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rhythm

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depression

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Dune (film)

is, in painting, as necessary in a picture as pigment... it is as much a part of painting as of music.

Rhythm is as necessary in a picture as pigment... it is as much a part of painting as of music. (Walter J. Phillips)

is not meter or cadence, even irregular meter or cadence... there is nothing rhythmic in a military march.

Rhythm is not meter or cadence, even irregular meter or cadence; there is nothing rhythmic in a military march.

is that which unites elements which mark time and distinguish moments in it.

rhythm unites elements which 'mark time and distinguish moments in it' (2004: 9). Whilst he outlines a number of forms rhythm can take, of particular note are secret or internal physiological rhythms and external or 'dominating' . . .

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is the basis of the art of living: This is to say that to live is to convert the give & take, ebb & flow, light & dark, life & death, good & bad, and right & wrong into the dance of life.

The art of living is based on rhythm on give & take, ebb & flow, light & dark, life & death. By acceptance of all aspects of life, good & bad, right & wrong, yours & mine, the static, defensive life, which is what most people are cursed with, is converted into a dance, 'the dance of life,' metamorphosis. Henry Miller

is the organizing function of the mind, as such, the body is to be developed by graceful rhythms of physical activity and the mind is to be developed by graceful rhythms of thought.

Plato says that music is the organizing function of the mind. In the Republic, and particularly in the Laws, he refers to education as gymnastics and music -the body developed by graceful rhythms of physical activity, the mind developed by graceful rhythms of thought. from Learning and Teaching (Dean Brown)

is the textures of everyday life. It consist of repetition with modification, like a wave with the ever-present and necessary involvement of counter movements, overlays, and contextual factors such as the shore, the tides, and the weather.

for Lefebvre rhythm pertains to 'the relation of the Same to the Other.'2 Rhythm is a contextual matter, involving variation and memory. He offers the case of the movement of the waves on the sea, which constitutes a rhythm rather than a mere repetition because it involves counter movements and complex overlays of movement, with their pattern relying on a range of co ntextual factors such as the shape and materials of the shore, the tides, and weather conditions. The body too operates rhythmically, its movement depending on the body's size, shape, strength, condition, and context. Rhythm is repetition with modification. Every stroke need not be exactly the same. For Lefebvre, notions of sameness are subordinated to difference.

is utilitarian in its origins. It is a more memorable form of speech, is audible over greater distances (due to it's tick-tock nature), and possesses a force which engenders an unconquerable urge to yield and join in and to compel (even the Gods).

Well, in this case I have to side with the utilitarians. After all, they are right so rarely that it is really pitiful. In those ancient times in which poetry came into existence, the aim was utility, and actually a very great utility. When one lets rhythm permeate speech-the rhythmic force that reorders all the atoms of a sentence, bids one choose one's words with care. and gives one's thoughts a new color, making them darker, stranger, and more remote-the utility in question was superstitious. Rhythm was meant to impress the gods more deeply with a human petition. for it was noticed that men remember a verse much better than ordinary speech. It was also believed that a rhythmic tick- tock was audible over greater distances... a rhythmical prayer was supposed to get closer to the ears of the gods. Above all, men desired the utility of the elemental and overpowering effect that we experience in ourselves as we listen to music: rhythm is a compulsion... it engenders an unconquerable urge to yield and join in... not only our feet follow the beat but the soul does, too-probablY. one surmised, the soul of the gods as well! Thus one tried to compel the gods by using rhythm and to force their hand: poetry was thrown at them like a magical snare.

is assumed, since the most ancient times, to be endowed with a magical power, making the demons pliant and unfree so that they become man's instruments as one draws water or rows, or performs some other activity.

It is not only in the cult song but also in worldly songs of the most ancient times that it is assumed that rhythm has a magical power. As one draws water or rows, for example, a song is supposed to cast a spell over the demons that one imagines at work in such cases... it makes them pliant and unfree so that they become man's instruments. Every action provides an occasion for song: every action depends on the assistance of spirits, and the magical song and the spell seem to be the primeval form of poetry.

rhythm, n.One-Liners

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