Kaye, N. (2000) Site-Specific Art: Performance , Place and Documentation. New York: Routledge.

Intro, p. 1

Site-specificity

If one accepts the proposition that the meanings of utterances, actions and events are affected by their ‘local position’, by the situation of which they are a part, then a work of art, too, will be defined in relation to its place and position.

the location, in reading, of an image, object, or event, its positioning in relation to political, aesthetic, geographical, institutional, or other discourses, all inform what ‘it’ can be said
to be.

site-specific work

a ‘site-specific work’ might articulate and define itself through properties, qualities or meanings produced in specific relationships between an ‘object’ or ‘event’ and a position it occupies.

p. 2

To move the site-specific work is
to re-place it, to make it something else

1. condition of reception

‘Site-specificity’, as Crimp defines it here, is not resolved into the special characteristics of the minimalist object’s specific position, but occurs in a displacement of the viewer’s attention toward the room which both she and the object occupy.

the minimalist object emphasises a transitive definition of site, forcing a self-conscious perception in which the viewer confronts her own effort ‘to locate, to place’ the
work and so her own acting out of the gallery’s function as the place for viewing

2. experience in a situation –> includes the beholder

forcing an incursion of the time and space of viewing into the experience of the work

p. 3

The perspective of the book on site-specific

this book proposes a site-specificity linked to the incursion of performance into visual art and architecture, in strategies which work against the assumptions and stabilities of site and location

site-specificity should be associated with an underlying concept of ‘site’, rather than with any given or particular kind of place or formal approach to site.

site-specific practices are identified, here, with a working over of the production, definition and performance of ‘place’.

Comment

It’s quite interesting that I am working with time and I connect this to a working over of place. Maybe the most important notion here is “forcing an incursion of the time and space of viewing into the experience of the artwork”. And my question is:

Is there an experience of time without a space?

Isn’t the human experience of time situated in the site of the body, to start with? Isn’t the body itself situated in a space. Situated does not exclude movement.

Is there a temporality without a space?

The writer might say time. I want to write temporality, because temporality refers to a conditioned time.

p. 3

the functioning of language
provides an initial model for the performance of place ?????

p. 4+5

Michel de Certeau (1984) “The Practice of Everyday Life”

>> relationship between “place” and “space”

–> ‘place’ as an ordered and ordering system realised in ‘spatial practices’

cited de Certeau: “space is a practiced place. Thus the street geometrically defined
by urban planning is transformed into a space by walkers.”

considered through Ferdinand de Saussure’s distinction between

langue: the complex of rules and conventions which constitute a language

parole: the practice of speech in which these rules are given expression

langue realised in practices, yet never wholly manifest in any particular
linguistic expression

‘place’ is an exclusive and self-regulating system of rules, ‘an instantaneous
configuration of positions’ (de Certeau 1984: 117), which enunciation or practice at once realises and depends upon. As the order through which a practice obtains location, it is this ‘place’ which ensures that practices make sense.

>> Place as ordering system and space as ordering activities

De Certeau states that:
“A place [lieu] is the order (of whatever kind) in accordance
with which elements are distributed in relationships of
coexistence. It thus excludes the possibility of two things
being in the same location [place]. The law of the ‘proper’
rules in the place: the elements taken into consideration are
beside one another, each situated in its own ‘proper’ and
distinct location, a location it defines.”
(de Certeau 1984: 117)

The order and stability of place, however, is not a property of the practices in which it is realised. Spatial practices may give multiple expressions to the stability
and orderliness, to the ‘univocity’, of place.

Space, he suggests, ‘occurs
as the effect produced by the operations that orient it, situate it,
temporalize it, and make it function in a polyvalent unity of
conflictual programmes’

Certeau does not read place as an order, but as an ordering system,
while spatial practices do not reproduce fragments of a given order,
but operate as ordering activities… Thus, different and even incompatible
spaces may realise the various possibilities of a single place.

p. 5

>> of unpredictability

Space, as a practiced place, admits of unpredictability. Rather thanmirror the orderliness of place, space might be subject not only to transformation, but ambiguity. If space is like the word when it is spoken, then a single ‘place’ will be realised in successive, multiple
and even irreconcilable spaces. It follows that, paradoxically, ‘space’ cannot manifest the order and stability of its place.

