Philosophical Rhythms Quotes

Dance less in motion and more in spirit; awaken the dreamer within.

Music does not need language of words for it has movements of dance to do its translation.

Soar like an eagle beyond skies of heavens reach; as wings of dreams dance with winds of reality.

Dance resides within us all. Some find it when joy conquers sorrow, others express it through celebration of movements; and then there are those... whose existence is dance,

Tears flow and smiles fade to the same rhythm of life, to disappear together in the bottomless abyss.

Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system.

When the melody plays, footsteps move, heart sings and spirit begin to dance.

Picture a thirteen-year-old boy sitting in the living room of his family home doing his math assignment while wearing his Walkman headphones or watching MTV. He enjoys the liberties hard won over centuries by the alliance of philosophic genius and political heroism, consecrated by the blood of martyrs; he is provided with comfort and leisure by the most productive economy ever known to mankind; science has penetrated the secrets of nature in order to provide him with the marvelous, lifelike electronic sound and image reproduction he is enjoying. And in what does progress culminate? A pubescent child whose body throbs with orgasmic rhythms; whose feelings are made articulate in hymns to the joys of onanism or the killing of parents; whose ambition is to win fame and wealth in imitating the drag-queen who makes the music. In short, life is made into a nonstop, commercially prepackaged masturbational fantasy.

There seems to be in us a sort of affinity to musical modes and rhythms, which makes some philosophers say that the soul is a tuning, others, that it possesses tuning.

Perhaps the cause of our contemporary pessimism is our tendency to view history as a turbulent stream of conflicts – between individuals in economic life, between groups in politics, between creeds in religion, between states in war. This is the more dramatic side of history; it captures the eye of the historian and the interest of the reader. But if we turn from that Mississippi of strife, hot with hate and dark with blood, to look upon the banks of the stream, we find quieter but more inspiring scenes: women rearing children, men building homes, peasants drawing food from the soil, artisans making the conveniences of life, statesmen sometimes organizing peace instead of war, teachers forming savages into citizens, musicians taming our hearts with harmony and rhythm, scientists patiently accumulating knowledge, philosophers groping for truth, saints suggesting the wisdom of love. History has been too often a picture of the bloody stream. The history of civilization is a record of what happened on the banks.

He was always doing that these days. Everything he saw became a symbol of his own existence, from a rabbit caught in headlights to raindrops racing down a window-pane. Perhaps it was a sign that he was going to become a poet or a philosopher: the kind of person who, when he stood on the sea-shore, didn't see waves breaking on a beach, but saw the surge of human will or the rhythms of copulation, who didn't hear the sound of the tide but heard the eroding roar of time and the last moaning sigh of humanity fizzing into nothingness. But perhaps it was a sign, he also thought, that he was turning into a pretentious wanker.

...philosophy permits man to interrogate himself about what he says and about what one says to oneself in thinking. No longer to let oneself be swayed or intoxicated by the rhythm of words and the generality that they designate, but to open oneself to the uniqueness of the unique in the real, that is to say, to the uniqueness of the other. That is to say, in the final analysis, to love. To speak truly, not as one sings; to awaken; to sober up; to undo one's refrain. Already the philosopher Alain taught us to be on guard against everything that in our purportedly lucid civilization comes to us from the "merchants of sleep." Philosophy as insomnia, as a new awakening at the heart of the self-evidence which already marks the awakening, but which is still or always a dream.

