Rhythms Related Quotes

Music, to me, is the most beautiful form, and I love film because film is very related to music. It moves by you in its own rhythm. It's not like reading a book or looking at a painting. It gives you its own time frame, like music, so they are very connected for me. But music to me is the biggest inspiration. When I get depressed, or anything, I go "think of all the music I haven't even heard yet!" So, it's the one thing. Imagine the world without music. Man, just hand me a gun, will you?

The secret of a full life is to live and relate to others as if they might not be there tomorrow, as if you might not be there tomorrow. It eliminates the vice of procrastination, the sin of postponement, failed communications, failed communions. This thought has made me more and more attentive to all encounters. meetings, introductions, which might contain the seed of depth that might be carelessly overlooked. This feeling has become a rarity, and rarer every day now that we have reached a hastier and more superficial rhythm, now that we believe we are in touch with a greater amount of people, more people, more countries. This is the illusion which might cheat us of being in touch deeply with the one breathing next to us. The dangerous time when mechanical voices, radios, telephones, take the place of human intimacies, and the concept of being in touch with millions brings a greater and greater poverty in intimacy and human vision.

This was our rhythm, our worship: give and take, gift and receive, honor and entrust. Making love to this man wasn’t just an expression of my feelings for him or a carnal, physical need—it was an offering.

Rhythms are relations between what you believe and what you believed before.

During the dark hours I felt my sick heart expand and beat more furiously, and I no longer made any distinction between pleasure and pain, but one was similar to the other; both hurt and both were precious. Whether my inner life went well or badly, my discovered strength stood peacefully outside looking on and knew that light and dark were closely related and that sorrow and peace were rhythm, part and spirit of the same great music.

I was merely making more perceptible that binary rhythm which love adopts in all those who have too little confidence in themselves to believe that a woman can ever fall in love with them, and also that they themselves can genuinely fall in love with her. They know themselves well enough to have observed that in the presence of the most divergent types of woman they felt the same hopes, the same agonies, invented the same romances, uttered the same words, and to have realised therefore that their feelings, their actions, bear no close and necessary relation to the woman they love, but pass to one side of her, splash her, encircle her, like the incoming tide breaking against the rocks, and their sense of their own instability increases still further their misgivings that this woman, by whom they so long to be loved, does not love them.

We’re the descendants of those ancient humans, but our species hasn’t evolved nearly as fast as the world around us has. That means we’re still wired for a lifestyle of constant movement, varied but relatively sparse diets, ample quiet, plenty of face-to-face time, and restful sleep that’s aligned with the rhythm of the day.

There are many methods of trance induction, but all seem to function on one or more of four related principles: relaxation, sensory restriction, rhythm, and boredom.

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy, in the way my body stretches to music and opens into response, harkening to its deepest rhythms so every level upon which I sense also opens to the erotically satisfying experience whether it is dancing, building a bookcase, writing a poem, or examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife. This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe.

Well, suppose we use our brains. We see things solid. Solidities are important to us in nature. In solidities, there are measures that greatly affect us. There are rhythms in the ins and outs of form. Music, the forest and to many the most impressive of arts deals in measures which seem to go in every direction. They combine, they move together, they deflect and they oppose. Music is a structure of highly mathematical measures. According to the selection and relative value of these measures the music is great or small in its effect on us.

Change is ubiquitous. Only: elementary processes cannot be ordered along a common succession of instants. At the extremely small scale of the quanta of space, the dance of nature does not develop to the rhythm kept by the baton of a single orchestral conductor: every process dances independently with its neighbours, following its own rhythm. The passing of time is intrinsic to the world, it is born of the world itself, out of the relations between quantum events which are the world and which themselves generate their own time.

The presence of the power of Christ transforms every believer into a relational vessel whose heart can be used by God to connect the hearts of others to his grace, truth and love.

I could not live without seasons, for in seasons are reflected in the rhythms of our existence: of birth and maturity, or decline and decay, yet always with the promise of renewal for those who remain.

I sit in my room like Miss Havisham, about whom I have been reading this week. Better the Dickens you know than the Dickens you don't know - on the whole I enjoyed it. But I should like to say something about this 'irrepressible vitality', this 'throwing a fresh handful of characters on the fire when it burns low', in fact the whole Dickens method - it strikes me as being less ebullient, creative, vital, than hectic, nervy, panic-stricken. If he were a person I should say 'You don't have to entertain me, you know. I'm quite happy just sitting here.' This jerking of your attention, with queer names, queer characters, aggressive rhythms, piling on adjectives - seems to me to betray basic insecurity in his relation with the reader. How serenely Trollope, for instance, compares. I say in all seriousness that, say what you like about Dickens as an entertainer, he cannot be considered as a real writer at all; not a real novelist. His is the garish gaslit melodramatic barn (writing that phrase makes me wonder if I'm right!) where the yokels gape: outside is the calm measureless world, where the characters of Eliot, Trollope, Austen, Hardy (most of them) and Lawrence (some of them) have their being.

The whole thing starts with a single knot and needles. A word and pen. Tie a loop in nothing. Look at it. Cast on, repeat the procedure till you have a line that you can work with. It’s a pattern made of relation alone, my patience, my rhythm, till empty bights create a fabric that can be worn, if you’re lucky and practised. It’s never too late to pick up dropped stitches... (from "How to Knit a Poem")

Thus my lifelong meditation on the concept of groove, what is to make deep rhythm. This becomes a huge part of my life, as a musician of course, but also the question of how it relates to all of existence. When I'm rocking a groove, there is only nature working, ain't no one gonna rock it harder than me. Free from all prison of the mind's construct, I am a fucking mama grizzly bear protecting her cubs, and I don't care if I die. I trust my animal instinct completely. I let go of every thought, let go of all the world, and KILL the groove. The hurt and pain in my heart is my ticket to fly, I surrender all earthly desires in the moment, when it's time to rock and tap the source. I gotta be the groove and nothing else, fuck the world so I can uplift the world. To all you kids out there hurting like I hurt, I'm gonna be with you there in the magic place.

THE ROOT OF RELIGION The idea of literal truth crept into religion relatively late: it is the invention of lawyers, priests and cheese-mongers. The idea of mystery long preceded it, and at the heart of that idea of mystery was an idea of beauty—that is, an idea that this or that view of the celestial and infernal process presented a satisfying picture of form, rhythm and organization. Once this view was adopted as satisfying, its professional interpreters and their dupes sought to reinforce it by declaring it true. The same flow of reasoning is familiar on lower planes. The average man does not get pleasure out of an idea because he thinks it is true; he thinks it is true because he gets pleasure out of it.

Your voice sounds completely different in different languages. It alters your personality somehow. I don’t think people get the same feeling from you. The rhythm changes. Because the rhythm of the language is different, it changes your inner rhythm and that changes how you process everything. When I hear myself speak French, I look at myself differently. Certain aspects will feel closer to the way I feel or the way I am and others won’t. I like that—to tour different sides of yourself. I often find when looking at people who are comfortable in many languages, they’re more comfortable talking about emotional stuff in a certain language or political stuff in another and that’s really interesting, how people relate to those languages.

A recent study published in Frontiers in Human Neuroscience demonstrated that while most forms of exercise slow down age-related decline, dancing has even more profound benefits. Considered a psychosocial intervention, dancing combines the mood-elevating effects of increased social interaction with improvements in brain function, cardiac fitness, and overall quality of life. Mastering new rhythms, steps, and formations, in combination with increased social engagement, provides a boost to brain activity that creates additional cognitive benefits.

Too often in our modern culture, children are perceived as “nice to have” if you’ve got the time and the money and are prepared to suspend, or maybe even sacrifice, your career. Young couples today perceive the blessing of children not in relation to their true purpose, but rather in relation to their “quasi purpose” of financial independence.

What about this, then?” The metal surface rippled at his touch, stretching and splitting into a million thin wires that made it look like a giant version of one of those pin art toys Sophie used to play with as a kid. He tapped his fingers in a quick rhythm, and the pins shifted and sank, forming highs and lows and smooth, flat stretches. Sophie couldn’t figure out what she was seeing until he tapped a few additional beats and tiny pricks of light flared at the ends of each wire, bathing the scene in vibrant colors and marking everything with glowing labels. “It’s a map,” she murmured, making a slow circle around the table. And not just any map. A 3-D map of the Lost Cities. She’d never seen her world like that before, with everything spread out across the planet in relation to everything else. Eternalia, the elvin capital that had likely inspired the human myths of Shangri-la, was much closer to the Sanctuary than she’d realized, nestled into one of the valleys of the Himalayas—while the special animal preserve was hidden inside the hollowed-out mountains. Atlantis was deep under the Mediterranean Sea, just like the human legends described, and it looked like Mysterium was somewhere in the Bermuda Triangle. The Gateway to Exile was in the middle of the Sahara desert—though the prison itself was buried in the center of the earth. And Lumenaria… “Wait. Is Lumenaria one of the Channel Islands?” she asked, trying to compare what she was seeing against the maps she’d memorized in her human geography classes. “Yes and no. It’s technically part of the same archipelago. But we’ve kept that particular island hidden, so humans have no idea it exists—well, beyond the convoluted stories we’ve occasionally leaked to cause confusion.

