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Join Member Login. The practice of Lyrical teaches us how to break out of destructive patterns and surrender into the depths of the fluid, creative repetitions of our soulful self, bubbling up from the deepest parts of ourselves, to the integrity and dignity that we often forget is within us. Lyrical is expansive and connects us to our humanity, timeless rhythms, repetitions, patterns and cycles.
Lyrical is more of a state of being than a Rhythm, as it can be a crystal clear expression of any of the Rhythms in their lightness. We become light in our feet, like birds flying in the air—but make no mistake, in Lyrical we are grounded and fully empowered. Being Still and doing Nothing are totally different. Stillness moves, both within and all around us.
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The dance is our vehicle, our destination is the Rhythm of Stillness; our challenge is to be a vessel that keeps moving and changing. Physically, in the dance of Stillness, we move in slow motion—like highly unpredictable meditative Tai Chi masters. Shapes from the past, the present and the future come through us—shapes of the Feminine and the Masculine and the magic dance they do together. Eventually we dissolve into sitting meditation, where all the other Rhythms of our journey converge in the vital resonance of Stillness.
Chaos Theory and The Rhythm of Movies | qysonukujiva.tk
Each time we dance into Stillness, we practice the art of making humble and mindful endings interpreted by our higher connected self. This carries through to all of our endings in life—the end of this dance, this day, this relationship, or this life cycle. Good endings mean taking responsibility for the whole journey, distilling wisdom from our experience so that we may begin the next wave or cycle clean and not carrying the past with us.
It is said that Deleuze started to focus on rhythmic and musical discourse in his writings only from the second half of the s, and only after his collaborations with Guattari. Where does this array of differences live? Hence, Deleuze, in the s, already analyzed music and rhythm thanks to Nietzsche and Proust, who had put music and rhythm-repetition at the core of their sensibility and their writings.
In particular, Nietzsche, according to Deleuze, is the philosopher that, due to his profound denial of the measure of his own time and of the European civilization he lived in, identifies with a painful intuition the liberating Rhythm of our essence. These rhythmic topics in the s remained stratified as underground walls of inverse faultlines, but they never developed as key structure of Deleuzian thought.
In the second half of the s, Deleuze published Kafka , co-written with Guattari , and Dialogues with Parnet , and, above all, the proceedings of the conference Rendre audible des forces non-audible at the IRCAM in Paris Singular territorial individuations for a nonpulsed time-space. A first emblematic case can be represented by the great attention that Deleuze and Guattari directed to the classical and romantic Western musical tradition, as well as to more recent musical output by neo-vanguards, repeatedly mentioned in the pages of A Thousand Plateaus.
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A second case that cannot be ignored is themusical potential of concepts such as difference and repetition, rhizome, territorialization and deterritorialization and again re-territorialization , which have stimulated much musicological reflection and fueled the compositional practices of many musicians, who explicitly recognized the influence of the Deleuzian conceptual apparatus see Dusapin, Aperghis or Bernhard Lang. The third case is more complicated. It is the journey made by concepts born within the context of music theory that are revisited by Deleuze and Guattari from a philosophical point of view.