>> to walk

‘[t]o walk is to lack a place. It is the indefinite
process of being absent and in search of a proper’ (de Certeau 1984:103).

Caught in the act of enunciation, perpetually in the practiced place, the walker can never resolve the multiple and conflicting spaces of the city into the place itself. The walker is thus always in the process of acting out, of performing the contingencies of a
particular spatial practice

>> the city

For de Certeau, the modern city epitomises this transitory condition, producing an awareness of our perpetual performance of place but inability to come to rest in the stability of the ‘proper’.

Comment

So I need to consider (through de Certeau) what it means to walk in the city without destination. To walk in perpetual performance of the impossibility of place, unable to rest, attentive to the multiple and conflicting spatial practice. There is still here an allocation of time in space, which clashes with Bergson’s attempt to separate perception and experience of time from its representation in space. The keyword being here: representation. Time represented in space: numerical lining up of individual yet homogeneous units of time one next to another. Bergson claims that time is experienced in human consciousness as interviewing multiple states. Succession is not a line up, a chain of parts that do not penetrate each other. Succession is a the interweaving, the merging of states of consciousness. De Certeau speaks of space as a particular spatial practice of a place. What my walk intends to do is to practice a particular temporality in a space. Why do you need space. My body is already a site, and when it practice and performs it does so in a space. I choose a public space because it carries a temporality of the city with which I want to dialogue with?

How to dialogue?

p. 6

>> lacking place, the walker

“The moving about that the city multiplies and concentrates
makes the city itself an immense social experience of lacking a place“

Comment

Maybe that is why, people long for their home. They occupy the public space, when they perform a concrete action: going to work, shopping, doing errands, taking a walk in their free time. This experience of lacking a place in the city of constant movement and transitions, might make the public space unhospitable. And a planned moving about in the city people long for their home, because it seems…

In the city, de Certeau’s walker realises the site in its transitive sense, always in the act or effort of locating, and never in the settled order, the ‘proper place’, of the location itself.

p. 7

this sense of mobility, of spaces
or places defined in fluid, shifting and transient acts and
relationships, reveals further ties between approaches to site through
visual art and theatre. ???

p. 8

>> Tim Etchells and Forced Entertainment, performance and space/place

such strategies foreground ‘the inability of the performers to fully inhabit the texts and gestures which they perform’ in an articulation of a sense that ‘[t]here’s no utterance by anybody that isn’t somehow a quotation of something else’ (Kaye 1996: 244). Translated into an address to a real city, which, Etchells suggests, ‘is both a map of space and a map of states of mind’ (Etchells 1999: 77), the company engage in a ‘writing over the city’ which reflects the notion that ‘The space that we really live in is a kind of electronically mediated
one. And it feels like one’s landscape – the source of one’s images, the things that haunt you – are likely to be second, third, fourth-hand’.

this journey
evokes an inability to rest in the places toward which the audience’s
attention is directed. As a site-specific work, Nights In This City
articulates a curious displacement from a site whose particularities
cannot be easily or appropriately named.

p. 9

>> experience of lacking a place, or of a place characterised by mobility or movement in relation to place and space –> anthropologist Marc Augé ‘non-place’

non-place in opposition to what he describes as anthropological place
distinctions between the transitive and substantive definitions of site

‘anthropological place’, Augé states, ‘is formed by individual identities, through complicities of language, local references, the unformulated rules of living know-how’ (Augé 1995:101), where one’s location or position is known

‘“non-place” designates two complementary but distinct realities: spaces formed in relation to certain ends (transport, transit, commerce, leisure), and the relations that individuals have with these spaces’ (Augé 1995: 78). Here, non-place is characterised by a
projection forward, in the individual’s relationship with this moving on, and so in a mobility which suppresses the differences in which anthropological places are established

