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In response to the call for this special issue, we draw upon Erin Manning’s (2013, 2016) theorizing of technique and technicity to reconsider schooling and inquiry practices through the chair. The chair is often taken for granted and narrowly conceived through the lens of neurotypicality. By beginning with technique and technicity, this work foregrounds affect, relation and process, rather than object, form and method, so as to dislodge the chair from the sedimented practices of schooling and inquiry. In the emergent fashion of research-creation, this article makes use of genealogy, narrative and theory to explore how the interplay of technique and technicity might engender different modes of chair-ing, and how these modes might speak to concerns of neurodiverse schooling and research methods.

This chapter opens up a posthumanist and radical empiricist approach to rhythm. This approach suspends commitment to a particular notion of the anthropic subject, whether phenomenological, psychological or cognitive. In this sense, it shares with pragmatism and process philosophy the proposition of experience without a subject. The chapter presents a set of examples from the work produced by the Topological Media Lab and the Synthesis Centre at Arizona State University in order to offer a definition of rhythm ‘without a subject’. Rhythm requires variation of matter – in a perfectly homogeneous experience of a perfectly homogeneous world there can be no rhythm. Furthermore, rhythm as a feature of experience (rather than an abstract pattern) arises from a body encountering variation in matter – in other words, movement. Thus, corporeal movement and irregularities in matter are necessary to rhythmic experience. Moreover, rhythm is a feature of lived experience, and thus inextricably a part of phenomena rather than data.

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