Rhythm as knowledge-translation, knowledge as rhythm-translation

The paper explores Henri Meschonnic’s conception of rhythm as a vehicle of subjectivization—but specifically of intersubjectization, and thus as a key channel of knowledge transfer or knowledge translation. Because we experience rhythm in time, knowledge-translation that comes to us as rhythm-as-intersubjectivization is experienced serially; because it is a phenomenology of body-becoming-mind, it is experienced kinesthetically-becoming-affectively-becoming-conatively, which is to say, in the model this paper develops, “icotically”—through the collective move toward the normativization of opinion as “truth” or “fact”. Key to knowledge-translation-as-rhythm is the ear, which is the icotic agent of the group in each individual, that which helps us hear style as truth. The first question for knowledge-translation, how many subjects it creates—one for each text (source and target)? one for each reader? one for each reading?—is superseded by the icotic take on subjectivization, which collectivizes it, meaning that the exact number is less important than the social entelechies in which subjects participate.