Highly complex numbers like the Comma of Pythagoras, Pi and Phi (sometimes called the Golden Proportion), are known as irrational numbers. They lie deep in the structure of the physical universe, and were seen by the Egyptians as the principles controlling creation, the principles by which matter is precipitated from the cosmic mind. Today scientists recognize the Comma of Pythagoras, Pi and the Golden Proportion as well as the closely related Fibonacci sequence are universal constants that describe complex patterns in astronomy, music and physics. ... To the Egyptians these numbers were also the secret harmonies of the cosmos and they incorporated them as rhythms and proportions in the construction of their pyramids and temples.

We know, however, that the mind is capable of understanding these matters in all their complexity and in all their simplicity. A ball flying through the air is responding to the force and direction with which it was thrown, the action of gravity, the friction of the air which it must expend its energy on overcoming, the turbulence of the air around its surface, and the rate and direction of the ball's spin. And yet, someone who might have difficulty consciously trying to work out what 3 x 4 x 5 comes to would have no trouble in doing differential calculus and a whole host of related calculations so astoundingly fast that they can actually catch a flying ball. People who call this "instinct" are merely giving the phenomenon a name, not explaining anything. I think that the closest that human beings come to expressing our understanding of these natural complexities is in music. It is the most abstract of the arts - it has no meaning or purpose other than to be itself. Every single aspect of a piece of music can be represented by numbers. From the organization of movements in a whole symphony, down through the patterns of pitch and rhythm that make up the melodies and harmonies, the dynamics that shape the performance, all the way down to the timbres of the notes themselves, their harmonics, the way they change over time, in short, all the elements of a noise that distinguish between the sound of one person piping on a piccolo and another one thumping a drum - all of these things can be expressed by patterns and hierarchies of numbers. And in my experience the more internal relationships there are between the patterns of numbers at different levels of the hierarchy, however complex and subtle those relationships may be, the more satisfying and, well, whole, the music will seem to be. In fact the more subtle and complex those relationships, and the further they are beyond the grasp of the conscious mind, the more the instinctive part of your mind - by which I mean that part of your mind that can do differential calculus so astoundingly fast that it will put your hand in the right place to catch a flying ball- the more that part of your brain revels in it. Music of any complexity (and even "Three Blind Mice" is complex in its way by the time someone has actually performed it on an instrument with its own individual timbre and articulation) passes beyond your conscious mind into the arms of your own private mathematical genius who dwells in your unconscious responding to all the inner complexities and relationships and proportions that we think we know nothing about. Some people object to such a view of music, saying that if you reduce music to mathematics, where does the emotion come into it? I would say that it's never been out of it.

But, when the cult of the male god was established, there must have been difficulty in explaining how he could be the giver of life to all creation—since the man, unlike the woman, cannot produce from his body either the child or the food for the child. The whole attitude of humans towards the God had to be altered—violently altered. There could not be that same vital biological and magical link (the I-Thou) between the child and the father, as there is between the child and its mother: two beings evolving in and from the same body, the same rhythms, the same dreams. From the religious point of view, this means the loss between the human and the divine of direct, continuous physical-emotional-spiritual relationship. Oneness is dualized, the “self” is isolated within, and the rest of the universe, including God, is displaced and objectified without. The evolutionary, protoplasmic connection between the experienced self and the All is broken, and the new relation becomes: I-the Other; or worse: I-It. The father is not of the same all-containing, all-infusing, shaping and nourishing substance, and so the relation between humans and the Father God becomes abstract and alienated, distant and moralistic. The

As Trump marches on to the rhythm of near-daily twitter rants, daily outrages, and weekly embarrassments, it remains unimaginable—even if it is observable. To think that a madman could be running the world’s most powerful country, to think that the commander in chief would use twitter to mouth off about whose nuclear button is bigger or to call himself a ‘very stable genius’ verges on the impossible. This can’t be happening. This is happening – The thought pattern of nightmares and real-life disasters has become the constant routine of tens of millions of people. Every Trump tweet, televised statement, and headline causes a form of this reaction. If the word ‘unthinkable’ had literal meaning, this would be it: thinking about it makes the mind misfire; it makes one want to stop thinking. It brings to mind the psychiatrist Judith Herman’s definition of a related word: ‘certain violations of the social compact are too terrible to utter aloud,’ she once wrote. ‘This is the meaning of the word unspeakable.’ The Trump era is unimaginable, unthinkable, unspeakable. It is waging a daily assault on the public’s sense of sanity, decency, and cohesion. It makes us feel crazy, and the restrained tone of the media compounds this feeling by failing to acknowledge it.

Hair is gross. It seems smart to shave it off.” “You have hair.” “I do not; I just have me. Think about it, Kaladin. Everything else that comes out of your body you dispose of quickly and quietly—but this strange stuff oozes out of little holes in your head, and you let it sit there? Gross.” “Not all of us have the luxury of being fragments of divinity.” “Actually, everything is a fragment of divinities. We’re relatives that way.

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.

Has any one at the end of the nineteenth century any distinct notion of what poets of a stronger age understood by the word inspiration? If not, I will describe it. If one had the smallest vestige of superstition left in one, it would hardly be possible completely to set aside the idea that one is the mere incarnation, mouthpiece, or medium of an almighty power. The idea of revelation, in the sense that something which profoundly convulses and upsets one becomes suddenly visible and audible with indescribable certainty and accuracy―describes the simple fact. One hears―one does not seek; one takes―one does not ask who gives. A thought suddenly flashes up like lightening; it comes with necessity, without faltering. I have never had any choice in the matter. There is an ecstasy so great that the immense strain of it is sometimes relaxed by a flood of tears, during which one's steps now involuntarily rush and anon involuntarily lag. There is the feeling that one is utterly out of hand, with the very distinct consciousness of an endless number of fine thrills and titillations descending to one's very toes. There is a depth of happiness in which the most painful and gloomy parts do not act as antitheses to the rest, but are produced and required as necessary shades of color in such an overflow of light. There is an instinct of rhythmic relations which embraces a whole world of forms (length, the need of a wide-embracing rhythm, is almost the measure of the force of an inspiration, a sort of counterpart to its pressure and tension). Everything happens quite involuntary, as if in a tempestuous outburst of freedom, of absoluteness, of power and divinity. The involuntary nature of the figures and similes is the most remarkable thing; everything seems to present itself as the readiest, the truest, and simplest means of expression. It actually seems, to use one of Zarathustra's own phrases, as if all things came to one, and offered themselves as similes. . . .

An inquiry which I once made into the psychology of the Indian sign language with a view to discovering a possible relation between it and Greek manual gesture as displayed in ancient graphic art, led to the conclusion that Indian rhythms arise rather in the centre of self-preservation than of self-consciousness. Which is only another way of saying that poetry is valued primarily by the aboriginal for the reaction it produces within himself rather than for any effect he is able to produce on others by means of it.

The Buddhist teacher Jack Kornfield once said that all of life can be summed up in these three words: not always so. We plan on our day going in a certain direction? Not always so. We expect a friend or relative to behave the way they always have? Not always so. There is the pattern, and then there is the dropped stitch that disrupts the pattern, making it all the more complex and interesting. Stories are about the dropped stitch. About what happens when the pattern breaks. Though there is a certain poetry in the rhythm of everyday, it is most often a shift, a moment of not-always-so, that ends up being the story. Why is this moment different? What has changed? And why now? We would do well to ask ourselves these questions when we’re at work.

This was, moreover, a period when I saw quite a lot of Gilberte, with whom I had resumed my friendship: for in the long term the rhythm of our lives does not scan with the timescale of our friendships. Once a sufficient period of time has elapsed, we see (just as we see the revival of former ministries in politics or of forgotten plays in the theater) friendly relations resumed, after long years of interruption, between the same people as before, and revived with pleasure. After ten years of reasons for one person to be too much in love, and reasons for the other not to tolerate such despotic demands, the reasons cease to exist. Only affinities matter, and everything that Gilberte would have refused me previously, she easily granted me, no doubt because I no longer desired it.

Essay on Lust Identity can’t be concise. It’s knit from sequins and lust and scatters. Mostly everyone was fucking the seven arts with a willed difficulty. Then for one day there was the collective sensation that we carried our lovely voices as if in baskets, piled up in clear tones like grapes. Each voice had achieved its particular mass. From an interior space we heard the word sequin repeating in relation to leaves and the image was yellow-gold leaves moving on dark water. We had undergone an influence of death which was itself imprinted on such a moving sequin: the breath sequins, the heartbeat sequins, the organs and their slowing articulation sequins which drifting from the foreground appear to dim since they gradually go out to illuminate some event so distant we will never own the moment of its perception. But all this gives the illusion of peacefulness which is inert or at least passive when breaths burst smashing into sobbed words some urgent errand trapped in these letters as labour of light diminishing rhythm and if we fiercely decide to clear the stupid human stuff stop waiting for something to come to the father-studded earth shouldn’t this impatience release itself as a tongue so new weeping stops. In young women enamoured of their own intensities the Latin element wells up and knits from lust the pelt on the wall that’s ocelot or shadepelt or the imagination of matter. Nothing’s frugal. As for us, we want to give the city what lust has never ceased to put together. Young women or other women carrying their lovely voices as if on platters, their ten voices or nine voices in urgent errand dictating the imagination of matter. It is not our purpose to obscure the song of no-knowledge.

