȱž—ȱŽŽ—›žŒ”ǯȱ—ȱ’ŽœŽ›ȱžěŠœœž—ȱ‘Š‹Ž—ȱ ’›ȱŠ••Žȱ ŽœŽ—•’Œ‘Ž—ȱ
Ž›”–Š•ŽȱŽœȱ‘¢‘–žœȱŸ˜›ȱž—œǰȱ—§–•’Œ‘ȱ›§ŽŸŽ›‹›ŠžŒ‘ǰȱ›§ŽœŠ––•ž—ǰȱ
Ž‹Ž—ȱž—ȱŽ—”Ž—ǰȱ’›”ž—ȱž—ȱŽŽ— ’›”ž—ǰȱ˜đȱž—ȱžǰȱ™Š——ž—ȱž—ȱ
㜞—Ȃȱ ǻřŗȮřŘǼȱ ǽ—Ž›œ˜˜ȱ ’—ȱ ‘Žȱ œŽ—œŽȱ ˜ȱ ȁ™ž••’—Ȃǰȱ ›‘¢‘–ȱ ’œȱ —˜ȱ œ’–™•¢ȱ Šȱ
™Šœœ’ŸŽȱ –˜’˜—ȱ •’”Žȱ ‘Šȱ ˜ȱ Š••’—ȱ ›˜™œȱ ‹žȱ ›Š‘Ž›ȱ Š—ȱ ŠŒ’ŸŽȱ ’—Ž›ŸŽ—’˜—ǰȱ Š—ȱ
Ž—Ž›¢ǰȱŠȱ™›Žœœž›ŽȱŠ—ȱŒ˜ž—Ž›Ȭ™›Žœœž›Žǯȱ˜—ŒŽ’Ÿ’—ȱ˜ȱ›‘¢‘–ȱ’—ȱ‘’œȱ Š¢ǰȱ Žȱ
perceive all of its essential characteristics, namely the expenditure of energy, the Œ˜••ŽŒ’˜—ȱ ˜ȱ Ž—Ž›¢ǰȱ •’’—ȱ Š—ȱ •˜ Ž›’—ǰȱ ŽěŽŒȱ Š—ȱ Œ˜ž—Ž›ȬŽěŽŒǰȱ ™žœ‘ȱ Š—ȱ
™ž••ǰȱŽ—œ’˜—ȱŠ—ȱ›Ž•Š¡Š’˜—Ǿǯ
śŚȳ—ȱ‘’œȱœž¢ȱ˜—ȱ›‘¢‘–ȱ’—ȱ›Ž—Œ‘ȱꕖȱ‘Ž˜›¢ǰȱŠž›Ž—ȱž’˜ȱ–Š”ŽœȱŠȱœ’–’•Š›ȱ
point: see Guido, L’Âge du rythme,ȱŝǯ
ŚŘ
Technology’s Pulse
meditations or bodily performance, many tended to see the problem as one of adaptation: adaptation to new forms of perception, temporal Ž¡™Ž›’Ž—ŒŽǰȱ –˜ŸŽ–Ž—ȱ Š—ȱ Ž—Ž›¢ȱ Ž¡™Ž—’ž›Žȱ Ȯȱ ’—ȱ œ‘˜›ǰȱ —Ž ȱ
›‘¢‘–œȱȮȱŒ‘Š›ŠŒŽ›’œ’Œȱ˜ȱ ˜›”ȱŠ—ȱ•Ž’œž›Žȱ’—ȱž›‹Š—ȱŠ—ȱ’—žœ›’Š•ȱ
–’•’Žžœǯ ‘Žȱ •ŠĴŽ›ȱ œŠ—ŒŽȱ ‹ŽŒŠ–Žȱ ’—Œ›ŽŠœ’—•¢ȱ ™›ŽŸŠ•Ž—ȱ ž—Ž›ȱ ‘Žȱ
’—ĚžŽ—ŒŽȱ ˜ȱ ȁ–Ž›’ŒŠ—’œȂȱ ˜›–œȱ ˜ȱ ˜›”ȱ Š—ȱ •Ž’œž›Žȱ ž›’—ȱ ‘Žȱ
Ž’–Š›ȱ Ž™ž‹•’Œȱ ǻŗşŗşȮřřǼǰȱ ‘Žȱ ™Ž›’˜ȱ ˜ȱ ‘’Œ‘ȱ Š••ȱ ‹žȱ ˜—Žȱ ˜ȱ ‘Žȱ
˜••˜ ’—ȱ Œ‘Š™Ž›œȱ ›ŽŽ›ǯȱ ˜ ŽŸŽ›ǰȱ ’ȱ ȱ ‘ŠŸŽȱ ›ŽŸ’Ž Žȱ œŽŸŽ›Š•ȱ ™›ŽȬ
Weimar discourses on rhythm here, this is because I do not believe that the discourses and representations concerning rhythm in the ŗşŘŖœȱŠ™™ŽŠ›Žȱ˜—ȱ‘ŽȱœŒŽ—Žȱ˜žȱ˜ȱ—˜ ‘Ž›Žȱ’—ȱŗşŗŞǯȱ—ȱ‘ŽȱŒ˜—›Š›¢ǰȱ
‘˜œŽȱ ’œŒ˜ž›œŽœȱ ˜˜”ȱ ž™ȱ Š—ȱ œ‘Š›™Ž—Žȱ Ž‹ŠŽœȱ Š•›ŽŠ¢ȱ ‹Žž—ȱ ’—ȱ
earlier ŽŒŠŽœȱ’—ȱ ˜›”œȱœžŒ‘ȱŠœȱûŒ‘Ž›ȂœȱArbeit und Rhythmus (which ‘Šȱ’œȱœ’¡‘ȱŽ’’˜—ȱ’—ȱŗşŘŚǼǯ
—ȱœŽĴ’—ȱ˜žȱ˜ȱŽ¡Š–’—Žȱœ˜–Žȱ˜ȱ‘Žȱ”Ž¢ȱœŠ’˜—œȱ˜ȱ‘’œȱ›‘¢‘–ȱ
’œŒžœœ’˜—ȱ ’—ȱ ‘Žȱ ŗşŗŖœȱ Š—ȱ ŗşŘŖœǰȱ ‘’œȱ œž¢ȱ “˜’—œȱ Šȱ ›ŽŠȱ ŽŠ•ȱ ˜ȱ
research on rhythm in recent scholarship, particularly from Germany Š—ȱ ›Š—ŒŽǯśśȱ ȱ –¢ȱ Œ˜—›’‹ž’˜—ȱ ’쎛œȱ ›˜–ȱ œ˜–Žȱ ˜ȱ ‘ŽœŽȱ ˜‘Ž›ȱ
śśȳ—ȱ Ž›–Š—¢ǰȱ ‘Žȱ ŽœŽŠ›Œ‘ȱ ›˜ž™ȱ ȁž•ž›Ž—ȱ Žœȱ Ž›˜›–Š’ŸŽ—Ȃȱ ǽž•ž›Žœȱ
˜ȱ‘ŽȱŽ›˜›–Š’ŸŽǾǰȱ‹ŠœŽȱ’—ȱ‘Žȱ—œ’žȱû›ȱ‘ŽŠŽ› ’œœŽ—œŒ‘Šȱǽ—œ’žŽȱ˜›ȱ
›Š–Šȱ ž’ŽœǾȱ Šȱ ‘Žȱ ›Ž’Žȱ —’ŸŽ›œ’§ȱ ’—ȱ Ž›•’—ǰȱ ‘Šœȱ ŒŠ››’Žȱ ˜žȱ ™Š›’Œž•Š›•¢ȱ
