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This paper explores the relationships between humans and more-than-humans through the analysis of the rhythmic elements of the contemporary art installation Ajuar para un conquistador. An interdisciplinary approach bridges Art Studies and More-Than-Human Geographies to examine Ajuar and its environmental concerns, including the relationships between human and non-human worlds. Through 'rhuthmanalysis' – a new concept and word developed in the paper – textual and image analysis, and conversations with the artist, this study examines the social, cultural, and ecological meshwork of rhythms articulated within and by the art installation. 'Rhuthmanalysis' expands upon Henri Lefebvre and Catherine Régulier's rhythmanalytic project by incorporating Indigenous knowledge and an ecocritical standpoint while redefining the understanding of rhythm. The analysis explores how Ajuar, concerned with the endangerment of Patagonian birds, promotes a performative understanding of the artwork's capacities in the context of the interplay between the affective dimensions and politics of the creation of the Argentine nation-state. The paper argues that Ajuar participates in the social and political production of space and place, opening new forms of being together and challenging colonial narratives through a rhythmic lens. Moreover, this study seeks to offer a singular perspective on how approaching art as a rhythmic configuration of an intricate choreography of coexistence can provide unique insights into space and the environment. The paper concludes that 'rhuthmanalysis' is a privileged tool to address the need for a transdisciplinary methodology capable of giving account of the mutual unfolding of human and non-human existences and decolonising posthumanist geographies and rhythm studies. [ABSTRACT FROM AUTHOR]

Medical schools are among the most important spaces for the history of the body. It is here that students come to know the anatomical bodies of their future patients and, through a process of cognitive and embodied practice, that the knowing bodies of future clinicians are also shaped. Practical and theoretical understandings of medicine are formed in these affective and historied buildings and in collaboration with a broad material culture of education. Medical schools are, however, both under-theorised and under-historicised. This article integrates 'materialist' considerations of the body with Henri Lefebvre's philosophy of space and rhythm in order to compare two markedly different spaces – the 19th-century Anatomy Department at Semmelweis University in Hungary and the mid-20th-century 'skills laboratory' at Maastricht University in the Netherlands. This comparison suggests that biomedical bodies are variously shaped by the agential and affective material histories present in the everyday experience of contemporary medical education. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic has foregrounded the significance of time to everyday life, as the routines, pace, and speed of social relations were widely reconfigured. This article uses rhythm as an object and tool of inquiry to make sense of spatio-temporal change. We analyse the Mass Observation (MO) directive we co-commissioned on 'COVID-19 and Time', where volunteer writers reflect on whether and how time was made, experienced, and imagined differently during the early stages of the pandemic in the UK. We draw on Henri Lefebvre and Catherine Régulier's 'rhythmanalysis', taking up their theorisation of rhythm as linear and cyclical and their concepts of arrhythmia (discordant rhythms) and eurhythmia (harmonious rhythms). Our analysis highlights how MO writers articulate (a) the ruptures to their everyday rhythms across time and space, (b) their experience of 'blurred' or 'merged' time as everyday rhythms are dissolved and the pace of time is intensified or slowed, and (c) the remaking of rhythms through new practices or devices and attunements to nature. We show how rhythm enables a consideration of the spatio-temporal textures of everyday life, including their unevenness, variation, and difference. The article thus contributes to and expands recent scholarship on the social life of time, rhythm and rhythmanalysis, everyday life, and MO. [ABSTRACT FROM AUTHOR]