The European and the African have an entirely different concept of time. In the European worldview, time exists outside man, exists objectively, and has measurable and linear characteristics. According to Newton, time is absolute: “Absolute, true, mathematical time of itself and from its own nature, it flows equitably and without relation to anything external.” The European feels himself to be time’s slave, dependent on it, subject to it. To exist and function, he must observe its ironclad, inviolate laws, its inflexible principles and rules. He must heed deadlines, dates, days, and hours. He moves within the rigors of time and cannot exist outside them. They impose upon him their requirements and quotas. An unresolvable conflict exists between man and time, one that always ends with man’s defeat—time annihilates him. Africans apprehend time differently. For them, it is a much looser concept, more open, elastic, subjective. It is man who influences time, its shape, course, and rhythm (man acting, of course, with the consent of gods and ancestors ). Time is even something that man can create outright, for time is made manifest through events, and whether an event takes place or not depends, after all, on man alone. If two armies do not engage in a battle, then that battle will not occur (in other words, time will not have revealed its presence, will not have come into being). Time appears as a result of our actions, and vanishes when we neglect or ignore it. It is something that springs to life under our influence, but falls into a state of hibernation, even nonexistence, if we do not direct our energy toward it. It is a subservient, passive essence, and, most importantly, one dependent on man.

The traditional Islamic worldview is totally opposed to the prevalent modern paradigm of the relation between human beings and nature, which has caused unprecedented harm to the natural environment, has led to the loss of many species, and now threatens the very future of human life on earth. Islam sees men and women as God’s vicegerents on earth. Therefore, in the same way that God has power over His creation but is also its sustainer and protector, human beings must also combine power over nature with responsibility for its protection and sustenance. The Quran is replete with references to nature, and the phenomena of nature are referred to as God’s signs and are therefore sacred. In traditional Islamic society human beings lived in remarkable harmony with their natural environment, as can be seen in the urban design of traditional Islamic cities and also in the life in the villages, which, as in other premodern parts of the world, is still based on remarkable harmony with the rhythms of nature and makes full use of what is now called recycling.

And still I had not admitted to myself that I should have stopped seeing Albertine long before, for she had entered, in relation to me, that wretched period when a being, dispersed in space and time, is no longer a woman in our eyes, but a series of events on which we cannot shed light, a series of insoluble problems, a sea which, like Xerxes, we absurdly try to beat, to punish it for all that it has swallowed up. Once this period has begun, one is inevitably defeated. Happy are those who see it in time not to be drawn into a useless, exhausting battle, surrounded on all sides by the limits of our imagination, where jealousy struggles so humiliatingly that the same man who once, if the eyes of his constant companion fell for a moment on another man, imagined a conspiracy, suffered who knows what torments, may later allow her to go out alone, sometimes with the man he knows is her lover, choosing this torture which is at least familiar in preference to the terrible unknown. It is a question of finding a rhythm which one afterward follows from habit.

I do not at all have a sense of luring anyone into the poetic by catching hold of them through my subject matter. The idea appalls me in fact. Some events — whether a tree in a certain light, a Mexican family looking at the movie stills outside the cinema, a dream, my own condition of being in or out of love, of some epiphany relating to husband, child, friend, cat or dog, street or painting, cloud or stone, a book read, a story heard, a life thought about, a demonstration lived through, a situation, historical and/or topical, (that’s to say known in the moment of its passing into history) — it doesn’t matter, the list is endless, but some events (selected by some interior mysterious process out of all the other minutes and hours of my life) begin to form themselves in my understanding as phrases, images, rhythms of language, demand to be further formed, demand midwifery is one way to put it. Not all that one feels most strongly makes this verbal demand, even if one is a poet — by poet here I mean prose writer too — … but whatever experiences do demand it are always strongly felt ones. That is my testimony.

Poetry is needed—but for poetry you need surrender. You need to throw off this ego. If you can do it, if you can put it aside even for a few moments, your life will have glimpses of the beautiful, of the divine. Without poetry you cannot really live, you can only exist. Love is poetry. And if love is not possible, how can you be prayerful, meditative, aware? It becomes almost impossible. And without a meditative awareness, you will remain just a body; you will never become aware of the innermost soul. Only in prayerfulness, in a deep meditation and silence do you reach the peaks. That prayerful silence, that meditative awareness is the highest peak of experience—but love opens the door. Carl Gustav Jung, after a lifetime of studying thousands of people—thousands of cases of people who were ill, psychologically crippled, psychologically confused—said that he had never come across a psychologically ill person whose real problem after the fortieth year is not spiritual. There is a rhythm in life, and in your forties a new dimension arises, the spiritual dimension. If you cannot tackle it rightly, if you don’t know what to do, you will become ill, you will become restless. The whole of human growth is a continuity. If you miss one step, it becomes discontinuous. The

The Renaissance deepened the influence of medieval development with its striving towards capitalistic economic and social system only in so far as it confirms the rationalism which now dominates the whole intellectual and material life of the time. [...] They are arecreation of the same spirit which makes its way in the organization of labour, in trading methods, the credit system and double-entry book keeping, in methods of government, in diplomacy and warfare. The whole development of art becomes part of the total process of rationalization. The irrational ceases to make any deeper impression. The things that are now felt as 'beautiful' are the logical conformity of the individual parts of a whole, the arithmetically definable harmony of the relationships and the calculable rhythm of a composition, the exclusion of discords in the relation of the figures to the space they occupy and in the mutual relationship of the various parts of the space itself. And just a central perspective is space seen from a mathematical standpoint, and right proportions are only equivalent to the systematic organization of the individual forms in a picture, so in the course of time call criteria of artistic quality are subjected to rational scrutiny and all the laws of art are rationalized.

When a general examination of the rhyme scheme in the Qur'an is made, we see that around 80% of the rhymes consist of just three sounds (n, m, a) consisting of the letters Alif, Mim, Ya and Nun258. Excluding the letter "Nun," 30% of the verses are rhymed with "Mim," "Alif" or "Ya." The formation of rhymed prose with just two or three sounds in a poem of 200-300 lines may give that work an important quality, sufficient for it to be described as a masterpiece by literary critics today. However, bearing in mind the length of the Qur'an, the information it contains and its wise exposition, the extraordinary manner in which its rhymed prose system is used becomes even clearer and more beautiful. The Qur'an indeed contains an ocean of information relating to a wide variety of subjects. They include: religious and moral guidance, lessons from the lives of the peoples of the past, the message of the prophets and messengers of Allah, the physical sciences and historical accounts of important events. But all of this, although wonderful in itself, is delivered with the most fantastic literary rhythm and excellence. It is simply not possible for so much rhymed prose by use of so few sounds in the Qur'an, with its varied and knowledgeable subject matter, to be achieved by human endeavour. From that point of view, it is not surprising that Arab linguists describe the Qur'an as "very definitely inimitable.

Liturgy gathers the holy community as it reads the Holy Scriptures into the sweeping tidal rhythms of the church year in which the story of Jesus and the Christian makes its rounds century after century, the large and easy interior rhythms of a year that moves from birth, life, death, resurrection, on to spirit, obedience, faith, and blessing. Without liturgy we lose the rhythms and end up tangled in the jerky, ill-timed, and insensitive interruptions of public-relations campaigns, school openings and closings, sales days, tax deadlines, inventory and elections. Advent is buried under 'shopping days before Christmas.' The joyful disciplines of Lent are exchanged for the anxious penitentials of filling out income tax forms. Liturgy keeps us in touch with the story as it defines and shapes our beginnings and ends our living and dying, our rebirths and blessing in this Holy Spirit, text-formed community visible and invisible. When Holy Scripture is embraced liturgically, we become aware that a lot is going on all at once, a lot of different people are doing a lot of different things. The community is on its feet, at work for God, listening and responding to the Holy Scriptures. The holy community, in the process of being formed by the Holy Scriptures, is watching, listening to God's revelation taking shape before an din them as they follow Jesus, each person playing his or her part in the Spirit.

What is the meaning of the antithetical concepts Apollonian and Dionysian which I have introduced into the vocabulary of Aesthetic, as representing two distinct modes of ecstasy? — Apollonian ecstasy acts above all as a force stimulating the eye, so that it acquires the power of vision. The painter, the sculptor, the epic poet are essentially visionaries. In the Dionysian state, on the other hand, the whole system of passions is stimulated and intensified, so that it discharges itself by all the means of expression at once, and vents all its power of representation, of imitation, of transfiguration, of transformation, together with every kind of mimicry and histrionic display at the same time. The essential feature remains the facility in transforming, the inability to refrain from reaction (—a similar state to that of certain hysterical patients, who at the slightest hint assume any role). It is impossible for the Dionysian artist not to understand any suggestion; no outward sign of emotion escapes him, he possesses the instinct of comprehension and of divination in the highest degree, just as he is capable of the most perfect art of communication. He enters into every skin, into every passion: he is continually changing himself. Music as we understand it today is likewise a general excitation and discharge of the emotions; but, notwithstanding this, it is only the remnant of a much richer world of emotional expression, a mere residuum of Dionysian histrionism. For music to be made possible as a special art, quite a number of senses, and particularly the muscular sense, had to be paralysed (at least relatively: for all rhythm still appeals to our muscles to a certain extent): and thus man no longer imitates and represents physically everything he feels, as soon as he feels it. Nevertheless that is the normal Dionysian state, and in any case its primitive state. Music is the slowly attained specialisation of this state at the cost of kindred capacities.