™›˜žŒ’ŸŽȱ›ŽœŽŠ›Œ‘ȱ’—˜ȱ›‘¢‘–ȱŠ—ȱ‘ŽȱŠ›œǯȱ‘ŽȱŘŖŖŚȱŒ˜—Ž›Ž—ŒŽȱRhythmus im Prozeß [Rhythm in ProcessǾǰ which included contributions covering periods from the medieval to the postmodern and disciplines from linguistics to biology to art ‘’œ˜›¢ǰȱŠŸŽȱ›’œŽȱ˜ȱŠ—ȱŽ¡Ž—œ’ŸŽȱŸ˜•ž–Žȱ˜ȱŸŠ›’˜žœȱ›‘¢‘–ȱ‘Ž˜›’ŽœǯȱŽŽȱ‘›’œŠȱ
›ûœ•Žǰȱet al. ǻŽœǯǼǰȱAus dem Takt. Rhythmus in Kunst, Kultur und Natur [Out of Time. Rhythm in Art, Culture and NatureǾ ǻ’Ž•ŽŽ•DZȱ›Š—œŒ›’™ǰȱŘŖŖśǼDzȱŠ—ȱ˜›ȱŠȱ
similar multidisciplinary collection of rhythm studies, see Barbara Naumann ǻŽǯǼǰȱRhythmus. Spuren eines Wechselspiels in Künsten und Wissenschaften [Rhythm. Traces of an Interplay in the Arts and SciencesǾȱǻ㗒œ‘ŠžœŽ—ȱž—ȱŽž–Š——ǰȱŘŖŖśǼǯȱ
—ȱ ›Š—ŒŽǰȱ ‘Žȱ –˜œȱ ™›˜•’ęŒȱ ›’Ž›œȱ ˜—ȱ ›‘¢‘–ȱ ‘ŠŸŽȱ ‹ŽŽ—ȱ ’Ž››Žȱ ŠžŸŠ—Žȱ Š—ȱ
‘Žȱ ›˜ž™ȱ ˜ȱ ›ŽœŽŠ›Œ‘Ž›œȱ ’—Ÿ˜•ŸŽȱ ’—ȱ ‘Žȱ œŽ–’—Š›ȱ ȁȂ
˜––Žȱ Žȱ œŽœȱ ›¢‘–ŽœȂȱ
ǽ‘Žȱ ž–Š—ȱ Š—ȱ œȱ ‘¢‘–œǾȱ ’›ŽŒŽȱ ‹¢ȱ ‘›’œ’Š—ȱ ˜ž–Žȱ Žȱ •’˜Œ‘Šȱ
Š•ȬŠœ˜ œ”’ȱ ǻŘŖŖŜȮŖŞǼǯȱ ŠžŸŠ—Žǰȱ ’—ȱ ™Š›’Œž•Š›ǰȱ ‘Šœȱ ™ž‹•’œ‘Žȱ Šȱ œŽ›’Žœȱ ˜ȱ
monographs and essay collections dedicated to the philosophy and aesthetics ˜ȱ›‘¢‘–ǯȱŽŽȱ’—ȱ™Š›’Œž•Š›ȱ’Ž››ŽȱŠžŸŠ—ŽǰȱLe Rythme grec d’Héraclite à Aristote [Greek Rhythm from Heraclitus to AristotleǾ ǻŠ›’œDZȱ ›ŽœœŽœȱ —’ŸŽ›œ’Š’›Žœȱ Žȱ
›Š—ŒŽǰȱŗşşşǼDzȱ’Ž››ŽȱŠžŸŠ—ŽǰȱLe rythme et la raison [Rhythm and ReasonǾǰȱŸ˜•œǯȱ
ŗȮŘȱǻŠ›’œDZȱ’–·ǰȱŘŖŖŖǼǯȱŽŽȱŠ•œ˜ȱ’Ž››ŽȱŠžŸŠ—ŽȱŠ—ȱŽŠ—ȬŠŒšžŽœȱž—Ž—‹ž›Ž›ȱ
ǻŽœǯǼǰȱRythmes et philosophie [Rhythms and PhilosophyǾȱǻŠ›’œDZȱ’–·ǰȱŗşşŜǼǯȱ˜›ȱŠ—ȱ
˜ŸŽ›Ÿ’Ž ȱ ˜ȱ ›‘¢‘–ȱ ’—ȱ –˜Ž›—’œȱ ꕖȱ ‘Ž˜›¢ǰȱ œŽŽȱ ž’˜ǰȱ L’Âge du rythme. In ˜›‘ȱ–Ž›’ŒŠǰȱœŽŸŽ›Š•ȱ›ŽŒŽ—ȱ ˜›”œȱ‘ŠŸŽȱ˜ŒžœŽȱ˜—ȱ‘Žȱ’—Ž›œŽŒ’˜—œȱ‹Ž ŽŽ—ȱ
›‘¢‘–ȱ’—ȱ–˜Ž›—ȱ™‘¢œ’˜•˜¢ȱŠ—ȱ–˜Ž›—’œȱŠŽœ‘Ž’ŒœǯȱŽŽȱŽœ™ŽŒ’Š••¢ȱ˜‹Ž›ȱ
›Š’—ǰȱȁ‘Žȱž•œŽȱ˜ȱ˜Ž›—’œ–DZȱŠ—ȱŽœ‘Ž’ŒȱŸŠ—ȬŠ›ŽœȱŒ’›ŒŠȱŗşŖŖȂǰȱStudies in the History and Philosophy of Science řşȱǻŘŖŖŞǼǰȱřşřȮŚŗŝDzȱ’Œ‘ŠŽ•ȱ˜•œ˜—ǰȱRhythm and Race in Modernist Poetry and Scienceǯ
Śř
Michael Cowan
™›˜“ŽŒœǰȱ‘’œȱ’œǰȱ™Ž›‘Š™œǰȱꛜȱ˜ȱŠ••ȱ’—ȱ‘Žȱ•’‘ȱ˜ȱ ‘Šȱ’ȱ˜Žœȱnot ˜ǯȱ
—•’”Žȱœ˜–Žȱ›ŽŒŽ—ȱœŒ‘˜•Š›•¢ȱœž’Žœȱ˜ ›‘¢‘–ǰȱȱ˜ȱ—˜ȱ–Š”ŽȱŠ—¢ȱ