Comment

My research is positioned in the intraplace of use of time, use of urban public space and the idea of work in the beginning of the 21st century.

p. 10′

“Space, as frequentation of places rather than a place stems in
effect from a double movement: the traveller’s movement, of
course, but also a parallel movement of the landscapes which
he catches only in partial glimpses, a series of ‘snapshots’
piled hurriedly into his memory and, literally, recomposed in
the account he gives of them [. . .] Travel [. . .] constructs a
fictional relationship between gaze and landscape.“
(Augé 1995: 86)

Here, too, in this frequentation of places which specifically defines the journey, Augé argues, the spectator’s gaze is subject to a deflection or reversal, where, in this passing over, by or through places ‘the individual feels himself to be a spectator without paying
much attention to the spectacle. As if the position of spectator were the essence of the spectacle, as if basically the spectator in the position of a spectator were his own spectacle’ (Augé 1995: 86).

Nights In This City, then, can be read as articulating this
movement and reversal. Alan’s narrative, the promise of coincidences
between the fictions of the text and the happenstance of the street, as
well as the thought that amid this flow of the everyday there may be
incidents constructed for the audience, demands that one looks for
the piece outside. Yet in looking out, through the trace of one’s own
reflection in the window, this gaze is returned by passers-by

the tour-bus […] is realised and reflected back to the viewer as a place
for looking, provoking a self-conscious perception over which these
representations of the city are played. For Augé, this self-regarding
gaze suggests precisely a writing over of place through the
anticipated image, a moving on epitomised by contemporary travel

>> Yet non-place is not in any simple way the antithesis or negation of place.

Indeed, non-place is defined, first of all, in relation to place, even as that relationship is one of displacement.

Augé:
“Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations is ceaselessly rewritten. But
non-places are the real measure of our time.”

Here, the palimpsest […] not
only provides a model for the relationship of non-place to place, but, in the context of a transitive definition of site, of site-specificity itself. Thus, Nights In This City approaches the real city as palimpsest, by acting out a writing over of sites already written
upon. Furthermore, in this moving on from site, this site-specific performance attempts to define itself in the very sites it is caught in
the process of erasing.

It is in such contexts that site-specific art frequently works to
trouble the oppositions between the site and the work.

p. 33

Performing the City: Krzysztof Wodiczko

‘White Cube’ gallery’s signification of emptiness
the urban landscape offers a profusion (αφθονία) and complexity of signs andspaces where the ‘condition of reception’ Crimp first identifies with
site-specificity might be countered by an excess of information.

Krzysztof Wodiczko assumes that the built environment functions as a signifying system whose meanings can be destabilised

“The Production of Space” Henri Lefebvre outlines an understanding of the
function of the city’s monuments:
“Monumentality [. . .] always embodies and imposes a clearly
intelligible message. It says what it wishes to say – yet it hides
a good deal more […]”

p. 35

Lajer-Burcharth argues, while asserting ‘architecture’s involvement in the maintenance of a certain order’ (Lajer-Burcharth 1987: 147), the AT&T projection has the effect of ‘introducing a foreign element into the original structure’, as a consequence of
which “the spectator was left uncertain as to the naturalness of this new ‘body.’” + interruption and ambiguity

p. 36

Wodiczko’s projections challenge the distinction between the ‘built monument’ and the ‘projected image’ by resolving the cityscape into a play of representations.

Rather than establish a vantage point from which the city’s ‘text’ might be read, or constituting a work explicitly ‘other’ to the city-scape, Wodiczko’s ephemeral inscriptions produce ‘a counter-image or counter-monument’ (Wodiczko and Ferguson 1992: 50) which participates in the
cityscape.

p. 38

de Certeau: architecture, in its various operations, constitutes a
‘place’ realised in the multiple and diverse practices of its users

Comment:

Regarding the train station I need to focus on the use of the train station in terms of social organisation of time

I went yesterday to the Market Square. There was a couple of people walking on it and a child riding its bike. It was after sunset and it was cold. Maybe that is why it was empty. Yet I have passed-by the square a few times and every time it was empty. Except of Saturdays, when the planned open market takes place.

