Often illustrated with the examples of melody, Bergson’s key concept of durée is best known for its qualitative, heterogeneous, and thus immeasurable multiplicity. However, the examples he gives in Time and Free Will—such as “the regular oscillations of a pendulum” or “the successive strokes of a distant bell”—suggest rather periodic phenomena that would require another perspective in terms of rhythm. When we “get into a rhythm,” we perceive a numerical quality without counting. Rhythm makes glimpse “Otherwise than Measuring”. Focusing on the “rhythmic organization of the whole” within duration could reveal the secret of Bergson’s enigmatic phrase: “this heterogeneity contains number only potentially.” This paper reexamines the theoretical scope of rhythmeasure in two ways. First, it shows how this image médiatrice we forged is going to be renewed by recent studies emphasizing duration-number (Miravete) or multi-time scale theory (Hirai). Second, it explores the ethico-political implications of rhythmeasure. Bergson, in his last book Two Sources of Morality and Religion, multiplies images of “a justice (…) which no longer evokes ideas ofrelativity and proportion, but, on the contrary, of the incommensurable and the absolute”. The very ambiguity of démesuré revitalizes the famous opposition of “the closed/the open”.
