The sonic has come to occupy center stage in the arts and humanities. In
the age of computational media, sound and its subcultures can offer more dynamic
ways of accounting for bodies, movements, and events. In The Rhythmic
Event, Eleni Ikoniadou explores traces and potentialities prompted by the
sonic but leading to contingent and unknowable forces outside the periphery of
sound. She investigates the ways in which recent digital art experiments that mostly
engage with the virtual dimensions of sound suggest alternate modes of perception,
temporality, and experience. Ikoniadou draws on media theory, digital art, and
philosophical and technoscientific ideas to work toward the articulation of a media
philosophy that rethinks the media event as abstract and affective.
The Rhythmic Event seeks to define the
digital media artwork as an assemblage of sensations that outlive the space, time,
and bodies that constitute and experience it. Ikoniadou proposes that the notion of
rhythm--detached, however, from the idea of counting and regularity -- can unlock
the imperceptible, aesthetic potential enveloping the artwork. She speculates that
addressing the event on the level of rhythm affords us a glimpse into the nonhuman
modalities of thought proper to the digital and hidden in the gaps between strict
definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real).
Operating at the margins of perception, the rhythmic artwork summons an obscure zone
of sonic thought, which considers the event according to its power to become.