One of the earliest studies found that using an iPad—an electronic tablet enriched with blue LED light—for two hours prior to bed blocked the otherwise rising levels of melatonin by a significant 23 percent. A more recent report took the story several concerning steps further. Healthy adults lived for a two-week period in a tightly controlled laboratory environment. The two-week period was split in half, containing two different experimental arms that everyone passed through: (1) five nights of reading a book on an iPad for several hours before bed (no other iPad uses, such as email or Internet, were allowed), and (2) five nights of reading a printed paper book for several hours before bed, with the two conditions randomized in terms of which the participants experienced as first or second. Compared to reading a printed book, reading on an iPad suppressed melatonin release by over 50 percent at night. Indeed, iPad reading delayed the rise of melatonin by up to three hours, relative to the natural rise in these same individuals when reading a printed book. When reading on the iPad, their melatonin peak, and thus instruction to sleep, did not occur until the early-morning hours, rather than before midnight. Unsurprisingly, individuals took longer to fall asleep after iPad reading relative to print-copy reading. But did reading on the iPad actually change sleep quantity/quality above and beyond the timing of melatonin? It did, in three concerning ways. First, individuals lost significant amounts of REM sleep following iPad reading. Second, the research subjects felt less rested and sleepier throughout the day following iPad use at night. Third was a lingering aftereffect, with participants suffering a ninety-minute lag in their evening rising melatonin levels for several days after iPad use ceased—almost like a digital hangover effect. Using LED devices at night impacts our natural sleep rhythms, the quality of our sleep, and how alert we feel during the day.

Tell me, Princess Olivia... why do you have to stay in your tower?" The soft entreaty made Livia feel as if she were melting inside. She laughed unsteadily, wishing for a moment that she dared to trust him. But the habit of independence was too strong. Shaking her head, Livia approached him, expecting him to back away from the doorway. He retreated half a step, his hands still grasping the edges of the doorway, so that she couldn't help but walk into an open-armed embrace. The bonnet ribbons slipped from her fingers. "Mr. Shaw-" she began, making the mistake of looking up at him. "Gideon," he whispered. "I want to know your secrets, Olivia." A bitter half smile touched her lips. "You'll hear them sooner or later from other people." "I want to hear them from you." As Livia began to retreat into the glasshouse, Shaw deftly caught the little cloth belt of her walking dress. His long fingers hooked beneath the reinforced fabric. Unable to back away from him, Livia clamped her hand over his, while a hectic blush flooded her face. She knew that he was toying with her, and that she once might have been able to manage this situation with relative ease. But not now. When she spoke, her voice was husky. "I can't do this, Mr. Shaw." To her amazement, he seemed to understand exactly what she meant. "You don't have to do anything," he said softly. "Just let me come closer... and stay right there..." His head bent, and he found her mouth easily. The coaxing pressure of his lips made Livia sway dizzily, and he caught her firmly against him. She was being kissed by Gideon Shaw, the self-indulgent, debauched scoundrel her brother had warned her about. And oh, he was good at it. She had thought nothing would ever be as pleasurable as Amberley's kisses... but this man's mouth was warm and patient, and there was something wickedly erotic about his complete lack of urgency. He teased her gently, nudging her lips apart, the tip of his tongue barely brushing hers before it withdrew. Wanting more of those silken strokes, Livia began to strain against him, her breath quickening. He nurtured her excitement with such subtle skill that she was utterly helpless to defend against it. To her astonishment, she found herself winding her arms around his neck and pressing her breasts against the hard plane of his chest. His hand slid behind her neck, tilting her head back to expose her throat more fully. Still gentle and controlled, he kissed the fragile skin, working his way down to the hollow at the base of her throat. She felt his tongue swirl in the warm depression, and a moan of pleasure escaped her. Shaw lifted his head to nuzzle the side of her cheek, while his hand smoothed over her back. Their breaths mingled in swift puffs of heat, his hard chest moving against hers in an erratic rhythm.

Now there is this song on the saxophone. And I am ashamed. A glorious little suffering has just been born, an exemplary suffering. Four notes on the saxophone. They come and go, they seem to say: You must be like us, suffer in rhythm. All right! Naturally, I’d like to suffer that way, in rhythm, without complacence, without self-pity, with an arid purity. But is it my fault if the beer at the bottom of my glass is warm, if there are brown stains on the mirror, if I am not wanted, if the sincerest of my sufferings drags and weighs, with too much flesh and the skin too wide at the same time, like a sea-elephant, with bulging eyes, damp and touching and yet so ugly? No, they certainly can’t tell me it’s compassionate—this little jewelled pain which spins around above the record and dazzles me. Not even ironic: it spins gaily, completely self-absorbed; like a scythe it has cut through the drab intimacy of the world and now it spins and all of us, Madeleine, the thick-set man, the patronne, myself, the tables, benches, the stained mirror, the glasses, all of us abandon ourselves to existence, because we were among ourselves, only among ourselves, it has taken us unawares, in the disorder, the day to day drift: I am ashamed for myself and for what exists in front of it. It does not exist. It is even an annoyance; if I were to get up and rip this record from the table which holds it, if I were to break it in two, I wouldn’t reach it. It is beyond—always beyond something, a voice, a violin note. Through layers and layers of existence, it veils itself, thin and firm, and when you want to seize it, you find only existants, you butt against existants devoid of sense. It is behind them: I don’t even hear it, I hear sounds, vibrations in the air which unveil it. It does not exist because it has nothing superfluous: it is all the rest which in relation to it is superfluous. It is. And I, too, wanted to be. That is all I wanted; this is the last word. At the bottom of all these attempts which seemed without bonds, I find the same desire again: to drive existence out of me, to rid the passing moments of their fat, to twist them, dry them, purify myself, harden myself, to give back at last the sharp, precise sound of a saxophone note. That could even make an apologue: there was a poor man who got in the wrong world. He existed, like other people, in a world of public parks, bistros, commercial cities and he wanted to persuade himself that he was living somewhere else, behind the canvas of paintings, with the doges of Tintoretto, with Gozzoli’s Florentines, behind the pages of books, with Fabrizio del Dongo and Julien Sorel, behind the phonograph records, with the long dry laments of jazz. And then, after making a complete fool of himself, he understood, he opened his eyes, he saw that it was a misdeal: he was in a bistro, just in front of a glass of warm beer. He stayed overwhelmed on the bench; he thought: I am a fool. And at that very moment, on the other side of existence, in this other world which you can see in the distance, but without ever approaching it, a little melody began to sing and dance: “You must be like me; you must suffer in rhythm.

We tend to be unaware that stars rise and set at all. This is not entirely due to our living in cities ablaze with electric lights which reflect back at us from our fumes, smoke, and artificial haze. When I discussed the stars with a well-known naturalist, I was surprised to learn that even a man such as he, who has spent his entire lifetime observing wildlife and nature, was totally unaware of the movements of the stars. And he is no prisoner of smog-bound cities. He had no inkling, for instance, that the Little Bear could serve as a reliable night clock as it revolves in tight circles around the Pole Star (and acts as a celestial hour-hand at half speed - that is, it takes 24 hours rather than 12 for a single revolution). I wondered what could be wrong. Our modern civilization does not ignore the stars only because most of us can no longer see them. There are definitely deeper reasons. For even if we leave the sulphurous vapours of our Gomorrahs to venture into a natural landscape, the stars do not enter into any of our back-to-nature schemes. They simply have no place in our outlook any more. We look at them, our heads flung back in awe and wonder that they can exist in such profusion. But that is as far as it goes, except for the poets. This is simply a 'gee whiz' reaction. The rise in interest in astrology today does not result in much actual star-gazing. And as for the space programme's impact on our view of the sky, many people will attentively follow the motions of a visible satellite against a backdrop of stars whose positions are absolutely meaningless to them. The ancient mythological figures sketched in the sky were taught us as children to be quaint 'shepherds' fantasies' unworthy of the attention of adult minds. We are interested in the satellite because we made it, but the stars are alien and untouched by human hands - therefore vapid. To such a level has our technological mania, like a bacterial solution in which we have been stewed from birth, reduced us. It is only the integral part of the landscape which can relate to the stars. Man has ceased to be that. He inhabits a world which is more and more his own fantasy. Farmers relate to the skies, as well as sailors, camel caravans, and aerial navigators. For theirs are all integral functions involving the fundamental principle - now all but forgotten - of orientation. But in an almost totally secular and artificial world, orientation is thought to be un- necessary. And the numbers of people in insane asylums or living at home doped on tranquilizers testifies to our aimless, drifting metaphysic. And to our having forgotten orientation either to seasons (except to turn on the air- conditioning if we sweat or the heating system if we shiver) or to direction (our one token acceptance of cosmic direction being the wearing of sun-glasses because the sun is 'over there'). We have debased what was once the integral nature of life channelled by cosmic orientations - a wholeness - to the ennervated tepidity of skin sensations and retinal discomfort. Our interior body clocks, known as circadian rhythms, continue to operate inside us, but find no contact with the outside world. They therefore become ingrown and frustrated cycles which never interlock with our environment. We are causing ourselves to become meaningless body machines programmed to what looks, in its isolation, to be an arbitrary set of cycles. But by tearing ourselves from our context, like the still-beating heart ripped out of the body of an Aztec victim, we inevitably do violence to our psyches. I would call the new disease, with its side effect of 'alienation of the young', dementia temporalis.