On the one side of the square there is a building with a wide staircase. Some people with skateboards were practicing there.

I found one bench on the square provided by a neighburing cafe. There are shapes constructed with stones. An oval or elliptical shape is in the middle of the square.

it surprises me that people do not opt to use the square outside the planned open market.

The flâneur

Notes: Merlin Coverley, “Psychogeography” chapter “Paris and the rise of the Flaneur”

p. 57-58

Psychogeography lies within a tradition that celebrates the writer as walker

The flaneur’s aimless strolling is elevated to an art form

Edgar Allan Poe The man of the crowd: one of the earliest examples of the use of the crowd as a symbol for the emerging modern city, exploring the role of the detached observer who becomes intoxicated by its movement.

From the outset the flâneur is a nostalgic figure who, in proclaiming the wonders of urban life, also acknowledges the changes that threaten to make the idle pedestrian redundant.

Avant-guard between the wars and surrealism: the role of the flaneur is salvaged

The surrealists provide an account of a new kind of wanderer, alive to the potential transformation of the
city and engaged in those subversive and playful practices that were later to become the hallmark of the situationists. Here, once again, the wanderer whose movements transform his surroundings provides a link with a lost tradition that reclaims the city as the site for political and aesthetic experimentation.

haphazard –> planlos

what is the connection here between haphazard and hazard?

The “hap” in “haphazard” comes from an English word that means “happening,” as well as “chance or fortune,” and that derives from the Old Norse word happ, meaning “good luck.” Perhaps it’s no accident that “hazard,” as well, has its own connotations of luck: while it now refers commonly to something that presents danger, at one time it referred to a dice game similar to craps. (The name ultimately derives from the Arabic al-zahr, or “the die.”) “Haphazard” first entered English as a noun (again meaning “chance”) in the 16th century, and soon afterward was being used as an adjective to describe things with no apparent logic or order.

p. 61-62

Rebecca Solnit, has commented, ‘The only problem with the flâneur is that he did not exist, except as
a type, an ideal, and a character in literature… no one quite fulfilled the idea of the flâneur, but everyone
engaged in some version of flâneury.’6

The flâneur is elusive to the point that he cannot be located at all but the search for this figure itself takes on
the characteristics of flâneury and offers new ways of experiencing the city.

That makes my think of time as a phenomenon that is almost impossible to pin down, to describe, to touch, to capture, to understand. Maybe the type of the flaneur is quite suitable as practice of being in pursuit of experiencing time in the city.

Paris in the nineteenth century had expanded to the point where it could
no longer be comprehended in its entirety… alien to its own inhabitants, a strange and
newly exotic place to be experienced more as a tourist than as a resident… a jungle, uncharted and unexplored … the stroller is transformed into an explorer or even a detective solving the mystery of the city streets.

As public spaces become private ones and the street is choked with traffic, so walking is reduced to mere promenading, explorers becoming little more than window-shoppers.

p. 63-64

Baudelaire equates Poe’s Man of the Crowd with the flâneur but Benjamin challenges this position by arguing that the London that Poe describes, with its overcrowded thoroughfares, cannot support the aimless movement of the flâneur. The detached composure of the true stroller instead gives way to manic and uncontrolled behaviour more akin to a stalker: ‘He is as much out of place in an atmosphere of complete leisure as in the feverish turmoil of the city. London has its man of the crowd.’

Benjamin sees Poe’s character as a portrayal of the fate of the flâneur in the machine age

We are long over/beyond the machine age and the modern era. Of course streets and buildings and machines and habits and cultural values from the modern era survive into the 21st century. Yet there are more/other/different/added things to consider now: the economy of service, the digital era, the smartphone as an extension of the hand/body/self, the laptop as a tool for everything including work, communication, chitchat, leisure, entertainment, window to the world, site for performance storage and so on. An ironic saying about digital hardware and their multi-solving capacities in Greek goes like this: it can do everything except good coffee.

