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The rhythmic patterns of urban mobilities, and their fluctuations and modifications across the day, give the streets their perceived and experienced atmosphere and character. This paper examines such street atmospheres and focusses on the role of embodied mobility rhythms in the (re)making of the atmospheres throughout the day. Utilising a rhythmanalytical framework and research data comprising videoed site observations and on-site fieldnotes, the study analyses ‘crepuscular’ (behaviour taking place during the twilight hours of the day, at dawn and dusk) mobility rhythms that reveal internal tensions and modalities of urban sites across a 24-hour period. The analysis highlights the connections between fluctuating pressures of motor traffic and mobile embodied appropriations of the space in the making of the streetscape and its changing atmospheres between the ‘day-time city’ and the ‘night-time city’. The chapter demonstrates that an analytical focus on such ‘in-between’ temporalities of the twilight can help to map the complex and multifaceted urban polyrhythmia, which, in turn, might provide new insight for rhythm-based perspectives towards urban atmospheres and street spaces as sites of urban social life.

This personal essay aims to make use of rhythmanalysis as a creative critical methodology to give an account of a visit to the French Riviera town of Saint-Paul-de-Vence. In so doing, it attends to the spatial, experiential and sensory dimensions of tourism, of individual physicality and of writing. The place of the rhythmanalyst as defined by Lefebvre is naturally aligned with that of the creative writer. The necessity of being at once immersed and at a remove, of attending to rhythms by ‘getting outside them, but not completely’, of taking the position of ‘the observer, simultaneously centre and periphery’; the ‘abandon[ment to] duration’; the transgression of limits (Lefebvre, 2004, pp. 17, 46, 37): this might describe the space and time of writing. As such, the experience of the act of writing is brought to the fore and considered as a subject in its own right; rhythm is central to the composition and form. This essay takes its cue from ‘Seen from the Window’, but moves through different thresholds and allows that motion to shape the text; and from ‘Attempt at the Rhythmanalysis of Mediterranean Cities’, in its concern with the intersection of public and private in the urban environment, but with a greater attention to the inhabited, present body, and particularly the sense of smell (Lefebvre, 2004). It seeks to work with and against Lefebvre's example by placing a feminine body at its centre, while recognising the particularity of that authorial body: a white woman and a tourist, at leisure (Lyon, 2019; Reid-Musson, 2018). As a work of creative writing, it privileges the subjective, narrative and impressionistic over the analytical and abstract.

This chapter develops Lefebvre’s concept of rhythmanalysis to investigate the ways super-diversity comes to life in the everyday city through the intersection of the spatial and temporal. The chapter explores the multicultural intimacies of streets in a London neighbourhood through a close ethnographic focus on rhythms and atmospheres using slow-motion video. The research contributes to an emerging field of visual ethnographic scholarship by presenting slow-motion video as a method to explore the ‘presence’ (Lefebvre, 2004) of super-diversity and conviviality on the street.

I argue that in slowing down the encounters of the street, slow-motion video shows the often overlooked sensible and affective elements of super-diverse urban space, the mundane interactions between bodies, materials and technologies that create a form of ‘convivial affect’. I argue that these everyday encounters are shaped by a situated politics of difference and yet are also mediated by wider rhythms and atmospheres, contributing to a sense of ‘social time’. I draw attention to both the human and non-human elements of the streets. These material and technological elements can uncover the wider discourses and circulatory regimes of atmospheres in urban super-diverse neighbourhoods, focussing on their relation to broader flows of capital, forms of postcolonial culture and translocality.

This research has implications for how we understand super-diversity and its manifestations in urban space. It encourages policymakers and academics to recognise the affective human and non-human encounters that are a crucial aspect of conviviality, the everyday ways we live together with difference.

This article makes use of the concept of boundary‐work (Lamont, 2002) to explore representations of migrant women. The research is based on 35 life‐history interviews with Bulgarian and Hungarian migrant women resident in Italy, and on 18 semi‐structured interviews with Italian women, conducted between 2001 and 2003. The analysis compares the distinctions made about migrant women by ‘native’ Italian women and by migrant women themselves, along the dimensions of ‘moral’ and ‘cultural’ boundaries. The article demonstrates the analytical purchase of boundary‐work in disentangling the distinctions that underpin processes of inclusion and exclusion, and the construction of self and other. These findings have implications for debates on social and emotional well‐being.

This chapter is concerned with the relationship between gender performativity and rhythm, taking the City of London (often known by its metonym the Square Mile) as the focus for the empirical research and extending a Lefebvrian understanding of urban space and time via the practice of rhythmanalysis. It is concerned with how the City of London is imagined, constructed and experienced in and through gender performativity which can be expressed rhythmically (Reid-Musson, 2018). The research is based on fieldwork including photographic and interview data, as well as an embodied, immersive methodology used to analyse rhythms, showing how this can help to both sense and make sense of organisational place, particularly in terms of how such places can compel feelings of belonging or non-belonging. The chapter looks beyond the spatial configuration of a single organisation to encompass the wider geographical location of multiple organisations, in this case the City.

The findings show that the relationship between the socio-cultural and material aspects of the City can be understood through the rhythms of place. Using a methodological approach based on Lefebvre's Rhythmanalysis (2004), the chapter foregrounds a subjective, embodied and experiential way of researching the places and spaces of organising, and shows how gendered inclusion and exclusion can be expressed spatially and rhythmically.

This paper explores the potential of Henri Lefebvre's rhythmanalysis to understand data as an appearance assumed by the quantitative abstraction of everyday life, which negates a qualitative disjuncture between different natural and social rhythms – specifically those between embodied circadian and biological rhythms and the rhythms of working life. It takes as a case study a prototype performance research method investigating the methodological and practical potential of quantified self technologies to reconnect the body to its forms of abstraction in a digital age by means of the collection, interpretation and sonification of data using wearable tech, mobile apps, synthesised music and modes of visual communication. Quantitative data were selectively ‘sonified’ with synthesisers and drum machines to produce a 40-minute electronic symphony performed to a public audience. The paper theorises the project as an intervention reconnecting quantitative data with the qualitative experience it abstracts from, exploring the potential for these technologies to be used as tools of remediation that recover the embodied social subject from its abstraction in data for critical self-knowledge and understanding.

Outdoor arts festivals have been proposed as a means of rehearsing democratic practices and of placemaking interventions in the space time of contemporary capitalism. I consider whether they are really able to repurpose civic and pseudo public space and challenge the production and reproduction of that space as a colonial and neoliberal territory, or are they merely examples of the ‘pseudo-fête’ prolonging such structures by other means?

This chapter uses case studies of two outdoor arts festivals in the United Kingdom, at which I have performed rhythmanalyses, to explore festivalised spaces and the extent to which they might empower people. Empowerment here relates not only to individual agency, autonomy and self-determination but also to the development of shared, social identity within crowds. The role of festival management, the arrangement of festival space/times and the codification of behaviour are of particular relevance to these effects. I use time-lapse videography to capture data around flows and accretions of audiences, combined with my embodied presence in the lived space of the festival, sensing its rhythms and atmospheres.

Using the concept of polyrhythmia to comprehend and unpick complex durational patterns, I focus on how public spaces are transformed when animated by performances and how public space can redefine both performance and audience dynamics. The adaptation and application of rhythmanalysis in this project has revealed patterns of behaviour and evidenced characteristic qualities of outdoor arts which were previously ignored or only assumed.