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This article aims to emphasize the relevance of a minor tradition within aesthetic reflection that has attempted to think about rhythm beyond the pattern of sequential time, as an intensive power capable of contaminating the variability of the temporal flow and the staticity of the form. Within this tradition, the dichotomy of image and sound, of figure and movement becomes ineffective, and the gap opens to consider rhythm as a configurative power. Passing through Chladni, Novalis, Benveniste and Tarkowski, the article attempts to indicate the stakes of a visual consideration of rhythm and to indicate the features for an aesthetic capable of overcoming the dichotomy of figure and sound. [ABSTRACT FROM AUTHOR]