The ritual performance of Eucharist, and the communal memory on which it rests, in large measure generated the profound theological insights that unfolded in the first few centuries of Christian traditions. Early Christian worship orbited around a remarkable insight: God makes God’s own self vulnerable to the ecstasies and foibles of bodily human intimacy. “Take, eat,” Jesus says; “this is my body given for you” (Matthew 26:26). He says this with no guarantee whatsoever that this offering will be received well if at all. Notably, God initiates this moment of self-giving, and not in response to any request from God’s creatures but instead from God’s own desire for intimacy and union with us and indeed the rest of God’s creation. The audacity of Christian faith shimmers most vividly there, in a liturgical act routinely performed weekly by the vast majority of worldwide Christians and sometimes daily. Perhaps the rite’s repetition has blunted our collective awareness of the extravagance of that ostensibly simple act. Gathering to share a meal of bread and wine offers a profound declaration at the core of Christian faith: the meaning of human life and of the whole creation derives from the hope for communion. This is first and foremost God’s desire, which is only then the hope of God’s creatures. More audaciously still, this desire and this hope for communion constitutes the one story of the cosmos, of God’s own creation, to which Christian faith bears witness and in which Christians participate every time we celebrate the Eucharist. One further step remains to bring this theological audacity more fully into view: we can refresh our Christian witness to this profound story by turning to human sexual intimacy as a poignant instance of divine desire. Christians might readily imagine turning there when we experience such intimacy as ecstatically fulfilling; but we can also reflect on sexual intimacy, and perhaps especially so, when it leaves residual disappointment or even trauma in its wake. In all its delicate rhythms and relational frustrations, this bodily signpost in spiritual practice can stimulate Christian witness to the One Story—the deep desire and abiding hope for divine communion.7

The ritual performance of Eucharist, and the communal memory on which it rests, in large measure generated the profound theological insights that unfolded in the first few centuries of Christian traditions. Early Christian worship orbited around a remarkable insight: God makes God’s own self vulnerable to the ecstasies and foibles of bodily human intimacy. “Take, eat,” Jesus says; “this is my body given for you” (Matthew 26:26). He says this with no guarantee whatsoever that this offering will be received well if at all. Notably, God initiates this moment of self-giving, and not in response to any request from God’s creatures but instead from God’s own desire for intimacy and union with us and indeed the rest of God’s creation. The audacity of Christian faith shimmers most vividly there, in a liturgical act routinely performed weekly by the vast majority of worldwide Christians and sometimes daily. Perhaps the rite’s repetition has blunted our collective awareness of the extravagance of that ostensibly simple act. Gathering to share a meal of bread and wine offers a profound declaration at the core of Christian faith: the meaning of human life and of the whole creation derives from the hope for communion. This is first and foremost God’s desire, which is only then the hope of God’s creatures. More audaciously still, this desire and this hope for communion constitutes the one story of the cosmos, of God’s own creation, to which Christian faith bears witness and in which Christians participate every time we celebrate the Eucharist. One further step remains to bring this theological audacity more fully into view: we can refresh our Christian witness to this profound story by turning to human sexual intimacy as a poignant instance of divine desire. Christians might readily imagine turning there when we experience such intimacy as ecstatically fulfilling; but we can also reflect on sexual intimacy, and perhaps especially so, when it leaves residual disappointment or even trauma in its wake. In all its delicate rhythms and relational frustrations, this bodily signpost in spiritual practice can stimulate Christian witness to the One Story—the deep desire and abiding hope for divine communion.

The shadow of a character is defined by its maker...while a heroine is personified by its actions and relatability. So writers can create a world with a heroine that has impact and finish with everessence lights at the dims of its shadows

the practitioner perceives the inner activity of the body as the manifestation of numerous energy currents (rlung). The term rlung literally means “moving air,” such as the “wind,” or the “breath.” Here it refers to subtle energy currents that move throughout the body. They move in channels (rtsa), which become increasingly discernible with experience. The quality of movement of these currents as well as their direction are correlated with both the rhythm of the breath and the flow of events within the mental continuum. The more chaotic the elaboration of thought within the mental continuum, the greater the disorganization of energy flow within the body. There are five main channels (rlung lnga) as well as numerous subsidiary ones (yan lag gi rlung) described in the Buddhist tantras. Each of the five main channels is associated with one of the five elements (’byung ba lnga), one of the five conflicting emotional states (nyon mong), one of the coarse bodily functions, and one of the body points. Table 6 gives these correlations. TABLE 6: CORRELATION OF ENERGY CURRENTS WITH BODY POINTS AND PHYSIOLOGICAL FUNCTIONSa Name of Energy Current Related Body Points Physiological Function 1. Inspiration (thur sel) Crossed legs Excretion 2. Expiration (kyen rgyu) Hands in equipose Speaking 3. Firelike (me mnyam) Spine and upper trunk Digestion 4. All-pervasive (khyab byed) Neck and tongue Muscular activity 5. Vital force (srog ’dzin) Gaze Breathing a

time is relative. It varies according to the rhythm of one’s heart.

Sharing life either as a close-knit, extended biological family or as an intentional Christian community requires a relational toolbox of habits, wisdom, rhythms, and values to hammer out challenges and construct durable friendships.

For Meschonnic, poetry is the critique of the duality of the sign, and rhythm is the poem’s – and thus the subject’s – agency. It is only within such a continuously enacted critique that the subject can emerge as irrevocably ethical. He used the term “geopoetics” to prise open the conventional cultural and geographic borders that disallow the free movement of subjectivization as continuous rhythm. Within his proposition, politics does not refer to the spatialized economics of governance, but to the necessary proposition of a shared linguistic duration. And, too, within this proposition, we don’t know definitively what language is – this is why it can remain open as an inquiry. Meschonnic’s work on rhythm claims orality as the mode of the political. In his words, in Politique du rythme:

We must again question the alternative between the for-itself and the in-itself that threw the 'senses' back into the world of objects and disengaged subjectivity, understood as absolutely non-being, from all bodily inherence. This is what we are doing by defining sensation as coexistence or communion. The sensation of blue is not the knowledge or the positing of a certain identifiable quale throughout all of the experiences that I have of it, in the manner that the geometer's circle is the same in Paris and in Tokyo. Sensation is certainly intentional; that is, it does not remain in itself like a thing, it intends and signifies beyond itself. But the term that it intends is only recognized blindly through the familiarity of my body with it, it is not constituted in full clarity; it is reconstituted or taken up through a knowledge that remains latent and that leaves to it its opacity and its haecceity. Sensation is intentional because I find in the sensible the proposition of a certain existential rhythm--abduction or adduction--and because, taking up this proposition, and slipping into the form of existence that is thus suggested to me, I relate myself to an external being, whether it be to open myself up to it or to shut myself off from it. If qualities radiate a certain mode of existence around themselves, if they have a power to enchant, or if they have what we called earlier a sacramental value, this is because the sensing subject does not posit them as object, but sympathizes with them, makes them its own, and finds in them his momentary law.

One of the underpinnings of this assumption is the popular truism that today's teenagers and younger children are all now harmoniously inhabiting the incluse and seamless intelligibility of their technological worlds. This generational characterization supposedly confirms that, within another few decades or less, a transitional phase will have ended and there will be billions of individuals with a similar level of technological competences and basic intellectual assumptions. With a new paradigm fully in place, there will be innovation, but in this scenario it will occurwithin the stable and endring conceptual and funcitonal parameters of this "digital" epoch. However, the very different actuality of our time is the calculated maintenance of an ongoing state of transition. There never will be a "catching up" on either a social or individual basis in relation to continually changing technological requirements. For the vast majority o f people our perceptual and cognitive relationship to communication and information technology will continue to be estranged and disempowered because of the velocity wat which new products emerge and at which arbitrary reconfigurations of entire systems take place. This intensified rhythm precludes the possibility of becoming familiar with any given arrangement. Certain cultural theorists insist that such condition can easily be the basis for neutralizing institutional power, but actual evidence supporting this view is non-existent.

