This article seeks to clarify the role of the notion of rhythm in Whitehead's philosophy, considering the mediating character it has between the order of events and that of objects. Deleuze and Harman, when commenting on Whitehead's ontological system, have highlighted the value of events and objects, respectively. Here, we pretend to elucidate the limits of these readings and give relevance to the category between both planes, which is rhythm. This concepts evolve from a naturalistic view to a more metaphysical conception in Whitehead's later work, and its applications go from science to education and aesthetics. Thus, rhythm can be understood as a complex that has an eventual face and an objectual face, internally defining itself as a system of contrasts that mobilizes creation and intensity through time. This rhythmic process of creation leads us to think a poetics of experience, considering its aesthetic and compositional nature.