Anyways about the flaneur today in Arnhem: it is difficult to get lost if you constantly pay attention to staying in the pedestrian lane. I have noticed that. The whole city is organised in lanes. There is hardly no space to walk without lanes. The abundance of stimuli in the city. Products, products, advertisements, ringtones, notifications. And then there is the smartphone. It is difficult to get lost in the city if you are lost in the digital world of the smartphone. And it is improbable to get lost in the city if you use the google maps app on your phone. More to that in my post here.

So, smartphones are to blame, then.

No I did not say that. It is about the use, the relation.

… the flâneur is reduced to little more than a cog in the machine, an automaton governed by the pressures of a barbaric crowd... αυτο σηκώνει πολύ κουβεντα… και ισως αυτη να ειναι η κουβεντα που θελω να ανοίξω

For Benjamin, the flâneur is unable to maintain his detachment and is inevitably caught up by the commercial forces that will eventually destroy him… The role of window-shopper is thus both the high
-point and the death-knell for the flâneur

p. 65

this insistence upon a walker’s pace questions the need for speed and circulation that the modern city promotes (yet seldom achieves).

his predominant characteristic is the way in which he makes the street his home
and this is the basis of his legacy to psychogeography

the cities that he inhabits are shown to be increasingly hostile to him as he is ultimately evicted from the street and forced to seek a new environment.

Βεβαιως αυτό μπορεί να συνδεθεί με

disvalued public space,

με δρόμους πεζοδρόμια αλανες πλατείες που καταλαμβάνονται από επιχειρήσεις τραπεζοκάρεκλα και τα τοιαυτα,

με φοβισμένους ή ευυπόληπτους πολίτες που μεταφορουν εαυτον και τεκνα ή ομήγυρη σε κλειστούς ή ελεγχόμενους χώρους για λόγους ασφαλείας

και οπωσδήποτε με τούς πρόσφατους περιορισμούς κυκλοφορίας οι οποίοι απαγορεύουν τις συναθροίσεις και την παραμονή σε δημόσιους χώρους (αν δεν υπάρχει κάποιος συγκεκριμένος σκοπός υπ’αριθμόν 1-6 μυνηματος 13033). Παρόλο που στην αρχή του lockdown τουλάχιστον οι άνθρωποι είχαν ξαναθυμηθεί τη χρήση των δημόσιων μη κερδοσκοπικού ενδιαφέροντος χώρων, αφού δεν είχαν και άλλη επιλογή για να πάρουν μια ανάσα αέρα.

p. 68

The verb flâner has
been defined as Errer sans bout, en s’arrêtant pour regarder
which translates as ‘wandering without aim, stopping once
in a while to look around’.

Arthur Rimbaud, robinsonner, which means ‘to let the mind wander or to travel mentally.’
Robinsonner refers back to Defoe’s Robinson Crusoe with its twin themes of the imaginary voyage and isolation and, in the figure of Robinson, we find the model for the urban wanderer in the modern city, a figure who, like Rimbaud himself, is a mental traveller with the ability to survive in hostile territory.

p. 71

… a deranged voyeur with a camera, shadowing the streets of Soho in search of a shot that will make sense of
his weakening grasp on reality. He is a figure who retains the detachment of the flâneur but for whom the boundaries between reality and imagination have become blurred:‘He was both as substantial and as thin as a character in a movie…’

p. 72

If the flâneur celebrated by Baudelaire and Benjamin is merely a passive observer detached from his surroundings, then his female counterpart, the flâneuse, is ascribed a quite different role, that of the prostitute.

As we approach the avant-garde flowering of the inter-war period, the streets of Paris are increasingly
characterised as an erotic location – a place to procure, seek out or simply think about sex.

