A Quote by C. S. Lewis

Music. A meaningless acceleration in the rhythm of celestial experience. — © C. S. Lewis
Music. A meaningless acceleration in the rhythm of celestial experience.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Human existence is a brutal experience to me... it's a brutal, meaningless experience - an agonizing, meaningless experience with some oases, delight, some charm and peace, but these are just small oases. Overall, it is a brutal, terrible experience, and so it salvation is what can you do to alleviate the agony of the human condition, the human predicament? That is what interests me the most.
Sex without love is a meaningless experience, but as far as meaningless experiences go its pretty damn good.
Music definitely is part of my rhythm, you know I play with a rhythm so I have to listen to music.
All meaning alters with acceleration, because all patterns of personal and political interdependence change with any acceleration of information.
I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
The idea that rhythm is intrinsically human — not just primitive — that we all have hearts that beat at a steady rate and don't stop...reminds me of life itself. In that sense my music is like certain popular music where the rhythm drives from beginning to end.
Music and comedy are so linked. The rhythm of comedy is con­nected to the rhythm of music. They’re both about creating tension and knowing when to let it go. I’m always surprised when somebody funny is not musical.
....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
But the soul of Africa, its integrity, the slow inexorable pulse of its life, is its own and of such singular rhythm that no outsider, unless steeped from childhood in its endless, even beat, can ever hope to experience it, except only as a bystander might experience a Masai war dance knowing nothing of its music nor the meaning of its steps.
If indeed, as Hilbert asserted, mathematics is a meaningless game played with meaningless marks on paper, the only mathematical experience to which we can refer is the making of marks on paper.
I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.
Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.
Your writers write these pieces about meaningless startups, meaningless apps and meaningless companies.
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