A Quote by Llewelyn Powys
The more we study mind and matter scientifically the more we see that all things follow a natural sequence, a sequence as liable to work for our disadvantage as for our advantage. It flows like the water of a river, it falls like rain, it is as impartial as the sea. It is as innocent of malice as it is of compassion.
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Don’t always want to go up. Go down, like water, because eventually it’ll go up again. Just like rain, it falls from the sky, flows as a river, then merges with the sea, the goes up again as a cloud.
Your heart is like a great river after a long spell of rain, spilling over its banks. All signposts that once stood on the ground are gone, inundated and carried away by that rush of water. And still the rain beats down on the surface of the river. Every time you see a flood like that on the news you tell yourself: That’s it. That’s my heart.
A random sequence is one that cannot be algorithmically compressed : the shortest description of a random sequence is simply the sequence itself.
This wasn't the sea of the inexorable horizon and smashing waves, not the sea of distance and violence, but the sea of the etenally leveling patience and wetness of water. Whether it comes to you in a storm or in a cup, it owns you--we are more water than dust. It is our origin and our destination.
I was brought up to understand Darwin's theory of evolution. I spent hours and hours in the Natural History Museum in London looking at the descriptions of how different kinds of animals had evolved, looking at the sequence of fossil bones looking gradually more and more and more and more like the modern fossil.
In 15 years we'll have all the sequence, a list of the genes everyone has in common and those that differ among people. We know only something like a tenth of 1 percent of the sequence at the moment.
But, in addition, there is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections.
This ego business has come from various sources, you know that, but it has to be cleansed out. Like when the river flows all kinds of dirt, filth flows into it, but when it meets the sea it becomes the sea. In the same way you have to become that. To become the sea what you have to do is to forget all these tributaries which were coming into you, and all these wrong ideas which came to you.
Women tell things in more interesting ways. They live with more feeling. They observe themselves and their lives. Men are more impressed with action. For them, the sequence of events is more important.
When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.
Was our life nothing more than a sequence of anonymous screams in a desert of indifferent stars?
Time itself flows on with constant motion, just like a river: for no more than a river can the fleeting hour stand still. As wave is driven on by wave, and, itself pursued, pursues the one before, so the moments of time at once flee and follow, and are ever new.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
Think then what it is to live on here eternally and yet be human; toage in soul and see our beloved die and pass to lands whither we maynot hope to follow; to wait while drop by drop the curse of the longcenturies falls upon our imperishable being, like water slow drippingon a diamond that it cannot wear, till they be born anew forgetful ofus, and again sink from our helpless arms into the void unknowable.
To engage a sequence, we keep in mind the photographs on either side of the one in our eye.
In retrospect, the past seems not one existence with a continuous flow of years and events that follow each other in logical sequence, but a life periodically dividing into entirely separate compartments. Change of surroundings, interests, pursuits, has made it seem actually more like different incarnations.
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