The Rhythm of Echoes and Echoes of Violence

Abstract

This paper contributes to non-ocularcentric theory and theorizing by way of a methodological application and extension of Henri Lefebvre’s Rhythmanalysis. It explores the cultural dynamics of echoes and history, using as an instrumental case study Steve Reich’s 1966 tape-loop composition, Come Out, to elucidate the ambivalent and contradictory relations of time, temporality, and possibility. While the focus is primarily on the text of Come Out and its context of police brutality and civil rights, it moreover contributes to an enriched and historically grounded understanding of rhythmanalysis while engaging with rhythmanalysis as a methodology, based on the expanded conception of echoes proposed.

Space and Culture as Critical Practice and as Space of Culture

“…Many people have since made important contributions as guest editors, assistants, contributors, referees, and advisory board members. Students became academics, colleagues, and contributors (Davidson, Park, & Shields, 2011; Degen, 2017; Sujon & Johnston, 2017; Vallee, 2017). We have received and read over 3,000 articles.…”

Technology, Embodiment, and Affect in Voice Sciences

“…Likewise, Nina Eidsheim (2015) asks for a ‘reawakening’ of the senses through a consideration of voice, not as sound but as the ongoing exploration of our own understandings of sound in vocalization. And with the recently published edited collections on voice studies that explicate the voice’s liminalities, relationalities, and embodiments (Eidsheim and Mazzei, forthcoming; Thomaidis and Macpherson, 2015), it appears as though we are in another interdisciplinary ‘turn’, which includes reconceptualizing voice within the context of Deaf culture (Levitt, 2013), temporal in-betweenness (Järviö, 2015), puppetry (Mrázek, 2015), displacement (Chatziprokopiou, 2015; Di Matteo, 2015), with further explorations of such voice- and body-related topics as ‘resonance’ (Sholl, 2015), ‘vibration’ (Dyson, 2009), and ‘echo’ (Vallee, 2017). In effect, ‘voice studies’ represents a non-unified field and a profusion of perspectives, including those who (a) describe the ‘affective materialities’ of voice by proposing the possibility for incorporating its timbre, tone, duration, and pitch into discourse analysis (e.g.…”