claims about what rhythm is objectively or engage in philosophical Ž‹ŠŽœȱ ’‘ȱ–˜Ž›—ȱ‘’—”Ž›œȱœžŒ‘ȱŠœȱŽ›œ˜—ȱ˜›ȱ’ŽĵœŒ‘Žǯȱ˜›ȱ˜Žœȱ
‘’œȱœž¢ȱœŽȱ˜žȱ˜ȱ™›˜Ÿ’ŽȱŠ—ȱŽ–™’›’ŒŠ•ȱ‘’œ˜›¢ȱ˜ȱ–˜Ž›—ȱœŒ’Ž—’ęŒȱ
(physiological, psychological or otherwise) research on rhythm, or of Š—¢ȱ™Š›’Œž•Š›ȱ›‘¢‘–’ŒŠ•ȱ™›ŠŒ’ŒŽœǯȱ—ȱ™Š›’Œž•Š›ǰȱ›ŽŠŽ›œȱŽ¡™ŽŒ’—ȱ
Šȱ ‘’œ˜›¢ȱ ˜ȱ –˜Ž›—ȱ Š—ŒŽȱ ˜›ȱ Š—ŒŽȱ œŒ‘˜˜•œȱ ’••ȱ ‹Žȱ ’œŠ™™˜’—Žǯȱ
•‘˜ž‘ȱ‹˜‘ȱœŒ’Ž—ŒŽȱŠ—ȱŠ—ŒŽȱꐞ›Žȱ’—ȱ–¢ȱŠ—Š•¢œŽœȱŠœȱ”Ž¢ȱ˜–Š’—œȱ
˜›ȱŒ˜—ŒŽ™žŠ•’£’—ȱŠ—ȱŸ’œžŠ•’£’—ȱ’쎛Ž—ȱ–˜Ž•œȱ˜ȱ›‘¢‘–ǰȱ‘’œȱ
‹˜˜”ȱ’œȱ‹¢ȱ—˜ȱ–ŽŠ—œȱŠȱŒŠŠ•˜žŽȱ˜ȱœžŒ‘ȱ™›ŠŒ’ŒŽœǯȱŠ‘Ž›ǰȱ’ȱŠĴŽ–™œǰȱ
through a select number of close analyses, to examine how people ’–Š’—ŽǰȱŠ•”ŽȱŠ‹˜žȱŠ—ȱ›Ž™›ŽœŽ—Žȱ›‘¢‘–ȱŠȱŠȱŒŽ›Š’—ȱ™’Ÿ˜Š•ȱ
–˜–Ž—ȱ’—ȱŠ—ȱŽě˜›ȱ˜ȱŒ˜–Žȱ˜ȱŽ›–œȱ ’‘ȱ’—žœ›’Š•ȱ–˜Ž›—’¢ǯ
˜›Žȱ œ™ŽŒ’ęŒŠ••¢ǰȱ ȱ Š–ȱ Œ˜—ŒŽ›—Žȱ ’‘ȱ ‘Žȱ ›Š–’ęŒŠ’˜—œȱ ˜ȱ ‘’œȱ
preoccupation with rhythm for the understanding of temporal media Š—ȱŠ›Ȭ˜›–œȱ’—ȱ‘ŽȱŽ›–Š—ȱ–˜Ž›—’œ–ȱ˜ȱ‘ŽȱŗşŗŖœȱŠ—ȱŗşŘŖœǯȱ—Žȱ
of my arguments is that the new focus on rhythm served not only ˜ȱ ˜›”ȱ‘›˜ž‘ȱšžŽœ’˜—œȱ˜ȱŒ˜––ž—’¢ȱ‹žȱŠ•œ˜ȱ˜ȱŒ˜—ŒŽ™žŠ•’£Žȱ
—Ž ȱ–Ž’ŠȱȮȱ™Š›’Œž•Š›•¢ȱ‘Žȱ¢—Š–’Œȱ–Ž’ž–ȱ˜ȱŒ’—Ž–Š˜›Š™‘¢ȱ
Ȯȱ ˜›ȱ ˜ȱ ›Ž‘’—”ȱ ȁ˜•Ȃȱ ˜›–œȱ œžŒ‘ȱ Šœȱ •¢›’Œȱ ™˜Ž›¢ȱ Š—ȱ –žœ’Œȱ ’—ȱ ‘Žȱ
light of urban and industrial transformations in the early twentieth ŒŽ—ž›¢ǯȱ ˜ȱ™žȱ ‘Žȱ Š›ž–Ž—ȱ ˜—ȱ ‘Žȱ Š‹•ŽDZȱ ‘Žȱ ™›Ž˜ŒŒž™Š’˜—ȱ ’‘ȱ
rhythm generated a view of artistic media not only as vehicles of information or representation, but also as mediators in a very ™›ŽŒ’œŽȱœŽ—œŽȱȮ forums for mediating between organic and machinic movement, between the vital and the rational experiences of time, between the body and technology, and ultimately between tradition Š—ȱ–˜Ž›—’¢ǯȱ—ȱ›ŽŒŽ—ȱŽŒŠŽœǰȱ–Ž’Šȱ‘’œ˜›’Š—œȱœžŒ‘ȱŠœȱ›’Ž›’Œ‘ȱ
’Ĵ•Ž›ȱŠ—ȱ˜—Š‘Š—ȱ›Š›¢ȱ‘ŠŸŽȱ‘’‘•’‘Žȱ‘ŽȱŽ¡Ž—ȱ˜ȱ ‘’Œ‘ȱ‘Žȱ
Ž¡™Ž›’Ž—ŒŽȱ˜ȱ–Ž’Šȱ‹ŽŒŠ–ŽȱŠ—ȱ’—Œ›ŽŠœ’—•¢ȱŽ–‹˜’ŽȱŠěŠ’›ȱ’—ȱ‘Žȱ
nineteenth century, when media were largely reconceived in terms of ‘Ž’›ȱ–ŠŽ›’Š•ȱŽěŽŒœȱ˜—ȱ‘Žȱ‹˜’Žœȱ˜ȱ›ŽŒŽ’ŸŽ›œǯśŜ Building on these insights, the present study examines a particular variant of such ȁŽ–‹˜’ŽȂȱž—Ž›œŠ—’—œȱ˜ȱ–Ž’ŠȱŠ—ȱ‘Ž’›ȱŽěŽŒœȱ˜—ȱ›ŽŒŽ’ŸŽ›œǰȱ