Breton’s Nadja and Aragon’s Paris Peasant, 1918: they were to produce the closest we have yet come to what has been described as the psychogeographical novel. Features:

• absence of plot
• digressive style
• accounts of journeys conducted through the Paris streets which are governed, in varying degrees, by sexual desire
• aimless strolling/drifting
• spontaneous and unexpected, chance governs all (Breton’s Nadja)
• open-ended geographical automatism
• memory and desire refashion the streets (Nadja, p. 75)
• casual and seemingly unplanned combination of local history and biography (Aragon, p. 76)
• political and philosophical debate (Aragon p. 76)

p. 73

in their aimless strolling, they provide not only a precursor to the situationist dérive but a blueprint
for contemporary wanderers on the streets of London.

Surrealism, the Dada movement and many of the avant-garde groups that flourished in the aftermath of WWI, were guided, not merely by the aim of producing works of art, but by the hope of transforming our experience of everyday life and replacing our mundane existence with an appreciation of the marvellous. In short, surrealism’s domain was the street and the stroll was a crucial practice in its attempt to subvert and challenge our perceptions.

flâneur and Robinson begin to coalesce, forging a figure whose journey through the streets is both directed and transformed by the dictates of these unconscious drives.

p. 74

The surrealist practice of automatism, in which the unconscious was given free rein, was not simply confined to automatic writing but also extended to walking.

p. 75

Aragon’s Paris Peasant bridges the playful practices of the avant-garde and the revolutionary politics of the situationists: it rails against the destruction of this city, whose arcades were soon to be demolished

p.76

Critique on surrelist automatism (writing and walking)

Automatism turned out to provide rather tedious and uninspired results and, as far as walking was concerned, a lot of leg-work was expended with little obvious result.

p. 77

these books… demonstrate degree to which the flâneur can no longer stand at the wayside or retreat to his armchair but must now face up to the destruction of his city… the very act of walking had to become subversive, a means of reclaiming the streets for the pedestrian. Psychogeography was about to be born.

.

.

Urban Walking

Notes: Megan V. Nicely, 2015, Choreographing the City: Techniques for Urban Walking

Rhythmanalisis: space, time and everyday life

Henri Lefebvre, 2004

p. 6

No rhythm without repetition in time and in space,
without reprises, without returns, in short without measure
[mesure].3 But there is no identical absolute repetition, indefinitely. Whence the relation between repetition and difference.
When it concerns the everyday, rites, ceremonies, fêtes, rules and
laws, there is always something new and unforeseen that introduces itself into the repetitive: difference.

After the Revolution, against the values
of the revolutionaries (and despite the protestations of reactionaries wanting a return to the past), a new society was installed:
that socio-economic organisation of our urban–State–market
society. The commodity prevails over everything. (Social) space
and (social) time, dominated by exchanges, become the time and
space of markets; although not being things but including
rhythms, they enter into products.

p. 7-8

a) Absolute repetition is only a fiction of logical and mathematical thought, in the symbol of identity: A = A (the sign reading ‘identical’ and not ‘equal’). It serves as a point of departure for
logical thought, with an immediate correction.
b) Not only does repetition not exclude differences, it also gives birth to them; it produces them. Sooner or later it encounters the event
c) ‘Differences induced or produced by
repetitions constitute the thread of time’?

Cyclical repetition and the linear repetitive separate out under analysis, but in reality interfere with one another constantly. The cyclical originates in the cosmic, in nature: days, nights, seasons,
the waves and tides of the sea, monthly cycles, etc. The linear would come rather from social practice, therefore from human activity… And it is their relation that enables or rather constitutes the measure
of time (which is to say, of rhythms).

Time and space, the cyclical and the linear, exert a reciprocal
action: they measure themselves against one another

A further paradox: rhythm seems natural, spontaneous, with no law other than its unfurling.5 Yet rhythm, always particular… always implies a measure (law, calculated and expected obligation, a project)

p. 9

Rhythm reunites quantitative aspects and elements, which mark time and distinguish moments in it –
and qualitative aspects and elements, which link them together, found the unities and result from them.