At some very low level, we all share certain fictions about time, and they testify to the continuity of what is called human nature, however conscious some, as against others, may become of the fictive quality of these fictions. It seems to follow that we shall learn more concerning the sense-making paradigms, relative to time, from experimental psychologists than from scientists or philosophers, and more from St. Augustine than from Kant or Einstein because St. Augustine studies time as the soul's necessary self-extension before and after the critical moment upon which he reflects. We shall learn more from Piaget, from studies of such disorders as déjà vu, eidetic imagery, the Korsakoff syndrome, than from the learned investigators of time's arrow, or, on the other hand, from the mythic archetypes. Let us take a very simple example, the ticking of a clock. We ask what it says: and we agree that it says tick-tock. By this fiction we humanize it, make it talk our language. Of course, it is we who provide the fictional difference between the two sounds; tick is our word for a physical beginning, tock our word for an end. We say they differ. What enables them to be different is a special kind of middle. We can perceive a duration only when it is organized. It can be shown by experiment that subjects who listen to rhythmic structures such as tick-tock, repeated identically, 'can reproduce the intervals within the structure accurately, but they cannot grasp spontaneously the interval between the rhythmic groups,' that is, between tock and tick, even when this remains constant. The first interval is organized and limited, the second not. According to Paul Fraisse the tock-tick gap is analogous to the role of the 'ground' in spatial perception; each is characterized by a lack of form, against which the illusory organizations of shape and rhythm are perceived in the spatial or temporal object. The fact that we call the second of the two related sounds tock is evidence that we use fictions to enable the end to confer organization and form on the temporal structure. The interval between the two sounds, between tick and tock is now charged with significant duration. The clock's tick-tock I take to be a model of what we call a plot, an organization that humanizes time by giving it form; and the interval between tock and tick represents purely successive, disorganized time of the sort that we need to humanize. Later I shall be asking whether, when tick-tock seems altogether too easily fictional, we do not produce plots containing a good deal of tock-tick; such a plot is that of Ulysses.

Where do the behavioral-cognitive concepts that contemporary cognitive neuroscience operates with come from? The answer is from Aristotle and his heart-centered philosophy, not brain mechanisms. Aristotle’s terms were adopted by the Christian philosophers and were extensively used by both Descartes and the British empiricists John Locke and David Hume. To their credit, they used many of the cognitive expressions only as hypothetical constructs.

The central teaching of mysticism is that Everything is One, whereas from the side of rationalism the universe is Multiple. The essence of the mystical tradition is not a particular philosophical system, but the simple realization that the soul of any individual/existence is identified with the Absolute. A special feature of the mysticism is the elimination of discriminations, i.e. the One and the Multiple are identical.On the other hand, in rationalism the One and the Multiple differ substantially. Mysticism aims at the Emptiness of Zero, whereas rationalism aims at the identification with the Infinite of Everything. Based on the ontology resulting from modern physics the One is also the Multiple and the Multiplicity is also a Module, also the Void and the Everything are complementary aspects of a single and indivisible reality. This means that mysticism and rationalism are the two sides of a Cosmic Thought, which isexpressed through consciousness. We could say that this consciousness is the rhythm that coordinates any opposite

In his poetry and prose, Rilke links through various images the affairs of human life to the movements of the cosmos itself. If this conceit seems hyperbolic, it is for Rilke rooted very deeply in his experiences of the world. The result is not esoteric, nor does it relativize and thus implicitly belittle human activity by placing it within a greater, superior—not divine—order. By seeing things rather within a larger, natural (rather than ideological or religious) pattern, Rilke achieves a fundamentally modern secular perspective but does not give up on the possibility that there might be something greater in our lives. Interestingly, Rilke finds evidence of a connectedness to larger, cosmic patterns within our physical, bodily existence. How we breathe, eat, sleep, digest, and love; how we suffer physically or experience pleasure: we are subject to rhythms we cannot totally control. Rilke relies on no ideational frame but understands our existence as that of decidedly earthly, embodied mortals or, in the language of the philosophers whose work he so significantly shaped and inspired, as beings in time.

16.5 Confucius said, “Finding enjoyment in three kinds of activities will be a source of personal improvement; finding enjoyment in three other kinds of activities will be a source of personal injury. One stands to be improved by the enjoyment found in attuning oneself to the rhythms of ritual propriety (li ) and music (yue ),283 by the enjoyment found in talking about what others do well (shan ), and by the enjoyment found in having a circle of many friends of superior character (xian ); one stands to be injured by finding enjoyment in being arrogant, by finding enjoyment in dissolute diversions, and by finding enjoyment in the easy life.

