One of the main routes that anthropology has taken to study the production of material culture has been the anthropology of techniques. Although different scholars had recognized several problems and elaborated proposals to overcome them, it is still possible to recognize a temporal, spatial and technical conception grounded on a modern ontology that emphasizes a metronomic, abstract and mechanical understanding of them. To overcome this problem, this article proposes introducing the idea of rhythm into the analysis of the production of material culture. In order to do so, the author first elaborates a rhythmical approach to techniques. After which, the article’s focus falls on the rhythms of making petroglyphs in Cuesta Pabellón, a rock art site located in the Limarí Valley, Chile. The results suggest that rock art production is a rhythmical practice that involves a bodily itineration along different gestures, intensities, pauses, disruptions and spatial orientations which resonate and correspond with the way people produce this element of material culture. It is argued that the production of rock art resembles a way of dancing in which the engraver, the emerging line, and the previous lines made by others enter into the process of correspondences in which rhythms play a substantial role.

中文翻译：

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线条的舞蹈：刻在岩画上的节奏

人类学研究物质文化产生的主要途径之一是技术人类学。尽管不同的学者已经认识到了几个问题并提出了克服这些问题的建议，但是仍然有可能认识到基于现代本体论的时间，空间和技术概念，这些本体论强调对它们的计量学，抽象和机械理解。为了克服这个问题，本文建议将节奏的概念引入物质文化生产的分析中。为了做到这一点，作者首先阐述了一种有节奏的技术技巧。之后，本文的重点放在在智利利马里山谷（LimaríValley）的岩石艺术遗址CuestaPabellón制作岩画的节奏上。结果表明，摇滚艺术创作是一种有节奏的实践，涉及沿不同手势，强度，暂停，破坏和空间取向的身体迭代，这些迭代与人们产生这种物质文化元素的方式产生共鸣并相对应。有人认为，岩画的生产类似于一种舞蹈方式，其中雕刻师，新兴线和其他人以前制作的线进入了对应的过程中，其中节奏起着重要的作用。