Rhythm appears as regulated time, governed by rational laws, but in contact with what is
least rational in human being: the lived, the carnal, the body

Rational, numerical, quantitative and qualitative rhythms superimpose themselves on the multiple natural rhythms of the body (respiration, the heart, hunger and thirst, etc.), though not without changing them. The bundle of natural rhythms wraps itself in rhythms of social or mental function… However, the natural and the rational play only a limited role in the analysis of rhythms, which are simultaneously natural and rational…

p. 10

Would the spatialisation of time be a preconditional operation for its measurement? If yes, does this operation generate errors, or does it, on the contrary,

stimulate knowledge at the same time as practice?

The relative remains suspect, despite the discoveries of the twentieth century;
we prefer the substantial to it (and we often make time a sort of substance, its structure deriving from a divine transcendence)

p. 15

Everywhere where there is interaction between a place, a time
and an expenditure of energy, there is rhythm. Therefore:
a) repetition (of movements, gestures, action, situations,
differences);
b) interferences of linear processes and cyclical processes;
c) birth, growth, peak, then decline and end.

p. 16

The notion of rhythm brings with it or requires some complementary considerations: the implied but different notions of
polyrhythmia, eurhythmia and arrhythmia. It elevates them to a
theoretical level, starting from the lived. Polyrhythmia? It suffices
to consult one’s body; thus the everyday reveals itself to be a
polyrhythmia from the first listening. Eurhythmia? Rhythms
unite with one another in the state of health, in normal (which is
to say normed!) everydayness; when they are discordant, there is
suffering, a pathological state (of which arrhythmia is generally, at
the same time, symptom, cause and effect). The discordance of
rhythms brings previously eurhythmic organisations towards fatal
disorder. Polyrhythmia analyses itself. A fundamental forecast:
sooner or later the analysis succeeds in isolating from within the
organised whole a particular movement and its rhythm. Often
coupled empirically with speculations (see, for example, doctors
in the field of auscultation, etc.), the analytic operation simultaneously discovers the multiplicity of rhythms and the uniqueness
of particular rhythms (the heart, the kidneys, etc.).

p. 17

One can classify rhythms according to these perspectives by
crossing the notion of rhythm with those of the secret and public,
the external and internal.
a) Secret rhythms: First, physiological rhythms, but also psychological ones (recollection and memory, the said and the non-said, etc.).
b) Public (therefore social) rhythms: Calendars, fêtes, ceremonies and celebrations; or those that one declares and those that
one exhibits as virtuality, as expression (digestion, tiredness, etc.).
c) Fictional rhythms: Eloquence and verbal rhythms, but also
elegance, gestures and learning processes. Those which are
related to false secrets, or pseudo-dissimulations (short-, mediumand long-term calculations and estimations). The imaginary!
d) Dominating–dominated rhythms: Completely made up:
everyday or long-lasting, in music or in speech, aiming for an
effect that is beyond themselves.

p. 27

In order to grasp and analyse rhythms, it is necessary to get
outside them, but not completely: be it through illness or a technique. A certain exteriority enables the analytic intellect to
function. However, to grasp a rhythm it is necessary to have been
grasped by it; one must let oneself go, give oneself over, abandon
oneself to its duration.

In order to grasp this fleeting object, which is not exactly an
object, it is therefore necessary to situate oneself simultaneously
inside and outside. A balcony does the job admirably,

p. 30

The interaction of diverse, repetitive and different rhythms animates, as one says, the street and the
neighbourhood. The linear, which is to say, in short, succession, consists of journeys to and fro: it combines with the cyclical, the movements of long intervals

It sounds like the cyclical is of an implied longer period, so the linear would be the shorter. I am not convinced

The cyclical is social organisation
manifesting itself. The linear is the daily grind, the routine, therefore the perpetual, made up of chance and encounters.

Again, what? I would need some explaining here