one in which artistic media were charged with the performative function of assimilating perception and the body to the new world of ŽŒ‘—˜•˜’ŒŠ•ȱ›‘¢‘–œǯ
śŜȳŽŽȱ›’Ž›’Œ‘ȱ’Ĵ•Ž›ǰȱDiscourse Networks 1800/1900, ›Š—œǯȱ‹¢ȱ’Œ‘ŠŽ•ȱŽĴŽŽ›ȱ
ǻŠ—˜›ȱ —’ŸŽ›œ’¢ȱ ›Žœœǰȱ ŗşşŘǼȱ ǽAufschreibesysteme 1800/1900 ǻž—’Œ‘DZȱ ’—”ǰȱ
ŗşŞśǼǾDzȱ˜—Š‘Š—ȱ›Š›¢ǰȱTechniques of the Observer. On Vision and Modernity in the Nineteenth Century ǻŠ–‹›’ŽDZȱȱ›ŽœœǰȱŗşşŘǼǯ
ŚŚ
Technology’s Pulse
’‘ȱ—˜ȱ™›ŽŽ—ŒŽȱ˜ȱ‘Ž–Š’ŒȱŽ¡‘Šžœ’ŸŽ—Žœœǰȱ‘ŽȱŒ‘Š™Ž›œȱ–Š”’—ȱ
ž™ȱ‘’œȱ‹˜˜”ȱŠ›Žȱ’—Ž—ŽȱŠœȱŠȱœŽ›’Žœȱ˜ȱŒŠœŽȱœž’Žœǰȱœ˜–Žȱ˜ȱ‘Ž–ȱ
’—Ž›™›Ž’—ȱ Ž••Ȭ”—˜ —ȱ ˜›”œȱŠ—Ž ȱŠ—ȱœ˜–Žȱ˜ȱ‘Ž–ȱž—Œ˜ŸŽ›’—ȱ
•ŽœœȱŠ–’•’Š›ȱŠœ™ŽŒœȱ˜ȱ–˜Ž›—’œȱŠ›ȱŠ—ȱŒž•ž›Žȱ’—ȱ‘ŽȱŗşŗŖœȱŠ—ȱŗşŘŖœǯȱ
‘Š™Ž›ȱŘȱ˜ŒžœŽœȱ˜—ȱŠȱ›Ž™›ŽœŽ—Š’ŸŽȱŽě˜›ȱ˜ȱ›ŽŠœ‘’˜—ȱŠȱ›Š’’˜—Š•ȱ
˜›–ȱȮȱ‘Šȱ˜ȱ•¢›’Œȱ™˜Ž›¢ȱȮȱ’—ȱŽ›–œȱ˜ȱ‘’œȱ—Ž ȱž—Ž›œŠ—’—ȱ˜ȱ
Š›’œ’Œȱ –Ž’Šǯȱ ‘Žȱ ˜›”ȱ ˜ȱ ‘Žȱ Ž¡™›Žœœ’˜—’œȱ ™˜Žȱ Ž››’ȱ —Ž•”Žȱ
ǻŗŞşŖȮŗşŗŞǼȱ ˜ěŽ›œȱ Šȱ ˜˜ȱ Ž¡Š–™•Žȱ ˜ȱ Žě˜›œȱ ˜ȱ –Ž’ŠŽȱ ‹Ž ŽŽ—ȱ
ȁ™›’–’’ŸŽȂȱ Š—ȱ ȁ–˜Ž›—Ȃȱ ›‘¢‘–œǯȱ ’”Žȱ –Š—¢ȱ ˜‘Ž›ȱ Ž¡™›Žœœ’˜—’œȱ
›’Ž›œǰȱ —Ž•”Žȱ Šœȱ ŠœŒ’—ŠŽȱ ‹¢ȱ ‘Žȱ ™‘Ž—˜–Ž—˜—ȱ ˜ȱ ›‘¢‘–ǰȱ
‘’Œ‘ȱ‘ŽȱœŠ ȱŠœȱ‘Žȱœ˜ž›ŒŽȱ˜ȱŠȱ™›’–’’ŸŽȱŸ’Š•’¢ȱž’•’£Š‹•Žȱ˜›ȱ‹˜‘ȱ
Š›’œ’Œȱ Š—ȱ Œž•ž›Š•ȱ ›Ž—Ž Š•ǯȱ —•’”Žȱ ˜‘Ž›ȱ ™˜Žœȱ ˜ȱ ‘’œȱ Ž—Ž›Š’˜—ȱ
(such as Georg Heym), however, he saw poetry as a means not to Œ›’’šžŽȱ˜›ȱ–¢‘˜•˜’£Žȱ‘Žȱž›‹Š—ȱŽ—Ÿ’›˜—–Ž—ǰȱ‹žȱ›Š‘Ž›ȱ˜ȱŒ˜–Žȱ
˜ȱŽ›–œȱ ’‘ȱ’ǯȱȁ—œŽ›Žȱ›Šœ•˜œŽȱŽ›”£Ž’ǰȂȱ‘Žȱ ›˜Žȱ’—ȱ‘’œȱ—˜Žœǰȱȁ’œȱ
œ˜ȱŽ’œŽ—œŠ›”ȱǽǯǯǯǾȱŠđȱœ’Œ‘ȱ’ŽȱŠŽœ–Ž—œŒ‘Ž—ȱŸ˜›ȱ’‘›Ž–ȱž—Ž›”Š——Ž—ȱ
Š––Ž››‘¢‘–žœǰȱŸ˜›ȱ’‘›Ž›ȱŠžœŽ—û›–’Ž—ȱ›ãđŽȱ§—œ’Ž—ǯȱ’Žȱ
œ˜••Ž—ȱ œ’Žȱ •’Ž‹Ž—ȱ •Ž›—Ž—Ƿȱ Š›ž–ȱ ›ŽŽ—ȱ ’Žȱ ’Œ‘Ž›ȱ £žȱ ’‘—Ž—Ȃȱ ǽž›ȱ
›Žœ•ŽœœȱŽ›Šȱ˜ȱŠŒ˜›’Žœȱ’œȱœ˜ȱ™˜ Ž›ž•ȱǽǯǯǯǾȱ‘Šȱ–˜œȱ™Ž˜™•ŽȱŠ›ŽȱŠ›Š’ȱ
˜ȱ’œȱž—Š–’•’Š›ȱ‘Š––Ž›ȱ›‘¢‘–ǰȱ˜ȱ’œȱ˜ Ž›’—ȱŽ—˜›–’¢ǯȱžȱ‘Ž¢ȱ
œ‘˜ž•ȱ•ŽŠ›—ȱ˜ȱ•˜ŸŽȱ’Ƿȱ—ȱ‘’œȱ’œȱ ‘¢ȱ™˜Žœȱœ™ŽŠ”ȱ˜ȱ‘Ž–Ǿǯśŝ This ŽŒ‘—˜•˜’ŒŠ•ȱ ȁ‘Š––Ž›ȱ ›‘¢‘–Ȃȱ ŒŽ•Ž‹›ŠŽȱ ‹¢ȱ —Ž•”Žȱ ‘Šȱ Š••ȱ ‘Žȱ
Œ‘Š›ŠŒŽ›’œ’Œœȱ ˜ȱ ’—žœ›’Š•ȱ ›‘¢‘–ȱ Šœȱ ŽœŒ›’‹Žȱ ‹¢ȱ ûŒ‘Ž›DZȱ œ™ŽŽǰȱ
’—Ž¡‘Šžœ’‹’•’¢ȱŠ—ȱŠ‹œ˜•žŽȱŽĜŒ’Ž—Œ¢ǯȱ¡Š–’—’—ȱ—Ž•”ŽȂœȱ™˜Ž›¢ǰȱ
’Š›’ŽœȱŠ—ȱ—˜Žœǰȱȱœ‘˜ ȱ‘˜ ȱ‘Žȱœ˜ž‘ȱ˜ȱžœŽȱ•¢›’ŒȱȮȱ’—ȱ™˜Ž–œȱœžŒ‘ȱ
