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Rhythm is Rhythm Leaflet .pdf

Original filename: Rhythm is Rhythm Leaflet.pdf
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featuring Body Antionette (Body) & Cellar Dweller (Mind)
We feel music with both our body and mind, either refecting on it in context or feeling it in-themoment and dancing. Bryan Rill argues that the relative power of each on our perception shifs
during the dance music experience: “Te direct interaction between the body and the world is
represented in what Damasio calls the ‘‘proto-self’’ as a series of neural mappings. Te proto-self
is a non-conscious representation of the state of one’s body at any given moment, and this bodily
awareness is constantly changing because our bodily experience in the world is always changing.
Tis interaction gives rise to our initial perception of the world, but sensation alone does not give
rise to consciousness. Conciousness is constructed from a remapping and reaction to this
sensation from your memory and context. Tis is the extended consciousness. In sum, coreconsciousness is an awareness of one’s body state in relation to the self. It is the ‘‘in-the-moment’’
self that pays attention to immediate experience only. Te extended consciousness, or
autobiographical self, is our cognitive re-fection of our personal life experiences. It is a feedback
loop, and as we experience life we gain knowledge that conditions our future interactions in the
world. In Damasio’s terms, the extended consciousness afects the core consciousness by
conditioning what we see, hear, feel and taste. While those in the trance state are fully conscious
of their immediate experience, they do not always attribute that experience to the
autobiographical self. In trance states, it is possible to shed the extended consciousness and exist
wholly in a realm of the core consciousness. Becker has found this phenomenon to be common
in musical trancing across many cultures, so it should come as no surprise to also fnd this within
rave music. Given this, ego-death is not a complete dissolution of self on the dancefoor. Rather,
the predominant mode of self is that of core consciousness. Te self then becomes what the body
perceives. Surely this mode of being, one where the self is a contoured mix of soundscapes, fesh,
movement, and feeling is fundamentally diferent than the sense of you or I as we read this text.”


Video compiled by Dr Matthew Cheeseman and Dr David Forrest, edited by Nick Potter.
Tis work refects research by Dr Matthew Cheeseman and Dr David Forrest (School of English,
University of Shefeld) which has explored the representation of nightclubs and dance foors in
British cinema. Matthew and David argue that the such flms persistently present deeply
formulaic and innately conservative representations of club cultures, whereby rigidly defned,
individuating pursuits of narrative structure deny the transgressive possibilities of the dance foor
space. Fragments from nightclub flms are presented here alongside repeated narrative codes and
principles; rules of storytelling which make visible the formulas and practices of the genre.


Programming and performance by Alex Keegan and Alex McLean
In music, the perception and prediction of rhythms is of utmost importance. To be able to expect
that a certain beat will follow previously heard regular beats, allows humans to generate motor
movements that can be in sync with the pulse of music. Dance - the most common manifestation of
this - involves predicting rhythms rather than merely reacting to them. Tis ability, possessed
almost uniquely by human beings, refects an ability to sync to rhythms that may refect some
evolutionary purpose. Whether it’s due to some ancient mating ritual or a byproduct of the
necessary faculties required to engage in a linguistic interaction, our ability to sync to a pulse and
perform actions in line with a future rhythm is extraordinary.
Troughout history, forms of dance music have exploited this ability and the capacity to generate
movements in an audience is one of the key purposes of many genres. Towards the latter half of the
twentieth century, musicians became increasingly able to create danceable grooves thanks to the
mechanical accuracy of electronic devices. Te sounds generated gave a more refned sense of
direction and a rhythmic precision that increased the danceability of music. Tis created a
movement of artists and dancers that became obsessed with the pleasure of interacting with and
predicting musical rhythms. EDM in its broadest defnition has evolved and reinterpreted itself on
many occasions but all its sub-genres are grounded in a certain number of unbreakable rules
concerning rhythm expectation which can facilitate successful syncing to rhythms and the euphoria
felt as a result:
1. Any rhythm that follows a pulse formed of isochronous (regular) rhythms will itself, be regular.
2. Any section that has a regular pulse will progress to a following section which also a regular pulse.
Te progression of certain characteristic sections will follow each other in sequence, For
example a ‘drop’ will always follow from a ‘build-up’. .....

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