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The work of Henri Lefebvre Rhythmanalysis, Space, Time and Everyday Life (2004) is generally known as the original proposer of rhythmanalysis, inspired by the last chapter of Gaston Bachelard's book La dialectique de la durée (1963), entitled ‘Rhythmanalysis’. Nevertheless, it was the Portuguese philosopher Lúcio Pinheiro dos Santos who developed the notion of rhythmanalysis. In this chapter I address this episode of the genealogy of rhythmanalysis aiming to contribute to a broader understanding of its context of origin. I also present fragments of a rhythmanalysis exercise developed in Caminito, Buenos Aires, as part of my research in the field of art studies. Following a pre-Platonic notion of rhythm (Benveniste, 1966), I draw on those fragments as much as on the reflexive confrontation of rhythmanalysis with feminist and ch'ixi epistemologies (e.g., Haraway, 1988; Rivera, 2018) in order to propose what I come to call rhuthmanalysis.

In rhythmanalysis, energy is positioned centre stage in defining what rhythm is and how it manifests: everywhere where there is interaction between a place, a time and an expenditure of energy there is rhythm (Lefebvre, 1992/2004, p. 15). However, there is no further explication and little engagement in subsequent scholarship. I discuss this absence and propose a thermodynamic, materialist understanding of the energy in rhythm, linking to Lefebvre's interest in physics-thinking, and to his and Régulier's commitment to a multi-disciplinary rhythmanalytic project. I consider the polyrhythmic interweaving of energy flows in everyday life and the relationship between the techno-energy of energy systems, and the ‘natural’ energetic exchanges of planetary movements, ecological processes and organism functioning, including human bodies. I outline how an energetically oriented, multi-disciplinary rhythmanalysis can be applied to the climate crisis, to its arrhythmic consequences as well as to its making and mitigation in the rhythms of society and economy. I then focus on the rhythm energies of urban life and the challenges of transitioning urban mobility away from the domination of hydrocarbon-powered automobility systems. The polyrhythmic structure of urban automobility is characterised, encompassing rhythms of fuel supply, fuelling, vehicle movement and pollution generation. The rhythm-energetic shifts involved in moving to shared public transport, electric rather than hydrocarbon powered vehicles and to the corporeal, calorie-fuelled rhythms of walking and cycling are laid out, considering what they change, what they retain and what they add to the polyrhythmia of urban mobility.

This chapter extends Henri Lefebvre's writings on rhythm to explore how time, space, power and difference articulate themselves in the uneven social relations of intercultural space. Taking Lefebvre's ‘Seen From the Window’ chapter as a theme, I propose a variation of rhythmanalysis which interrogates the politics of copresence at a dance party in Munich, Germany. Plug in Beats is a participatory party – songs are selected by the crowd through a karaoke-like process. The monthly event was initiated in 2015 when a refugee camp was installed near an arts and cultural center. The party creates a space for dialogue between new migrants and established locals occupying a wide range of social positions. I look at the implications of rhythm for studying intercultural dance through a rhythmanalysis of one party in June 2018. The methodological approach is framed around the embodied multisensory participant observation advocated by Lefebvre; however, the analysis draws on additional ethnographic data from interviews, audio recordings, Shazam (a song identification app) and video footage. I propose a relational rhythmanalysis which engages the historical and geographic power dynamics at work in music, dancing and in the party space. Such an approach, I argue, reveals how participants negotiate and sometimes reconfigure social relations of difference through rhythm itself. While there are limits to the questions that rhythmanalysis allows the researcher to ask and answer, it is a valuable means to engage how power and difference work – and might be more equitably reworked – in migrant-receiving and otherwise heterogeneous spaces.

Drawing on Lefebvre’s theorization of rhythm, this chapter presents and discusses rhythmanalysis as a philosophical orientation and as an experimental methodology for social, cultural, and historical research. In particular, it innovatively deploys rhythmanalysis to explore and investigate the everyday life of the contemporary university. To this end it, critically reviews the methods (and findings) of a pilot project that aimed to capture the rhythmic nature of the quotidian activities of staff and students at a “modern” university in the West Midlands of England (2017–2018). The novel combination of research methods employed, comprising audio-visually recorded walking interviews, time-lapse photography of three campuses, and of classroom/laboratory/studio teaching sessions, is examined to reveal the affordances of rhythmanalysis qua experimental methodology. The concluding section offers a reflection on the intellectual and practical purchase of the rhythmanalytical project while suggesting the possibility to further develop these innovative methods in order to refine current analyses and understandings of the contemporary university.

Just who is the ‘analyst’ who practices rhythmanalysis? The extension of the name ‘rhythmanalyst’ to other than scholarly practitioners makes possible an investigation of the relationship of rhythmanalysis to other rhythmanalytic forms of knowing and representing urban space and the ways in which these differing but related practices may challenge, undermine or inform each other. In this paper, drawing on years of ethnographic and autoethnographic research in three North American cities, I discuss the rhythmanalytical practice involved in cabdriving, as this is shaped by the technologies drivers use to sense the city and by the transformation of the taxicab into the ‘ridesharing’ or soft cab. First, I discuss the occupational knowledge and wayfinding practice of cabdrivers and the extent to which their work requires the development by means of a variety of tools and practices, of a sense of the city as composed of multiple interacting rhythmic movements or polyrhythmia, with which they must strategically converge and facilitate. Second, I discuss the redelegation of the role of rhythmanalyst to predictive algorithms and mobile interfaces, as part of the reinvention of the taxicab, and its associated micropolitics and power/knowledge relations, by smartphone-enabled hailing and dispatching services. Struggles over, and transformations of, these non-academic forms of rhythmanalysis may provide insight, in turn, into the contemporary politics of the production of social space.

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 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.

The purpose of this chapter is to showcase rhythmanalysis as methodology for the field of island studies. Islands maintain urban qualities that occur seasonally or intermittently with the mass arrival of tourists. On the Greek island of Lesvos, the focus of this chapter, the expansion of the tourist population brings with it the increase of events and activities such as concerts, art shows, sports and the multiplication of social venues including bars, cafes and restaurants that are typical of cities. Lesvos has become well-known as ground zero to the European Union (EU) refugee crisis. This chapter also considers how the influx of migrants contributes to the rhythm of intermittent urbanisation on the island. To ground my analysis, I relate these forms of visitations to the myth of Persephone. The application of rhythmanalysis for articulating the social conditions of Lesvos, and potentially islands, includes bringing together historical, geo-political and ideological cadences. In the case of Lesvos, Greece's historic peripheralisation socially and economically in Europe shapes northern European tourism and the EU's lack of accountability towards the immigration crisis on its eastern borders. The application of rhythmanalysis holds potential not only for island studies but also for evaluating regional geo-politics and for considering how some spaces oscillate between urbanness and rurality.

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.