1. the law of perpetual transmutation 2. the law of relativity 3. the law of vibration 4. the law of polarity 5. the law of rhythm 6. the law of cause and effect 7. the law of gender

Any memories of other women were banished permanently from his mind... there was only Evie, her red hair streaming and curling over his stomach and thighs, her playful fingers and frolicsome mouth causing him an agony of pleasure like nothing he had ever felt before. When he could no longer hold back his groans, she climbed over him carefully, straddling him, crawling up his body slowly like a sun-warmed lioness. He had one glimpse of her flushed face before she sought his mouth with teasing, sucking kisses. The rosy tips of her breasts dragged through the hair on his chest... she rubbed herself against him, purring with satisfaction at the hard warmth of the male body beneath her. His breath snagged in his throat as he felt her hand slip between their hips. He was so aroused that she had to gently pull his sex away from his stomach before she could fit it between her thighs. The crisp red curls of her mound tickled his exquisitely sensitive skin as she guided him between the hot folds of her body. "No," Sebastian managed, recalling the bet. "Not now. Evie, no---" "Oh, stop protesting. I didn't make nearly this much of a fuss after our wedding, and I was a virgin." "But I don't want---oh God. Holy Mother of God---" She had pushed the head of his sex into her entrance, the sweet flesh so snug and soft that it took his breath away. Evie writhed a little, her hand still grasping the length of his organ as she tried to guide him deeper. Seeing the difficulty she was having in accommodating him caused him to swell even harder, his entire body flushed with prickling excitement. And then came the slow, miraculous slide, hardness within softness. Sebastian's head fell back to the pillow, his eyes drowsy with intense desire as he stared up into her face. Evie made a little satisfied hum in her throat, her eyes tightly closed as she concentrated on taking him deeper. She moved carefully, too inexperienced to find or sustain a rhythm. Sebastian had always been relatively quiet in his passion, but as her lush body lifted and settled, deepening his penetration, and his cock was gripped and stroked by her wet depths, he heard himself muttering endearments, pleas, sex words, love words. Somehow he coaxed her to lean farther over him, resting more of her body against his, adjusting the angle between them. Evie resisted briefly, fearing she would hurt him, but he took her head in his hands. "Yes," he whispered shakily. "Do it this way. Sweetheart. Move on me... yes..." As Evie felt the difference in their position, the increased friction against the tingling peak of her sex, her eyes widened. "Oh," she breathed, and then inhaled sharply. "Oh, that's so---" She broke off as he set a rhythm, nudging deeper, filling her with steady strokes. The entire world dwindled to the place where he invaded her, their most sensitive flesh joined. Evie's long auburn lashes lowered to her cheeks, concealing her unfocused gaze. Sebastian watched a pink flush creep over her face. He was suspended in wonder, suffused with vehement tenderness as he used his body to pleasure hers. "Kiss me," he said in a guttural whisper, and guided her swollen lips to his, slowly ravishing her mouth with his tongue. She sobbed and shuddered with release, her hips bearing greedily against his as she took his full length. The rim of her sex clamped tightly around him, and Sebastian gave himself up to the squeezing, enticing, pulsing flesh, letting her pull the ecstasy from him in great voluptuous surges. As she relaxed over him, trying to catch her breath, he drew his hands over her damp back, his fingertips gently inquiring as they traveled to the plump curve of her bottom. To his delight, she squirmed and tightened around him in helpless response. If he had his usual strength... oh, the things he would have done to her...

Many of the ardents who train there seem pretty wise to me,” she said. “After all, they shave their heads.” “They…” Kaladin frowned. “Syl, what does that have to do with being wise?” “Hair is gross. It seems smart to shave it off.” “You have hair.” “I do not; I just have me. Think about it, Kaladin. Everything else that comes out of your body you dispose of quickly and quietly—but this strange stuff oozes out of little holes in your head, and you let it sit there? Gross.” “Not all of us have the luxury of being fragments of divinity.” “Actually, everything is a fragment of divinities. We’re relatives that way.” She zipped in closer to him. “You humans are merely the weird relatives that live out in the stormshelter; the ones we try not to let visitors know about.

By boosting the electrical quality of deep-sleep brainwave activity, the researchers almost doubled the number of facts that individuals were able to recall the following day, relative to those participants who received no stimulation. Applying stimulation during REM sleep, or during wakefulness across the day, did not offer similar memory advantages. Only stimulation during NREM sleep, in synchronous time with the brain’s own slow mantra rhythm, leveraged a memory improvement. Other methods for amplifying the brainwaves of sleep are fast being developed. One technology involves quiet auditory tones being played over speakers next to the sleeper. Like a metronome in rhythmic stride with the individual slow waves, the tick-tock tones are precisely synchronized with the individual’s sleeping brainwaves to help entrain their rhythm and produce even deeper sleep.

Infants and young children who show signs of autism, or who are diagnosed with autism, do not have normal sleep patterns or amounts. The circadian rhythms of autistic children are also weaker than their non-autistic counterparts, showing a flatter profile of melatonin across the twenty-four-hour period rather than a powerful rise in concentration at night and rapid fall throughout the day.II Biologically, it is as if the day and night are far less light and dark, respectively, for autistic individuals. As a consequence, there is a weaker signal for when stable wake and solid sleep should take place. Additionally, and perhaps related, the total amount of sleep that autistic children can generate is less than that of non-autistic children.

It was not until life returned to its regular rhythm that she really began to suffer. Whilst there had been crisis and urgency and drama, she had sustained herself tolerably well; but now there was nothing but the everyday and the ordinary to greet her when she woke.

It is a common occurrence to sit with a precious but struggling son or daughter of God who shares that while they have many friendly people in their life with whom they share a hobby, workspace, or the banter of small talk, they don’t feel they really have any core friends who regularly see and pursue them. They express restlessness at the lack of a place to belong. They are lonely. At the same time, these are almost always the same people who tell me they are “just too busy” to join a small group, ministry team, or even attend church regularly. Chalking their struggles up to God’s injustice, their brokenness, or a problem with the church, most don’t stop to consider a far more obvious truth. We’ve positioned our lives at a pace that is not conducive for building deep friendships. We spend 38 days a year staring at a screen in third person, but have lost the relational rhythms of building roots with actual people.

Note: Dr. Lawrence Polinkis who analyzed clinical data from American men and women at Antarctica's Mcmurdo station Amundsen Scott's South Pole station posits specifically that the memory loss and other cognitive impairments he observed were related to a decline in levels of the thyroid hormone T3, which helps determine how the body uses energy. Thyroid hormones help the body regulate temperature and set its circadian rhythms. It's not difficult to see how extreme cold and the prolonged absence of sunshine might throw a system off. This is just a hypothesis - the causes of the syndrome remain puzzling more the a century after Cook first described it.

In The Irony of American History Reinhold Niebuhr sees ‘the necessity of using the threat of atomic destruction as an instrument for the preservation of peace … [as] a tragic element in our contemporary situation’. It is not tragic, but ironic only; it is not tragic, because we are involved in it, we cannot be detached about it. Tragic vision has a movement, or rhythm: first an initial standpoint outside the drama, detachment; then a self-projection into the drama, identification; and lastly, the discovery of the universal relevance of the drama, the recognition of having been told a truth about all mankind, including ourselves. This is the catharsis, the self-recognition, which brings a deeper understanding of the human predicament. We admire and pity Oedipus or Othello, or Lord Cecil and the League of Nations men because we identify ourselves with them and then recognize ourselves in them, but there is no such movement of tragic understanding in relation to our contemporary situation. The only emotion we can feel about the threat of atomic destruction as an instrument for peace is self-pity, and this is not a tragic emotion: it is notoriously the most unpurifying and impure of all emotions, the very opposite of self-recognition as part of universal humanity. Niebuhr, a Christian Machiavellian [see Appendix II], in his Irony of American History (1952) falsifies the relation of irony and tragedy and shows the Machiavellian's inability to understand the nature of tragedy.

Know thyself; know your strengths and weaknesses; your relation to the universe; your potentialities; your spiritual heritage; your aims and purposes; take stock of thyself. —SOCRATES

How we approach the problem of time largely determines our view of the outside world around us. First, we need to distinguish two aspects of time. Absolute time is clock time, referring to a particular point in a time series, for example, your birth date. Absolute time is a fundamental element of existence since everything exists in time. Duration refers to the change of time, the interval between two points in time. Elapsed time is therefore relative, and it has an interval span (e.g., hour), whereas absolute time does not have a span (e.g., date). We make a similar absolute versus relative distinction in space as well, when we talk about position and distance

We have seen that a toddler needs to be surrounded to build fixed landmarks in his mind; he needs to move, to discover the environment by himself through the five senses, and he needs to do. All other needs of the toddler are always related to the sensory periods and are: Need for direct contact with the mother; Need to feel protected and safe; Need to develop relationships; Need to find stable reference points; Need its biological rhythms to be respected; Need for self-awareness as an individual; Need for freedom and independence; Need for a tailored space; Need for concentration; Need to use hands; Need to experience nature; Need for silence.

Authority intervenes with loving strength. It is the opposite of sitting on the sideline and making a request. We are not politely petitioning our children to consider our point of view, we are parenting them. This means we have a relational role to stand in, not just thoughts to offer. For their sake, we need to embrace the reality that that is exactly what they need.

People with wombs have always known that bodies and consciousness are cyclical, tied to a rhythm that is larger than the individual. The cycle is twenty-eight days, full moon to full moon. Moon sounds like a name or a noun. But let us remember that moon is a gerund. Always moving. Always moon-ing. It is time to give the masculine back its lunar knowledge. Wombs swell, yearn, mulch, and release in twenty-eight days. But a womb is not just an organ. It is an invitation that anyone of any physicality and any gender expression can accept. It is an invitation to dance inside change for twenty-eight days. To practice softness for a cycle. The masculine has a womb, too. A moon. All it need do is look up at the night sky. What is lunar wisdom? Even on a new moon night, the moon is still present: replete and whole, while also void and occluded. This is a completion that holds loss tenderly inside its body. It is neatly summed up by Octavia Butler’s powerful words: “God is change.”1 The moon is every gender, every sexuality, mostly both, always trans: waxing and waning. The moon only ever flirts with fullness or emptiness for a brief, tenuous moment before slipping into change. Here is our blended, androgynous Dionysus. Wine-drunk, love-swollen, wind-swept, in ecstatic union with the holy, the moon encourages us to dissolve our edges rather than affirm them. Lunar knowledge keeps us limber. Keeps us resilient. Awe, whether somatic or spiritual, transforms us. The alternative to patriarchy and sky gods is not equal and opposite. It is not a patriarchy with a woman seated on a throne. The Sacred Masculine isn’t a horned warrior bowing down to his impassive empress. The divine, although it includes us, is mostly inhuman. Mutable. Mostly green. Often microscopic. And it is everything in between. Interstitial and relational. The light and the dark. Moonlight on moving water. The lunar bowl where we all mix and love and change.