ŠœȱȁŽ›ȱ’Ĵ•Ž›Ȃ ǻŗşŗřǼ ǽ‘Žȱ—Ž›–Ž’Š›¢ǾȱȮ as an interface between Ÿ’Š•ȱŠ—ȱŽŒ‘—˜•˜’ŒŠ•ȱ›‘¢‘–œǰȱŠ—ȱœ™ŽŒ’ęŒŠ••¢ȱ˜ȱ•˜ŒŠŽȱŠȱž—’ŸŽ›œŠ•ȱ
vital rhythm behind the surface appearance of industrial life and thus ˜ȱ›Ž’—ŸŽœȱŽŒ‘—˜•˜¢ȱ ’‘ȱŠȱœ™’›’žŠ•ȱŠ—ȱŸ’Š•ȱ’–Ž—œ’˜—ǯ
ž’•’—ȱ ˜—ȱ –¢ȱ Š›ž–Ž—œȱ ›˜–ȱ ‘Š™Ž›ȱ Řǰȱ ‘Žȱ ‘’›ȱ Œ‘Š™Ž›ȱ
ž›—œȱ ˜ȱ ‘Žȱ ŗşŘŖœȱ ˜ȱ Ž¡Š–’—Žȱ ‘Žȱ ’–™ŠŒȱ ˜ȱ Ž‹ŠŽœȱ ˜—ȱ ›‘¢‘–ȱ ˜›ȱ
‘Žȱž—Ž›œŠ—’—ȱ˜ȱ’œȱ—Ž ŽœȱŽ–™˜›Š•ȱ–Ž’ž–DZȱŒ’—Ž–Š˜›Š™‘¢ǯȱ
Film, I argue here, was also understood as an interface between primal Š—ȱŽŒ‘—˜•˜’ŒŠ•ȱ›‘¢‘–œǯȱ‘Ž›ŽŠœȱ–˜›Žȱ›ŽŒŽ—ȱꕖȱ‘Ž˜›’œœȱœžŒ‘ȱ
Šœȱ ’••Žœȱ Ž•Žž£Žȱ ‘ŠŸŽȱ ›ŽŠȱ –˜Ž›—’œȱ ꕖȱ Šœȱ Š—ȱ Žě˜›ȱ ˜ȱ ž—˜ȱ
–ŽŒ‘Š—’£Žȱ–˜ŸŽ–Ž—ȱ’—ȱ˜›Ž›ȱ˜ȱŠŒŒŽœœȱŠȱ™›’–Š›¢ȱŽ›œ˜—’Š—ȱ̞¡ȱ
ž—Ž›—ŽŠ‘ǰȱȱ™›ŽœŽ—ȱŠȱ–˜›ŽȱŒ˜—Ž¡žŠ•ȱŠ—ȱ‘’œ˜›’Œ’£ŽȱŠŒŒ˜ž—ȱ˜ȱ
śŝȳŽ››’ȱ —Ž•”Žǰȱ Rhythmus des neuen Europa. Das Gesamtwerk [Rhythm of the New EuropeǯȱComplete WorksǾȱǻ
Š——˜ŸŽ›DZȱ˜œœ”›’™ž–ǰȱŗşŝşǼǰȱŘŘśǯ
Śś
Michael Cowan
Ž’–Š›Ȃœȱȁ–˜ŸŽ–Ž—ȱ’–ŠŽœȂǯśŞȱ‘’•Žȱœ˜–Žȱ ˜›”œȱǻœžŒ‘ȱŠœȱ›—˜•ȱ
Š—Œ”Ȃœȱ Der heilige Berg ǻŗşŘŜǼȱ ǽThe Holy MountainǾ, in which Leni Riefenstahl performed Klagesian dances before a raging sea) did œŽŽ”ȱ˜ȱžœŽȱ‘ŽȱŒ’—Ž–ŠȱŠœȱŠȱ–ŽŠ—œȱ˜ȱŠŒŒŽœœ’—ȱŸ’Š•ȱ›‘¢‘–ȱ‘›˜ž‘ȱ
ŽŒ‘—˜•˜¢ǰȱ–Š—¢ȱ˜‘Ž›œȱǻŽǯǯǰȱ
Š—œȱ’Œ‘Ž›Ȃœ ›‘¢‘–ȱꕖœȱRhythmus 21 and Rhythmus 23ȱ ›˜–ȱ ‘Žȱ ŽŠ›•¢ȱ ŗşŘŖœȱ ˜›ȱ Š•Ž›ȱ žĴ–Š——Ȃœȱ
Berlin: die Sinfonie der Großstadt ǻŗşŘŝǼȱ ǽBerlin: The Symphony of a Great CityǾȱ ’–Š’—Žȱ ꕖȱ Šœȱ Š—ȱ Ž–’—Ž—•¢ȱ ŽŒ‘—˜•˜’ŒŠ•ȱ Š›ȱ ˜›–ǰȱ
œŽ›Ÿ’—ȱ˜ȱœž‹–’ȱ™›’–Š•ȱ›‘¢‘–ȱ˜ȱ‘Žȱ™›ŽŒ’œŽȱ˜›Ž›ȱ˜ȱŽŒ‘—˜•˜¢ǯȱ
‘›˜—˜™‘˜˜›Š™‘¢ȱ Š—ȱ ꕖǰȱ ŠŽ›ȱ Š••ǰȱ ‘Šȱ ‹ŽŽ—ȱ Œ˜—œ’Ž›Žȱ
Šȱ šž’—ŽœœŽ—’Š•ȱ ’—œ›ž–Ž—ȱ ˜ȱ –ŽŒ‘Š—’£Žȱ ’–Žȱ œ’—ŒŽȱ Šȱ •ŽŠœȱ
Ž›œ˜—Ȃœȱ Œ›’’šžŽȱ ˜ȱ ‘Žȱ ȁŒ’—Ž–Š˜›Š™‘’Œȱ ’••žœ’˜—Ȃȱ ’—ȱ L’Évolution créatrice ǻŗşŖŝǼȱ ǽCreative EvolutionǾǰȱ Š—ȱ ‘Žȱ œŠŒŒŠ˜ȱ –˜ŸŽ–Ž—œȱ ˜ȱ
the projector exemplify the form of Takt ŽœŒ›’‹Žȱ‹¢ȱ•ŠŽœǯśş This Œ‘Š™Ž›ȱŒž•’–’—ŠŽœȱ’—ȱŠȱ›Ž›ŽŠ’—ȱ˜ȱ›’ĵȱŠ—ȂœȱMetropolis ŠœȱŠȱꕖȱ
Š‹˜žȱ‘Žȱ›‘¢‘–’ŒŠ•ȱ™˜œœ’‹’•’’Žœȱ˜ȱ‘Žȱꕖ’Œȱ–Ž’ž–ȱ’œŽ•ǯȱŽ—›Š•ȱ
˜ȱ–¢ȱ’—Ž›™›ŽŠ’˜—ȱ’œȱŠȱ›ŽŒ˜—œ’Ž›Š’˜—ȱ˜ȱ‘ŽȱꕖȂœȱ–Š’—ȱŠ••Ž˜›¢ȱ˜ȱ
‘Žȱ‹ŽŠ’—ȱ‘ŽŠ›ȱŠœȱ–Ž’Š˜›ȱ‹Ž ŽŽ—ȱ‘Žȱ‘ŽŠȱŠ—ȱ‘Žȱ‘Š—œǯȱ‘’œȱ
ȁ–Ž’Š’—Ȃȱž—Œ’˜—ǰȱȱŠ›žŽǰȱœ‘˜ž•ȱ‹Žȱž—Ž›œ˜˜ȱ—˜ȱœŽ—’–Ž—Š••¢ȱ