I sense my own place in the rhythm of the seasons, from seed time to harvest, the falling leaves and the stillness of winter. Some tasks are, perhaps, uniquely mine, not shared by other dwellers of the field and the forest. I can cherish the fragile beauty of the first trillium against the dark moss, and I can mourn its passing. I can know the truth of nature and serve its good, as a faithful steward. I can be still before the mystery of the holy, the vastness of the starry heavens and the grandeur of the moral law. That task may be uniquely mine. Yet even the bee, pollinating the cucumber blossoms, has its own humble, unique task. Though distinct in my own way, I yet belong, deeply, within the harmony of nature. There is no experiential given more primordial than that.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

The two-point rhythm of walking's stride clears the mind for thinking. (N.B.: Perhaps, after telling the spinal circuits to "take a walk," the forebrain shifts to automatic pilot, so to speak, freeing the neocortex to ponder important issues of the day.) Many philosophers were lifetime walkers, who found that bipedal rhythms facilitated creative contemplation and thought. In his short life, e.g., Henry David Thoreau walked an estimated 250,000 miles--ten times the circumference of earth.

Integral to the essence of many if not most extant sijo is a multifaceted encapsulation of symbolic connections between enduring external realities[...]and internal landscapes emotional and philosophical. In this way[...]sijo often bridge and combine direct, arresting observation culled from life's plexus of fluctuating rhythms with emotive subjectivity, giving rise to a template for gentle lyricism that lends itself well to deeply personal, ambivalent introspection during difficult and transitional periods.

Karl Marx, observing this disruption in the middle decades of the nineteenth century, could not accept the English evolutionary explanation for the emergence of capitalism. He believed that coercion had been absolutely necessary in effecting this transformation. Marx traced that force to a new class of men who coalesced around their shared interest in production, particularly their need to organize laboring men and women in new work patterns. Separating poor people from the tools and farm plots that conferred independence, according to Marx, became paramount in the capitalists’ grand plan.6 He also stressed the accumulation of capital as a first step in moving away from traditional economic ways. I don’t agree. As Europe’s cathedrals indicate, there was sufficient money to produce great buildings and many other structures like roads, canals, windmills, irrigation systems, and wharves. The accumulation of cultural capital, especially the know-how and desire to innovate in productive ways, proved more decisive in capitalism’s history. And it could come from a duke who took the time to figure out how to exploit the coal on his property or a farmer who scaled back his leisure time in order to build fences against invasive animals. What factory work made much more obvious than the tenant farmer-landlord relationship was the fact that the owner of the factory profited from each worker’s labor. The sale of factory goods paid a meager wage to the laborers and handsome returns to the owners. Employers extracted the surplus value of labor, as Marx called it, and accumulated money for further ventures that would skim off more of the wealth that laborers created but didn’t get to keep. These relations of workers and employers to production created the class relations in capitalist society. The carriers of these novel practices, Marx said, were outsiders—men detached from the mores of their traditional societies—propelled forward by their narrow self-interest. With the cohesion of shared political goals, the capitalists challenged the established order and precipitated the class conflict that for Marx operated as the engine of change. Implicit in Marx’s argument is that the market worked to the exclusive advantage of capitalists. In the early twentieth century another astute philosopher, Max Weber, assessed the grand theories of Smith and Marx and found both of them wanting in one crucial feature: They gave attitudes to men and women that they couldn’t possibly have had before capitalist practices arrived. Weber asked how the values, habits, and modes of reasoning that were essential to progressive economic advance ever rooted themselves in the soil of premodern Europe characterized by other life rhythms and a moral vocabulary different in every respect. This inquiry had scarcely troubled English economists or historians before Weber because they operated on the assumption that human nature made men (little was said of women) natural bargainers and restless self-improvers, eager to be productive when productivity

When a philosopher,” he said, “is exhorting, persuading, rebuking, or discussing some aspect of philosophy, if the audience pour forth trite and commonplace words of praise in their enthusiasm and unrestraint, if they even shout, if they gesticulate, if they are moved and aroused, and swayed by the charm of his words, by the rhythm of his phrases, and by certain rhetorical repetitions, then you may know that both the speaker and his audience are wasting their time, and that they are not hearing a philosopher speaking but a flute player performing.