It says Come don the veil of the type and token. Come learn to love what’s hidden inside. To hold and cherish. The almost unbelievably thick-ankled. The kyphotic and lordotic. The irremediably cellulitic. It says Progress Not Perfection. It says Never Perfection. The fatally pulchritudinous: Welcome. The Actaeonizing, side by side with the Medusoid. The papuled, the macular, the albinic. Medusas and odalisques both: Come find common ground. All meeting rooms windowless. That’s in ital: all meeting rooms windowless.’ Plus the music she’s cued for this inflectionless reading is weirdly compelling. You can never predict what it will be, but over time some kind of pattern emerges, a trend or rhythm. Tonight’s background fits, somehow, as she reads. There’s not any real forwardness to it. You don’t sense it’s straining to get anywhere. The thing it makes you see as she reads is something heavy swinging slowly at the end of a long rope. It’s minor-key enough to be eerie against the empty lilt of the voice and the clinks of tines and china as Mario’s relations eat turkey salad and steamed crosiers and drink lager and milk and vin blanc from Hull over behind the plants bathed in purple light.

she’d always found it curious how others put their physical urges ahead of the more powerful emotions of bonding, relating, and engaging.

Activation of key neural networks in the brain can produce the sense of pleasure or reward. These reward circuits can be activated in multiple ways, including relief of distress (e.g., using Alcohol to self-medicate or Rhythm to regulate the anxiety produced by a stress-response system that’s been altered by trauma); positive human interactions (Relational); direct activation of the reward systems using various drugs of abuse such as cocaine or heroin (Drugs); eating Sweet-Salty-Fatty Foods (SSF foods); and behaviors consistent with your values or beliefs (Beliefs). Each day we need to fill our “reward bucket.

These conditions commonly coexist with ADHD: Obstructive sleep apnea: This sleep disorder, characterized by snoring and pauses in breathing during sleep, is more common among adults, but it does occur in children, especially children with ADHD. Restless leg syndrome: This condition causes an intense, often irresistible urge to move your legs, particularly when sitting or lying down. Unlike ADHD-related hyperactivity, it happens mostly at night and often gets worse with age. Periodic limb movement syndrome: You know how your leg kicks or your arm flops all of a sudden when you’re falling asleep? It has a name. At least, it does when it keeps happening every twenty to forty seconds and long enough to interfere with sleep.[*3] Sleepwalking and night terrors: These sleep disorders occur when the lines between awake and asleep are blurred. They are often first observed in childhood by parents. Insomnia: You’ve probably heard of this one. Insomnia occurs whenever you want to sleep but can’t sleep, due to difficulties falling asleep or staying asleep, and it is also one of the criteria for delayed sleep phase syndrome. Delayed sleep phase syndrome: This syndrome occurs when your body’s internal clock, or its circadian rhythm, is delayed by two or more hours. For example, you might naturally want to sleep from three a.m. to noon. Excessive daytime sleepiness: This condition is exactly what it sounds like. If you’re falling asleep in the middle of a movie at your friend’s house or missing a shift because you can’t stay awake, it doesn’t mean you’re a bad friend or a lazy employee. It could be a sign that something is wrong.

To a large extent, this antipathy (which even the recent reconciliation has not entirely eradicated) is an expression of the traditional rivalry between North and South that goes through the entire history of the Arabs and has its counterpart in many other nations as well: for it often happens that a small difference in the inner rhythm of life produces more hostility between closely related tribes than racial strangeness could cause between entirely different neighbouring nations.

Timing is the art of regulating your speech and movement in relation to your audience to produce the best results. That includes using the right words, facial expressions, movements, tone, and interaction; with the best rhythm and speed; at the best time.

Many of the ardents who train there seem pretty wise to me," she said. "After all, they shave their heads.” "They…" Kaladin frowned. "Syl, what does that have to do with being wise?" "Hair is gross. It seems smart to shave it off." "You have hair." "I do not; I just have me. Think about it, Kaladin. Everything else that comes out of your body you dispose of quickly and quietly—but this strange stuff oozes out of little holes in your head, and you let it sit there? Gross." "Not all of us have the luxury of being fragments of divinity." "Actually, everything is a fragment of divinities. We’re relatives that way." She zipped in closer to him. "You humans are merely the weird relatives that live out in the stormshelter; the ones we try not to let visitors know about.

Science, they say, has made poetry impossible; there is no poetry in motor cars and wireless. And we have no religion. All is tumultuous and transitional. Therefore, so people say, there can be no relation between the poet and the present age. But surely that is nonsense. These accidents are superficial; they do not go nearly deep enough to destroy the most profound and primitive of instincts, the instinct of rhythm. All you need now is to stand at the window and let your rhythmical sense open and shut, open and shut, boldly and freely, until one thing melts in another, until the taxis are dancing with the daffodils, until a whole has been made from all these separate fragments.

IN DIRE STRAITS, WE HEAD STRAIGHT TO THE OCEAN The good Lord answered Beryl’s prayer when Dorjan came home next. On the cusp of the rainy season, when porch sitting Beryl was more inclined to watch tufts of moisture hung from invisible threads in fairytale skies than her playing children, he announced, “I have a will ‘ta move ‘ta the land of Hollywood and ‘burgeoning coastal developments,” like he’d read that phrase in a magazine. Then, he pressed on the horn in case she hadn’t heard his hollering. “I want a piece o’ that action, baby,” he said. “I can run my own company. ‘Reckon I know to do just about anything related to construction. Heya baby, why not?” He grinned as he rolled out of the driver’s seat. As she came down the steps to him, he smacked his thighs in a rhythm and did a fancy two-step. “The sun’s always shining. There’s bound to be work for me till I have no more need.” She went to hug him. “Lickety split, we’ll be going west… at the childr’n’s school break,” he said. That’s just what the Hudsons did. They left their free-of-charge huge, white house to the older brothers and sisters, taking brother Dennis along in the back seat with three of the children. Coalbert, sitting up front, sighed. “We’re just gonna leave the house like that? For someone other’n us to occupy, Daddy?” His heart was lying in that big white house with the wraparound porch. “Small thing. The place is tainted. It ‘taint yours and it ‘taint mine.” “I hope we get an indoor toilet, Mama!” Laila shouted. “Your daddy’s set on getting all the new things where we’re going to.

As a culture, our failure to understand or embrace aging is also related to the fact that we are increasingly and profoundly cut off from nature, and thus from the natural cycles and rhythms of our human life. And yet the old women in our old stories, without exception, are forces of nature, and of the ancestral Otherworld which is so beautifully entangled with this world. There are no twice-removed, transcendental star-goddesses here; no twinkly fairy queens, reluctant to sully themselves with the dirt and mess of physical incarnation. Our old women are the dark heart of the forest, the stone womb of the mountain, immanent in the living land itself. They’re elemental beings: storm hags, fire keepers, grandmothers of the sea. They show us how to live when everything we thought mattered to us has been stripped away; they teach us how to stay rooted in the face of inevitable death. They teach us how to stand firm in the face of all the culture’s bullshit, and laugh.

Mary had known what to do. She and Debbie had worked everything out in advance—whom to call and in what order: the funeral parlor, the credit card companies, the friends. There was already an obituary ready to go. Leonard’s photo would be in all the newspapers, on Twitter. It’d be in the black-and-white photo montage at the Oscars, with someone singing “Somewhere Over the Rainbow” in a ball gown. Alice made some of the calls to friends—she and Debbie split up the list. No one was surprised. Everyone was kind. Alice cried during the first few, nearly unable to get the words out, but then she got used to the rhythm of the conversation and found that she was able to make it through. That lasted a few minutes and then she was crying again. Alice hugged Mary longer than she’d ever hugged a relative stranger in her life. This was how people felt about their midwives, or platoon mates, or fellow hostages—they had seen things together that no one else would ever fully understand.

Time doesn’t pass; its relativity is ever-present. It is we who pass by and are pierced by it. Like the slow fall of sand through an hourglass, our breath marks the rhythm of our fleeting existence.

It’s believed that sleep is related to memory function as well, allowing us to consolidate and store new information and experiences so that they can be recalled at a later time.