‹žȱ ›Š‘Ž›ȱ ’—ȱ Šȱ ™›ŽŒ’œŽȱ ŽŒ‘—˜•˜’ŒŠ•ȱ œŽ—œŽȱ Ȯȱ ˜—Žȱ Ž–‹˜’Žȱ ‹¢ȱ ‘Žȱ
˜›–’Š‹•Žȱȁ‘ŽŠ›ȱ–ŠŒ‘’—ŽȂȱŠȱ‘ŽȱŒŽ—›Žȱ˜ȱ‘Žȱ’—žœ›’Š•ȱŠ™™Š›Šžœȱ’—ȱ
Metropolis. Ž’Š’—ȱ‹Ž ŽŽ—ȱŽŒ‘—˜•˜¢ȱŠ—ȱ—Šž›Žȱ‹¢ȱœž‹–’Ĵ’—ȱ
the power of primal rhythm to the order of a technological will, the ™ž–™’—ȱ‘ŽŠ›ȱ–ŠŒ‘’—Žȱ˜ěŽ›œȱŠȱ–ŽŠ™‘˜›ȱ‹˜‘ȱ˜›ȱ’—žœ›¢ȱŠ—ȱ˜›ȱ
ꕖȱž—Ž›œ˜˜ȱŠœȱŠ—ȱ’—žœ›’Š•ȱŠ›ȱ˜›–ǯ
Having explored the impact of rhythm debates on writing and ꕖȱ’—ȱ‘Š™Ž›œȱŘȱŠ—ȱřǰȱȱ‘Ž—ȱ˜ȱ˜—ȱ˜ȱŒ˜—œ’Ž›ȱ’—ȱ‘Š™Ž›ȱŚȱ‘Ž’›ȱ
’—Ž›ŠŒ’˜—ȱ ’—ȱ ‘Ž˜›’Žœȱ ˜ȱ ŠŸŽ›’œ’—ȱ Š—ȱ ŠŸŽ›’œ’—ȱ ꕖȱ ›˜–ȱ ‘Žȱ
ŗşŘŖœǯȱ—ȱ’›ŽŒȱŠ—Š•˜¢ȱ˜ȱ‘Žȱ‘Ž˜›’Žœȱ˜ȱûŒ‘Ž›ȱŠ—ȱ‘’œȱ˜••˜ Ž›œǰȱ
ŠŸŽ›’œ’—ȱ‘Ž˜›’œœȱœžŒ‘ȱŠœȱ›’ĵȱŠž•’ȱŠ›žŽȱ‘Šȱ‘Žȱ›‘¢‘–’ŒŠ•ȱ
™›ŽœŽ—Š’˜—ȱ ˜ȱ •ŽĴŽ›œǰȱ œ¢••Š‹•Žœǰȱ ˜›œȱ Š—ȱ ’–ŠŽœȱ ’—ȱ ŠŸŽ›’œ’—ȱ
ž—Œ’˜—Žȱ ˜ȱ ’—Œ›ŽŠœŽȱ ‘Žȱ ȁ™›˜žŒ’Ÿ’¢Ȃȱ ˜ȱ ‘Žȱ Œ˜—œž–Ž›œȂȱ –Ž—Š•ȱ
Š™™Š›Šžœȱ ǻ‘Ž’›ȱ ŠĴŽ—’˜—Ǽȱ Š—ȱ ‘žœȱ ’—Œ’Žȱ Ÿ’Ž Ž›œȱ ˜ȱ Œ˜—œž–Žȱ
‘Žȱ ™›˜žŒȱ ˜—ȱ ’œ™•Š¢ǯȱ Šž•’ȱ ŽŸ’œŽȱ Š••ȱ œ˜›œȱ ˜ȱ –ŽŠ—œȱ ˜›ȱ ‘Žȱ
›‘¢‘–’£Š’˜—ȱ ˜ȱ ŠŸŽ›’œ’—ǰȱ ’—Œ•ž’—ȱ ›‘¢‘–’ŒŠ•ȱ •Š¢˜žœȱ ˜›ȱ
posters, animated electric advertisements, series of commercial śŞȳ‘Žȱ Ž›–ȱ ȁ–˜ŸŽ–Ž—ȱ ’–ŠŽœȂȱ Œ˜–Žœȱ ›˜–ȱ ’••Žœȱ Ž•Žž£Žǰȱ ‘˜ȱ žœŽœȱ ’ȱ ˜ȱ
distinguish the pre-­‐‑WWII cinema of movement from the post-­‐‑war cinema of ’–ŽǯȱŽŽȱ’••ŽœȱŽ•Žž£ŽǰȱCinéma I. L’image-­‐‑mouvement [Cinema 1: The Movement ImageǾ ǻŠ›’œDZȱ’—ž’ǰȱŗşŞřǼǯ
śşȳŽŽȱ
Ž—›’ȱŽ›œ˜—ǰȱL’Évolution créatrice, ŗŖ‘ȱŽ—ȱǻŠ›’œDZȱǰȱŘŖŖřȱǽŗşŖŝǾǼǰȱ
řŖśȮŗśǯȱ
ŚŜ
Technology’s Pulse
billboards to be placed at precise intervals along public transport •’—Žœȱ Š—ȱ Ȯȱ —˜ȱ •ŽŠœȱ Ȯȱ ‘Žȱ žœŽȱ ˜ȱ ꕖȱ ˜ȱ Š—’–ŠŽȱ ’–ŠŽœȱ Š—ȱ
•ŽĴŽ›œǯȱ ’‘ȱ Šž•’Ȃœȱ ‘Ž˜›’Žœȱ Šœȱ Šȱ ‹ŠŒ”›˜™ǰȱ ‘’œȱ Œ‘Š™Ž›ȱ ˜ŒžœŽœȱ
˜—ȱ ‘Žȱ ˜›”ȱ ˜ȱ ‘Žȱ ™’˜—ŽŽ›ȱ ˜ȱ ŠŸŽ›’œ’—ȱ ꕖȱ ’—ȱ Ž›–Š—¢ǰȱ ž•’žœȱ
’—œŒ‘Ž Ž›ǯȱ™ŽŒ’ęŒŠ••¢ǰȱȱ˜ěŽ›ȱŠ—ȱŽ¡Ž—Žȱ›ŽŠ’—ȱ˜ȱ‘ŽȱŠ–˜žœȱ
ŠŸŠ—ȬŠ›Žȱ ꕖȱ Kiphoȱ ǻŗşŘśǼǰȱ ‘’Œ‘ȱ ’—œŒ‘Ž Ž›ȱ –ŠŽȱ ˜Ž‘Ž›ȱ
with cinematographer Guido Seeber as an advertisement for a major Ž¡‘’‹’’˜—ȱ ˜ȱ ‘Žȱ ꕖȱ ’—žœ›¢ȱ ’—ȱ Ž›•’—ȱ ’—ȱ ŗşŘśǯȱ ‘Žȱ Kipho ꕖȱ Ȯȱ
‘’Œ‘ȱ Š—’œ‘ȱ Š Ž›ȱ •ŠŽ›ȱ ŽœŒ›’‹Žȱ Šœȱ Šȱ Œ˜–™Ž—’ž–ȱ ˜ȱ ȁ‘Žȱ
–˜œȱŠŸŠ—ŒŽȱŠ›’œ’ŒȱŸ˜ŒŠ‹ž•Š›¢ȱ˜ȱ’œȱŠ¢ȂȱȮȱŠ•œ˜ȱ›Ž™›ŽœŽ—œȱŠȱŒŠœŽȬ
