Ten of the 12 chapters in this amazing book begin by interviewing either an artist, scholar, designer, educator, or creator (and some are all five). This discussion recast as a monologue (or dialogue in the single case of a pair of interviewees) inspires the chapter’s subsequent sections. Eighteen individuals are interviewed, with additional contributions spun into the threads of the text.

Chapters 2 through 5 form Part 1, “Experiencing Rhythm,” and chapters 6 through 12 form Part 2, “Designing Rhythm.” This division is crucial because it takes that long to establish what rhythm is and how it works before application building can be considered. Much of what can be said about rhythm and its incorporation into interactive design is dependent on the nonverbal embodiment of the changes wrapped in time that we identify as rhythm. This secondary role of words is emphasized by the author’s multicultural congregation of not only different rhythms, but especially differing attitudes toward rhythm.

This book constitutes both a survey of how systems (games, interfaces, and interactive constructions--and not just deployed on computers) offer rhythmic experiences and a manifesto of how to do more and make it better. Rhythm is not the only nonverbal human experience serving this role of inspiration and encouragement, but it is a great place to start.

Chapter 2, “Culture and Time,” enlarges on the different ways rhythms, synchronization, and time itself are perceived and felt in the music and movement of various cultures. Based on the introductory monologue by ethnomusicologist Manolete Mora, who describes the extremes of Western versus Balinese listening, we enter an appreciative space of broadly embracing cultural relativity. For me, this is best expressed by the text’s citation of the two Greek timings of chronos and kairos, the time and the opportunity. The author’s analysis of this more than binary system illustrates the layered richness of this and succeeding chapters.

Another point of light is chapter 10, “Predictability,” where the interplay of repetition and change are underscored in the choreography of Rhiannon Newton. As the author writes, “repetition can create an intensity of attentional focus on change” (p. 141) and serve this dancer’s emphasis on extending moments of transformation. It is not obvious that repetition can create novelty--that paradox is the heart of the chapter.

These are just two threads woven into a tapestry that unites art and science and demonstrates the feasibility and value in embodying rhythm in practical interactive systems, games, simulations, and interfaces.

I find the nonstandard paragraphing style in the interviews distracting if not annoying. Otherwise, the book is solidly constructed and beautifully edited, honoring the unique contribution of the author’s insight, collection, and exposition.