I made peace with my religious past. I took responsibility for my spiritual journey. I stopped dividing up the world into “sacred” and “secular.” I began listening to and trusting my inner voice. I started looking past the externals, and relating to the deepest reality I knew was present in every human being. I quit making my humanity the enemy. I resisted the need to build a persona around being an enlightened person. I opened myself to the rhythm and flow of life in nature. I explored what it meant to truly be “present” in life and became a student of my spiritual aura and energy. I focused on addressing the root of my

Ancient Sanskrit literature describes 120 talas or time-measures. The traditional founder of Hindu music, Bharata, is said to have isolated 32 kinds of tala in the song of a lark. The origin of tala or rhythm is rooted in human movements—the double time of walking and the triple time of respiration in sleep, when inhalation is twice the length of exhalation. India has always recognised the human voice as the most perfect instrument of sound. Hindu music therefore, largely confines itself to the voice range of three octaves. For the same reason, melody (relation of successive notes) is stressed rather than harmony (relation of simultaneous notes). The deeper aim of the early rishi-musicians was to blend the singer with the Cosmic Song which can be heard through awakening of man’s occult spinal centres. Indian music is a subjective, spiritual and individualistic art, aiming not at symphonic brilliance but at personal harmony with the Oversoul. The Sanskrit word for musician is bhagavathar, “he who sings the praises of God.” The sankirtans or musical gatherings are an effective form of yoga or spiritual discipline, necessitating deep concentration, intense absorption in the seed thought and sound. Because man himself is an expression of the Creative Word, sound has the most potent and immediate effect on him, offering a way to remembrance of His Divine origin.

Abu-Jamal, serving a life-sentence now in the Pennsylvania prison, after over 29 years on death row, observes this about prison time: “Once loving relationships wither into yesterday’s dust. Relatives die, their loss mourned in silent loneliness. Times, temperaments, mores change, and the caged move to outdated rhythms.

It was to be the longest flight I had ever made in my young life and one of the most interesting. Having always been interested in the magic of aviation I knew that the DC-6B, I boarded was an approximately 75 seat, trans-ocean, Pan Am Clipper. It would also be the last long distance propeller driven commercial airliner. The only difference between it and the DC-6A was that it didn’t have a large cargo door in its side, and it was also approximately 5 feet longer than the DC-6A. 1955 was a good year and people felt relatively safe with Dwight D. Eisenhower in the White House. “I like Ike” had been his political motto since before he assumed office on January 20, 1953, even many Democrats held him in high esteem for his military service and winning the war in Europe. Eisenhower obtained a truce in Korea and worked diligently trying to ease the tensions of the Cold War. He did however fail to win over Georgy Malenkov, or Nikolai Bulganin who succeeded him, as Premier of the Soviet Union in February of 1955. As a moderate Conservative he left America, as the strongest and most productive nation in the world, but unfortunately because of his lack of diplomacy and love of golf, failed to prevent Cuba from slipping into the communist camp. WFLA inaugurated its broadcasting in the Tampa Bay area on February 14, 1955. The most popular music was referred to as good music, and although big bands were at their zenith in 1942, by 1947 and music critics will tell you that their time had passed. However, Benny Goodman was only 46 in 1955, Tommy Dorsey was 49 and Count Basie was 51. So, in many sheltered quarters they were still in vogue and perhaps always will be. I for one had my Hi-Fidelity 33 1/3 rpm multi stacked record player and a stash of vinyl long play recordings shipped to Africa. For me time stood still as I listened and entertained my friends. Some years later I met Harry James at the Crystal Ballroom in Disneyland. Those were the days…. Big on the scene was “Rhythm in Blues,” an offshoot of widespread African-American music, that had its beginnings in the ‘40s. It would soon become the window that Rock and Roll would come crashing through.

Thus my lifelong meditation on the concept of groove, what it is to make deep rhythm. This becomes a huge part of my life, as a musician of course, but also the question of how it relates to all of existence. When I’m rocking a groove, there is only nature working, ain’t no one gonna rock it harder than me. Free from all prison of my mind’s construct, I am a fucking mama grizzly bear protecting her cubs, and I don’t care if I die. I trust my animal instinct completely. I let go of every thought, let go of all the world, and KILL the groove. The hurt and pain in my heart is my ticket to fly, I surrender all earthly desires in the moment, when it’s time to rock and tap the source. I gotta be the groove and nothing else, fuck the world so I can uplift the world. To all you kids out there hurting like I hurt, I’m gonna be with you there in the magic place.

Whether a line forms a complete sentence or an incomplete one, whether it forms a musical phrase or strikes a harsh note, its purpose is clearly not limited to revealing sense. It is a unit of attention. The line momentarily removes a selection of words from the normal flow of language and suspends it for examination. You might compare this to the instant of consciousness – approximately three seconds long – which neuropsychologists believe constitutes the present moment. In that brief space we can appreciate the language contained in the line on a number of levels: its rhythm, its sound, its ideas, its phrase-making or its metaphoric content. We can even relate it to previous lines and anticipate its relationship with subsequent ones.

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

Idiolect Each of us clearly has an idiolect, a particular way of speaking derived from our upbringing and education. Our parents’ and relatives’ speech patterns and vocal tics and mannerisms; the way people speak where we were born; the way people speak where we live now; what we’ve read and when we read it: all these feed in to the way we unconsciously select one expression over another, one rhythm or one word as opposed to another. Poetry enables us to become as conscious as possible about the nuances of language, indeed to manipulate those elements to an aesthetic end.

Interestingly, a part of the cortisol secretion rhythm is related to the sleep/wake rhythm, and another part is coupled to the body temperature rhythm.

Wagner looked back to what in a primordial past had held people together in communities, a selflessness that had to be left behind so that human beings could become more and more conscious. He had an intuitive presentiment about the future; he felt that once individual freedom and independence had been attained, humans would have to find the way back to fellowship and caring relationships. Selflessness would have to be consciously regained, and loving kindness once more would have to become a prominent factor of life. For Wagner the present linked itself with the future, for he visualized as a distant ideal the existence of selflessness within the arts. Furthermore, he saw art as playing a significant role in evolution. Human development and that of art appeared to him to go hand in hand; both became egoistical when they ceased to function as a totality. As we see them today, drama, architecture and dance have gone their independent ways. As humanity grew more and more selfish, so did art. Wagner visualized a future when the arts would once more function in united partnership. Because he saw a commune of artists as a future ideal, he was referred to as 'the communist.' . . . In older works of art, where dance, rhythm and harmony still collaborated, he recognized something of the musical-dramatic element of the artistic works of antiquity. He acquired a unique sense for harmony, for tonality in music, but insisted that contributions from related arts were essential. Something from them must flow into the music. One such related art was dance, not as it has become, but the dance that once expressed movements in nature and movements of the stars. In ancient times, dance originated from a feeling for laws in nature. Man in his own movements copied those in nature. Rhythm of dance was reflected in the harmony of the music. Other arts, such as poetry, whose vehicle is words, also contributed, and what could not be expressed through words was contributed by related arts. Harmonious collaboration existed among dance, music and poetry. The musical element arose from the cooperation of harmony, rhythm and melody. This was what mystics and also Richard Wagner felt as the spirit of art in ancient times, when the various arts worked together in brotherly fashion, when melody, rhythm and harmony had not yet attained their later perfection. When they separated, dance became an art form in its own right, and poetry likewise. Consequently, rhythm became a separate experience, and poetry no longer added its contribution to the musical element. No longer was there collaboration between the arts. In tracing the arts up to modern times, Wagner noticed that the egoism in art increased as human beings egoism increased.

quietly getting to know a new community, adjusting to our new rhythm, relearning how to sit together on Sunday morning, which, if you’ve been married to a pastor for any amount of time, you know is a really big deal. We learned how to relate in a church where my husband wasn’t on staff.

First of all, the tone of my muscle cells must hold my skeleton together so that it neither collapses in upon my organs nor dislocates at its joints. It is tone, just as much as it is connective tissues or bone, that is responsible for my basic structural shape and integrity. Secondly, my muscle tone must superimpose upon its own stability the steady, rhythmical expansion and contraction of respiration. Third, it must support my overall structure in one position or another—lying, sitting standing, and so on. Finally, it must be able to brace and release any part of the body in relation to the whole, and to do this with spontaneity and split-second timing, so that graceful, purposeful action may be added to my stability, my posture, and my rhythmic respiration. It is no wonder we find that such large portions of our nervous systems are so continually engaged in controlling the maintenance and adjustments of this tone. The entire system of spindle cells, with both their contractile parts and their anulospiral receptors, the Golgi tendon organs, the reflex arcs, much of the internuncial circuitry of the spinal column, and most of the oldest portion of our brains—including the reticular formation and the basal ganglia—all work together to orchestrate this complex phenomenon. We have, as it were, a brain within our brain and a muscle system within our muscle system to monitor the constantly shifting values of background tonus, to provide a stable yet flexible framework which we are free to use how we will. Nor is it a wonder that these elements and processes are normally controlled below my level of consciousness—if this were not the case, walking across the room to get a glass of water would require more diversified and minute attention than my conscious awareness could possibly muster. It is the old brain, along with the even more ancient spinal cord, that are given the bulk of this task, because they have had so many more generations in which to grapple with the problems and refine the solutions. Millions upon millions of trials and errors have resulted in genetically constant motor circuits and sensory feedback loops which handle the fundamental life-supporting jobs of muscle tone for me automatically. Firm structure, posture, respiratory rhythms, swallowing, elimination, grasping, withdrawing, tracking with the eyes—all these intact and fully functional activities and more are given to each of us as new-born infants, the legacy of the development of our ancestors.