œž¢ȱ’—ȱ‘ŽȱŠ™™•’ŒŠ’˜—ȱ˜ȱ‘Ž˜›’Žœȱ˜ȱ›‘¢‘–ȱ˜ȱŠŸŽ›’œ’—ǯŜŖ On the ˜—Žȱ‘Š—ǰȱ‘Žȱꕖȱ›ŽœŠŽœȱûŒ‘Ž›Ȃœȱ—Š››Š’ŸŽȱ˜ȱ–˜Ž›—’¢ȱŸ’œžŠ••¢ȱ
‹¢ȱ Ž–˜—œ›Š’—ȱ ‘Žȱ ’—Ž›Š’˜—ȱ ˜ȱ ˜›”’—ȱ ‹˜’Žœȱ ’—˜ȱ Šȱ ŸŠœȱ
Œ’—Ž–Š’Œȱ Š™™Š›Šžœǰȱ Œ˜—œ’œ’—ȱ ˜ȱ Œ›Š—”œǰȱ ›ŽŽ•œǰȱ ™•ŠĴŽ›œȱ Š—ȱ ŽŠ›œȱ
œ™’——’—ȱ ’—ȱ ŠŒŒŽ•Ž›ŠŽȱ Š—ȱ Œ˜—’—ž˜žœȱ ›˜Š’˜—ǯȱ —ŽŽǰȱ ›’’—ȱ
itself is absorbed into this rhythmical movement, as we gather from the rhythmical presentation of titles and the iconic image of a ȁ›Ž‘‹žŒ‘ȂȱǽœŒ›’™Dzȱliterallyȱž›—’—ȱ‹˜˜”Ǿȱ—˜ ȱœ‘˜ —ȱž›—’—ȱ˜—ȱ‘Žȱ
œ™˜ȱ›Š‘Ž›ȱ‘Š—ȱŠŸŠ—Œ’—ȱŠŒŒ˜›’—ȱ˜ȱŠȱ—Š››Š’ŸŽȱ›Š“ŽŒ˜›¢ǯȱ—ȱ‘Žȱ
˜‘Ž›ȱ‘Š—ǰȱ‘ŽȱꕖȱŠ•œ˜ȱŠĴŽ–™œȱ˜ȱŠ‹œ˜›‹ȱœ™ŽŒŠ˜›œȱ’—˜ȱ‘’œȱœŠ–Žȱ
›‘¢‘–’ŒŠ•ȱŠ™™Š›Šžœȱ ’‘ȱ’œȱꗊ•ȱ’—“ž—Œ’˜—DZȱȁžȱ–žœœȱ£ž›ȱ’™‘˜ǷȂȱ
ǽ˜žȱ –žœȱ ˜ȱ ˜ȱ ‘Žȱ ’™‘˜ȱ Ž¡‘’‹’’˜—ǷǾǯȱ ‘Žȱ ꕖ–Š”Ž›œȱ Ž¡™•’Œ’•¢ȱ
adapted this phrase from the expressionist thriller Das Cabinet des Dr. Caligari, ‘Ž›Žȱ‘Žȱ ˜›œȱȁžȱ–žœœȱŠ•’Š›’ȱ Ž›Ž—ǷȂȱǽ˜žȱ–žœȱ
‹ŽŒ˜–ŽȱŠ•’Š›’ǷǾȱž—Œ’˜—Žȱ˜ȱ˜‹“ŽŒ’¢ȱ‘Žȱ™›˜Š˜—’œȂœȱŽ¡™˜œž›Žȱ
˜ȱ‘Žȱ˜ŒŒž•ȱ™˜ Ž›ȱ˜ȱŠ—ȱŠ—Œ’Ž—ȱ‹˜˜”ǯ —ȱ’—œŒ‘Ž Ž›ȂœȱŠ—ȱŽŽ‹Ž›Ȃœȱ
citation however, the Caligari phrase now functions to advertise the ‘¢™—˜’Œȱ ™˜ Ž›ȱ ˜ȱ ›‘¢‘–ȱ ŽœŒ›’‹Žȱ ‹¢ȱ ‘Ž˜›’œœȱ œžŒ‘ȱ Šœȱ Šž•’ǯȱ —ȱ
‘’œȱ›Š’˜—Š•’£Š’˜—ȱ˜ȱ‘¢™—˜œ’œǰȱKipho ‘žœȱŽ¡Ž–™•’ęŽœȱ‘Žȱ’–™ŠŒȱ˜ȱ
rhythm theories on modernity’s understanding of cinematography as a medium that absorbed both writing and spectators into its ›‘¢‘–’ŒŠ•ȱ™ž•œŽǯ
옛œȱ˜ȱ˜›ŽȱŠȱ›‘¢‘–’ŒŠ•ȱŒ’—Ž–Šȱ˜›ȱ›‘¢‘–’ŒŠ•ȱŠŸŽ›’œŽ–Ž—œȱ
Ž›Žǰȱ˜ȱŒ˜ž›œŽǰȱ’–‹žŽȱ ’‘ȱ–žœ’ŒŠ•ȱŠ—Š•˜’ŽœǰȱŠ—ȱ’—ȱŒ‘Š™Ž›ȱśȱȱ
ž›—ȱ–¢ȱŠĴŽ—’˜—ȱ˜ȱ–žœ’Œȱ’œŽ•ȱȮȱ’—ȱ™Š›’Œž•Š›ȱ˜ȱ‘Žȱ™‘Ž—˜–Ž—˜—ȱ
˜ȱ “Š££ȱ ’—ȱ Ž›–Š—¢ǰȱ ‘’Œ‘ȱ Šœȱ ’Ž•¢ȱ ž—Ž›œ˜˜ȱ Šœȱ Šȱ –ŽŠ—œȱ ˜ȱ
ȁŽžŒŠ’—Ȃȱ ‘Žȱ ‹˜¢ȱ ˜›ȱ –˜Ž›—ȱ ’–Žœǯȱ ›Š ’—ȱ ˜—ȱ ‘Žȱ ›’’—œȱ
˜ȱ ˜›”ȱ œŒ’Ž—’œœȱ œžŒ‘ȱ Šœȱ ›’ĵȱ ’ŽœŽǰȱ ‘’œȱ Œ‘Š™Ž›ȱ œ‘˜ œȱ ‘˜ ȱ “Š££ȱ
Œ˜—˜ž—Žȱ ‘Žȱ ’Œ‘˜˜–’Žœȱ ’—ȱ ‘Žȱ ›‘¢‘–ȱ ’œŒ˜ž›œŽȱ ˜ȱ ‘Žȱ ŗşŘŖœǰȱ
›Ž™›ŽœŽ—’—ȱ Šȱ ˜—ŒŽȱ Šȱ –Š—’ŽœŠ’˜—ȱ ˜ȱ ȁ™›’–’’ŸŽȂȱ Š—ȱ ™›ŽŒ’œŽȱ
ŜŖȳŠ—’œ‘ȱŠ Ž›ǰȱThe Cubist Cinema ǻDZȱŽ ȱ˜›”ȱ—’ŸŽ›œ’¢ȱ›ŽœœǰȱŗşŝśǼǰ ŗŞŖȮŞŗǯ
Śŝ
Michael Cowan
ȁŽŒ‘—˜•˜’ŒŠ•Ȃȱ›‘¢‘–œǯȱœȱœžŒ‘ǰȱ“Š££ȱŒ˜—œ’žŽȱ¢ŽȱŠ—˜‘Ž›ȱ–˜Ž•ȱ
