Contextualization
The interest in the study of rhythm, in its multiple configurations and understandings, has been fluctuating, with periods of intense interest, others in which it barely appears in the academic sphere. Although the first references to the concept date back to the 3rd century A.D., an overview of studies on rhythm shows that it is at the turn of the 19th century to the 20th century that systematized theories of rhythm as a scientific and philosophical problem emerge (Golston 1996; Henriques et al. 2014). This interest was triggered by the processes of transformation of modernity, such as growing urbanization, the development of the financial system or the fluidity of communications and transportation. The rhythm assumed the condition of the general interpreter of modernity and of the transformations that characterized that period, not only because it emerged as the notion from which these transformations could be studied and understood, but also because it was presented as the privileged vehicle for changes that were intended to be implemented. However, this conception of modernity tends to ignore extra-European phenomena in its analysis, forgetting its insertion in world history and, more specifically, its relationship with colonialism (Dussel 2000; Lugones 2008).
The conceptual elasticity of rhythm, its amplitude and the fact that it is a poorly defined term, allowed it to be understood and adopted by a multiplicity of disciplines as a productive term, thus increasing the fields interested in studying it, addressing it and modulating it. Despite the proliferation of studies on rhythm and the central place it played in the different disciplines, practices and artistic research, there was no common definition of this concept. If we look at the notion of rhythm used in each study, we will find that their conceptualizations are heterogeneous, resulting from the complexity of the rhythmic phenomenon and from the fact that each author privileges a different aspect of a multiple reality. This variation depends on the area of ​​knowledge or the artistic area in which these studies are developed, even within each area the perspectives are multiple, depending on who studies them or the research corpus.
Currently, we are witnessing a growing attention to the notion of rhythm and the consolidation of this emerging field of study, as evidenced by the proliferation of publications in the last two years (e.g. Lyon 2022; Michon 2021; Crespi & Mangani 2020; Barletta 2020), as well as research projects or events dedicated to rhythm and its analysis (e.g. from Argentina: EIRA – Rhythm in the Arts Research Group/UNA; the project The rhythmic experience in the art of the actor. Theoretical-methodological approaches to the problem of rhythm from artistic practice-based research/ UNICEN; National and International Congress of SEMA. Form and Rhythm/ SEMA; International Conference on Rhythm in the Arts/ UNA).
The first International Conference on Rhythm in Art was held in Buenos Aires in 2019 from which resulted the book Estética y Política del Ritmo (Coelho & Zorrilla 2020). In this second edition, we also open an international call for papers dedicated to the study of the relationship between rhythm and art. Rhythm is a central element in the creation of meaning in art, and its configuration is such that it requires a multi, inter and transdisciplinary approach. The difference of materials, procedures and events masks the resemblance of rhythmic phenomena that are similar in different arts and hides their identity or their homology. In the work of some scholars, the concepts do not seem to belong to any particular artistic discipline, being rather characteristic of the rhythmic phenomenon. The objective of this conference is to provide an instance for exchanging knowledge, concerns and aspirations for those who have been devoting themselves to the study and artistic creation on rhythm. Despite the numerous digital platforms through which authors communicate their research and can be accessed by interested people, we consider it necessary to create more opportunities for interpersonal exchange, where ideas can be debated face-to-face and exposed to the public discussion. This conference aims to be a space for these meetings to take place.

Presentation of papers according to thematic axes. We invite researchers and artists interested in reflecting on the encounters and disagreements between rhythm and art, in the following guidelines:

  • Rhythm and meaning. The place of rhythm and its analysis in the creation of meaning in art
  • Rhythm and language. Rhythm, meaning and subject in discourse beyond semantics
  • Rhythm and rhythmic. Different rhythmic practices and their explicit and implicit theoretical bases
  • Rhythms and materialisms. The rhythms of matter in art, beyond the human
  • Rhythm and form. Possibilities of a formal description of rhythm in different arts
  • Rhythm and norm. Subjectivities, identities and normativity in the rhythmic phenomenon
  • Rhythm and society. Rhythm in art and its relationship with social and political rhythms
  • Rhythm and practice-based research. The artistic investigation of rhythm in art
  • Rhythm and education. Ways of addressing the problem of rhythm in pedagogy

Presentation modalities: The format may include, in addition to the oral presentation, a presentation combined with practices related to the content of the presentation; video-essay; performance-conference or other modalities to be clarified in the submission of proposals.

Languages: The papers can be presented in Spanish, English, French and Portuguese. 

Abstract submission guidelines: 250 words Maximum. Must include, in a single Word document, Title, Name and surname of the author or authors, Biographical references, Biographical note of the author/s (maximum 150 words) and two (2) axes in which your paper can be integrated. Please indicate the basic technical requirements for your presentation. Send it to the email conferencecira@gmail.com with the subject “Abstract”.

Important dates
Abstract submission deadline: November 15, 2022
Notification of abstract acceptance: December 20, 2022
Programme announcement (provisional programme): January 30, 2023
Deadline for early registration: February 28, 2023
Final programme announcement: March 31, 2023
Conference in Buenos Aires: May 11 and 12, 2023
Deadline for submission of paper for publication (to be selected in a peer review process): May 31, 2023

Publication: The participants will be invited to send the written version of their communications, to be published in a collective volume under a peer-review process (estimated date: second half of 2023).

Bibliography
BARLETTA, Vincent (2020), Rhythm: Form and dispossession, Chicago, IL: University of Chicago Press. 
COELHO, Salomé & ZORRILLA, Aníbal (2020) (Eds.), Estética y Política del Ritmo. Paris: Rhuthmos. 
CRESPI, Paola & MANGHANI, Sunil (2020), Rhythm and Critique. Technics, Modalities, Practices, Edinburgh: Edinburgh University Press. 
DUSSEL, Enrique (2000), “Europa, modernidad y eurocentrismo” In Edgardo Lander, La colonialidad del saber: eurocentrismo y ciencias sociales. Perspectivas latinoamericanas. Buenos Aires: CLACSO, p.41-53. 
GOLSTON, Michael (1996), “‘Im Anfang war der Rhythmus’: Rhythmic Incubations in Discourses of Mind, Body, and Race from 1850-1944”, Stanford Humanities Review, N.5. 
HENRIQUES, Julian, Milla Tiainen & Pasi Väliaho (2014), “Rhythm returns: Movement and Cultural Theory”, Body & Society, Vol.20 (3&4), p.3-29. 
LYON, Dawn (Ed.) (2022), Rhythmanalysis (Research in Urban Sociology, Vol. 17), Bingley: Emerald Publishing Limited.
LUGONES, María (2008), “Colonialidad y género”, Tabula Rasa, N.o 9, p.73-101. 
MICHON, Pascal (2022), Problèmes de rythmanalyse, 2 Vol., Paris: Rhuthmos.