Advertisement

Culture and Time

  • Brigid M. Costello
Chapter
Part of the Springer Series on Cultural Computing book series (SSCC)

Abstract

Our ability to focus on and perceive rhythmic patterns, whether they involve aural, visual, tactile, kinaesthetic or any of our other senses, is a basic human skill that transcends culture and history. We all have a common ability to attend to rhythm yet our culture and its historical context has an impact on which rhythmic patterns we can perceive and produce with ease. The rhythmic traditions of the musical culture we are born into give us an internalised ruleset that makes it easy for us to hear any rhythm from our own musical culture, to play or dance along with it and to enjoy its emotional nuances. Ethnographic research suggests that these cultural rhythmic rulesets are not just musical. From birth, we become acclimatised to all kinds of rules and meanings in relation to rhythm, from the rhythms of walking down the street to the rhythms of social interaction. Developing an understanding of the impacts of on rhythmic experience is important for designers of interactive applications because of its potential impact on the end user behaviour. This impact applies not only for those applications aimed at a specific cultural context but also those aimed at the many different cultures within a global audience. An interview with ethnomusicologist Manolete Mora sets the scene for this exploration of the impact that culture and time has on rhythmic experience. As a researcher of musical cultures across South East Asia, China and Africa, Manolete Mora’s interview introduces us to the three themes of this chapter: the impact of culture on perceptions of time; the many different cultural practices of listening and performing; and the socio-cultural uses of synchronicity.

References

  1. Atkinson D (2008) Dancing “the management”: on social presence, rhythm and finding common purpose. Manag Decis 46(7):1081–1095CrossRefGoogle Scholar
  2. Bethesda Softworks (2011) The Elder Scrolls V: Skyrim. Video game, Windows, PlayStation, Xbox. Bethesda Softworks, USAGoogle Scholar
  3. Calleja G (2007) Digital game involvement: a conceptual model. Games and Cult 2(3):236–260CrossRefGoogle Scholar
  4. CD Projekt (2011) The Witcher 2: Assassins of Kings. Video game. PC, Xbox. CD Projekt, PolandGoogle Scholar
  5. Dean RT, Byron T, Bailes FA (2009) The pulse of symmetry: on the possible co-evolution of rhythm in music and dance. Musicae Scientiae 13 (2_suppl):341–367Google Scholar
  6. De Koven B (2013) The well-played game. MIT Press, Cambridge, Massachusetts, USAGoogle Scholar
  7. Duke RA (1994) When tempo changes rhythm: the effect of tempo on nonmusicians’ perception of rhythm. J Res Music Educ 42(1):27–35.  https://doi.org/10.2307/3345334CrossRefGoogle Scholar
  8. Emmerson S (2007) Living electronic music. Ashgate, Great BritainGoogle Scholar
  9. Frith S (1998) Performing rites. Harvard University Press, USAGoogle Scholar
  10. Gee JP (2009) Deep learning properties of good digital games: how far can they go? In: Ritterfield U, Cody M, Vorderer P (eds) Serious games: mechanisms and effects. Routledge, New York, pp 67–82Google Scholar
  11. Gibbs A (2010) Sympathy, synchrony and mimetic communication. In: Gregg M, Seigworth GJ (eds) The affect theory reader. Duke University Press, USA, pp 187–205Google Scholar
  12. Hall ET (1983) The dance of life: the other dimension of time. Anchor Books, USAGoogle Scholar
  13. Hamilton K (2011) The unsung secret of great games—and how some games get it so wrong. kotaku. http://kotaku.com/5808033/the-unsung-musical-secret-of-great-gamesand-how-some-games-get-it-so-wrong. Accessed 28 Apr 2013
  14. Hasty CF (1997) Meter as rhythm. Oxford University Press, New York, USAGoogle Scholar
  15. Iyer V (2002) Embodied mind, situated cognition, and expressive microtiming in African-American music. Music Percept 19(3):387–414CrossRefGoogle Scholar
  16. Klei Entertainment (2013) Don't Starve. Video game. PC, IOS, Android, Xbox, PlayStation, Wii U. Klei Entertainment, CanadaGoogle Scholar
  17. Kirkpatrick G (2011) Aesthetic theory and the video game. Manchester University Press, Manchester, UKGoogle Scholar
  18. Levitin DJ (2006) This is your brain on music: the science of a human obsession. Dutton, New York, USAGoogle Scholar
  19. Loehr D (2007) Aspects of rhythm in gesture and speech. Gesture 7(2):179–214CrossRefGoogle Scholar
  20. McNeill WH (1995) Keeping together in time: dance and drill in human history. Harvard University Press, USAGoogle Scholar
  21. Mojang (2011) Minecraft. Video game. PC, IOS, Android, Xbox, PlayStation, Wii U, Nintendo. Mojang, Sweden; Microsoft, USA; Sony Interactive Entertainment, USAGoogle Scholar
  22. Miller K (2012) Playing along: digital games, YouTube and virtual performance. Oxford University Press, New York, USACrossRefGoogle Scholar
  23. Oliveros P (2003) An interview with Pauline Oliveros. American Mavericks. American Public Media, OnlineGoogle Scholar
  24. Roholt TC (2014) Groove: a phenomenology of rhythmic Nuance. Bloomsbury, New York, USAGoogle Scholar
  25. Sachs C (1952) Rhythm and tempo: an introduction. The Musical Q 38(3):384–398CrossRefGoogle Scholar
  26. Sommers DI (1993) Team building in the classroom through rhythm. J Manag Educ 17(2):263–268MathSciNetCrossRefGoogle Scholar
  27. Thaut MH (2005) Rhythm, music and the brain. Routledge, New YorkGoogle Scholar
  28. Thompson N (2010) Contractions of Time: On social Practice from a Temporal Perspective. e-flux journal (20)Google Scholar
  29. Turino T (2008) Music as social life. University of Chicago Press, USAGoogle Scholar
  30. Yopst CG (2015) Choreographing compassion: a clinical adventure of rhythms. Pastoral Care & Couns 69(2):60–67CrossRefGoogle Scholar
  31. Young IM (1980) Throwing like a girl: a phenomenology of feminine body comportment motility and spatiality. Hum Stud 3(1):137–156MathSciNetCrossRefGoogle Scholar

Copyright information

© Springer International Publishing AG, part of Springer Nature 2018

Authors and Affiliations

  1. 1.School of the Arts and MediaThe University of New South WalesSydneyAustralia

Personalised recommendations