of mediating between the traditional and the modern, and one that œ™ŽŒ’ęŒŠ••¢ȱ›Žœ™˜—Žȱ˜ȱž›˜™ŽŠ—ȱŽœ’›ŽœȱŠ—ȱŠ—¡’Ž’Žœȱ’—ȱ‘ŽȱŠŽȱ
Œ‘Š›ŠŒŽ›’£Žȱ‹¢ȱ‘Žȱ’—Œ›ŽŠœ’—ȱ’—Ěž¡ȱ˜ȱȁ–Ž›’ŒŠ—’œȂȱ˜›–œȱ˜ȱ ˜›”ȱ
Š—ȱ•Ž’œž›Žǯȱ•‘˜ž‘ȱ–Š—¢ȱ™›ŠŒ’’˜—Ž›œȱ˜ȱŽž›‘¢‘–’ŒœȱŠ—ȱŸ’Š•’œȱ
Š—ŒŽȱ ŒŠŽ˜›’ŒŠ••¢ȱ ›Ž“ŽŒŽȱ “Š££ǰȱ ’—Ž••ŽŒžŠ•œȱ œžŒ‘ȱ Šœȱ Š¡ȱ ›˜ȱ ˜›ȱ
›’ĵȱ ’ŽœŽȱ œŠ ȱ “Š££ȱ Šœȱ ™›˜Ÿ’’—ȱ Š—œ Ž›œȱ ˜ȱ œ™ŽŒ’ęŒȱ šžŽœ’˜—œȱ ˜ȱ
Ž›–Š—ȱ–˜Ž›—’¢ȱ’—ȱ‘ŽȱŗşŘŖœǯȱ˜›ȱ‘ŽœŽȱ‘’—”Ž›œǰȱȱŠ›žŽǰȱ‘Žȱꐞ›Žȱ
˜ȱ ‘Žȱ ›’ŒŠ—Ȭ–Ž›’ŒŠ—ȱ Š—ŒŽ›ȱ ˜›ȱ “Š££ȱ ›ž––Ž›ǰȱ ‘˜ȱ ’œ™•Š¢Žȱ
Šȱ ›Ž–Š›”Š‹•Žȱ Š‹’•’¢ȱ ˜ȱ –Š—’™ž•ŠŽȱ ›‘¢‘–ȱ ‘›˜ž‘ȱ œ¢—Œ˜™Š’˜—ǰȱ
embodied a fantasy of survival among and adaptation to the ’—‘ž–Š—ȱ›‘¢‘–œȱ˜ȱ–Ž›’ŒŠ—’œȱ›Š’˜—Š•’¢ǯȱ—ȱŠȱ˜›Žœ‘Š˜ ’—ȱ˜ȱ
‘Žȱȁ‘’ŽȱŽ›˜Ȃȱ™‘Ž—˜–Ž—˜—ȱŽœŒ›’‹Žȱ‹¢ȱ˜›–Š—ȱŠ’•Ž›ȱ’—ȱ‘Žȱ
ŗşśŖœǰȱŽ’–Š›ȱ‘’—”Ž›œȱ‘žœȱ™›˜“ŽŒŽȱ‘Ž’›ȱ˜ —ȱŽŠ›œȱ˜ȱŽ¡’œŽ—’Š•ȱ
˜›ȱŒž•ž›Š•ȱŠ——’‘’•Š’˜—ȱ˜—˜ȱ“Š££ȱ™Ž›˜›–Ž›œǰȱœŽŽ’—ȱ‘Ž–ȱŠœȱꐞ›Žœȱ
‘˜ȱ‘Šȱž›—Žȱ‘ŽȱŠ‹•Žœȱ˜—ȱ‘Žȱ˜–’—Š—ȱŒž•ž›Žȱ˜ȱ ‘’Žȱ–Ž›’ŒŠǯ
Žœ™’Žȱ ‘Žȱ ™Ž›œ’œŽ—ŒŽȱ ˜ȱ ˜‹Ÿ’˜žœȱ ›ŠŒ’Š•ȱ œŽ›Ž˜¢™Žœȱ ’—ȱ “Š££ȱ
›ŽŒŽ™’˜—ǰȱ ‘’œȱ Ž—ŠŽ–Ž—ȱ ’‘ȱ ›‘¢‘–ȱ –Š›”œȱ Šȱ ’쎛Ž—ȱ ”’—ȱ ˜ȱ
negotiation of race from those which the monological narratives of ™›˜˜ȬŠœŒ’œ–ȱ ŒŠ—ȱ ŠŒŒ˜ž—ȱ ˜›ǯȱ ˜ȱ ˜ž‹ǰȱ ›ŽŠŒ’˜—Š›¢ȱ –˜Ž›—’œœȱ
’—ȱ ‘Žȱ ‘’›ȱ Ž’Œ‘ȱ ‘Šȱ ŽŸŽ›¢ȱ ›ŽŠœ˜—ȱ ˜ȱ Š”Žȱ Š—ȱ ’—Ž›Žœȱ ’—ȱ ›‘¢‘–ǰȱ
which held out the promise of lending to technological modernity an aura of primitive ritual, inducing an ecstatic sense of participation in the performance of the nation and, not least, controlling mass –˜ŸŽ–Ž—œǯȱ žȱ ‘Žȱ œ˜›¢ȱ ˜ȱ –˜Ž›—’¢ȱ Š—ȱ ›‘¢‘–ȱ Ž¡Ž—œȱ
‹Ž¢˜—ȱŠœŒ’œ–ȱ’—ȱ‹˜‘ȱŠȱœ¢—Œ‘›˜—’ŒȱŠ—ȱŠȱ’ŠŒ‘›˜—’ŒȱœŽ—œŽDzȱŽě˜›œȱ
to understand, harness or manipulate rhythm were inherent to –˜Ž›—’¢Ȃœȱ Œ˜—›˜—Š’˜—ȱ ’‘ȱ ŽŒ‘—˜•˜¢ȱ Šœȱ œžŒ‘ǯȱ ˜›Ž˜ŸŽ›ǰȱ Šœȱ ȱ
Ž¡™•˜›Žȱ’—ȱ–¢ȱŽ™˜•’žŽȱ˜ȱ‘’œȱ‹˜˜”ǰȱ‘’œȱ™›Ž˜ŒŒž™Š’˜—ȱ ’‘ȱ›‘¢‘–ȱ
Ž¡Ž—œȱȮȱŠ•‹Ž’ȱ ’‘ȱŸŠ›¢’—ȱŽ›ŽŽœȱ˜ȱ’—Ž—œ’¢ȱȮȱ›˜–ȱ‘ŽȱŽ›Šȱ˜ȱ
’—žœ›’Š•’£Š’˜—ȱ˜ȱ˜ž›ȱ˜ —ȱ™˜œȬ’—žœ›’Š•ȱœ˜Œ’Ž¢ǯȱȱȁ›‘¢‘–ȱ’œȱ’Ȃȱ
for modern society, this is above all because rhythm held out and still holds out the promise of assimilating new technologies, adjusting to new modes of discipline and calibrating the body to new forms of –Ž’ŠŽȱŽ¡™Ž›’Ž—ŒŽǯ
ŚŞ