By Tim Edensor
In "Rhythmanalysis", Henri Lefebvre recommend his rules at the courting among time and house, rather how rhythms signify house. the following, best geographers increase and extend on Lefebvre's theories, analyzing how they intersect with present theoretical and political issues in the social sciences. by way of geography, rhythmanalysis highlights tensions among repetition and innovation, among the necessity for consistency and the necessity for disruption. those tensions exhibit the ways that social time is controlled to make sure a degree of balance in the course of the instantiation of temporal norms, while whilst exhibiting how this can be challenged. In taking a look at the rhythms of geographies, and drawing upon quite a lot of geographical contexts, this booklet explores the ordering of other rhythms in line with 4 major topics: rhythms of nature, rhythms of daily life, rhythms of mobility, and the authentic and regimen rhythms which superimpose themselves at the a number of rhythms of the physique.
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Additional resources for Geographies of Rhythm
Example text
In considering what remains visible in the virtual world Lefebvre falls back on the everyday. With this, bodies as registers of traces, as processors of demand, bodies that tire, over-compensate, collapse, recover, go slow, become figured as metronomes (15), as the means by which dominant rhythms becomes legible. What then can the procrastinating body – and more, the life hacker’s proposed remedy – tell us about demand culture? Back in the office, a cure is being offered for the pandemic of the information age: procrastination.
For those afflicted with notebook fetishism there is a world of tips for hacking Moleskine’s into flexible utilities including an entire page devoted to Moleskine friendly fountain pens or ‘data capture tools’ (43 Folders, 2007). Life hacking is, then, less about the actual Life Hacking and Everyday Rhythm 35 technologies than the manner or style of using them. To summarise: if this is the short story of lifehacking, the haiku might be, in the words of Wikipedia: ‘anything that solves an everyday problem in a clever or non-obvious way’ (2008).
After the council’s unsuccessful attempts to control and manipulate the sensory rhythms and public life of El Raval with the regeneration of the neighbourhood, this campaign recycles and appropriates the urban rhythms that already exist. The campaign does not aim to control public life but appropriates it under a coherent narrative with the intention to change perceptions and attract more visitors and consumers into the neighbourhood with a clear economic aim. Following Pine and Gilmore (1999) ‘ravalejar’ can be seen as an expansion of ‘experiential marketing’ where ‘[e]xperiences represent an existing but previously inarticulate genre of economic output’ (ix).