Ralph Waldo Emerson, the poet and philosopher who thought reality was best experienced through a soul in tune with the rhythms of the earth.

architecture, as Goethe said, is frozen music; and symmetry is rhythm standing still.

In the realm of spiritual philosophy, where the sacred and the mundane converge, where the mystical dances with the ordinary, there exists an enchanting archetype that beckons us to explore the depths of our souls—the Divine Rabbit. This ethereal creature, a symbol of fertility, rebirth, and spiritual illumination, invites us to embark on a profound journey of self-discovery and transcendence. The Divine Rabbit, with its gentle countenance and nimble grace, embodies the essence of the divine feminine, representing the nurturing and creative aspects of existence. It is a messenger of the cosmic forces, whispering ancient wisdom and guiding us towards the realization of our true nature. With each hop, it traverses the sacred landscapes of our consciousness, leaving in its wake the seeds of transformation and spiritual awakening. This mystical creature, adorned with the symbols of abundance and growth, teaches us the profound truth that spirituality is not confined to lofty realms or esoteric knowledge, but is deeply rooted in the tapestry of our everyday lives. The Divine Rabbit invites us to cultivate a sense of presence and mindfulness, to embrace the magic of the present moment, and to recognize that every breath we take is an opportunity for divine communion. In the Divine Rabbit, we find a profound reflection of our own spiritual journey. Like the rabbit, we too navigate the maze of existence, encountering both obstacles and opportunities along the way. The Divine Rabbit reminds us to approach these challenges with grace, agility, and an unwavering trust in the divine plan. It teaches us that even in the face of adversity, we possess the innate resilience to overcome, to rise above our limitations, and to embrace the boundless potential that resides within us. The Divine Rabbit also serves as a catalyst for profound transformation and rebirth. Just as the rabbit sheds its old fur to make way for new growth, we too are called to release the layers of conditioning, limiting beliefs, and attachments that no longer serve our highest good. The Divine Rabbit encourages us to step into the fullness of our authentic selves, to embrace our innate gifts and talents, and to allow the light of our divine essence to illuminate the world around us. Moreover, the Divine Rabbit invites us to honor the interconnectedness of all beings and the sacredness of every living creature. It teaches us to tread lightly upon the Earth, recognizing that our actions have far-reaching consequences. The Divine Rabbit reminds us of the importance of compassion, kindness, and love towards all beings, for in their eyes, we catch a glimpse of the divine spark that resides within us all. As we embark on our spiritual journey, let us heed the wisdom of the Divine Rabbit. Let us cultivate a sense of wonder and curiosity, allowing ourselves to be guided by the synchronicities and signs that pepper our path. Let us embrace the cycles of life and honor the sacredness of both beginnings and endings. And above all, let us remember that within the heart of the Divine Rabbit resides the eternal flame of our own divine essence, waiting to be kindled and expressed in all its radiant glory. May we follow the path of the Divine Rabbit, awakening to the depths of our being, embracing our divine nature, and embodying the transformative power of love, compassion, and spiritual illumination. In doing so, we dance in harmony with the rhythm of the universe, honoring the sacredness of life, and fulfilling our highest purpose.

There was a rhythm between the silence and the song, like that of the breast and the baby, evading the realm of time.

There is a tempo that life follows, there is a rate your heart beats with, there is a rhythm that the nature functions in, that is what we seek in everything.

When the spirit is fully manifested effort and struggle ceases to exist. You simply flow in the rhythm of your life.