It would look and feel like this...
Now, let's take a quick look at a passage in Kodwo Eshun's groundbreaking book More Brilliant than the Sun:
Traditionally, the music of the future is always beatless. To be futuristic is to jettison rhythm. The beat is the ballast which prevents escape velocity, which stops music breaking beyond the event horizon. The music of the future is weightless, transcendent, neatly converging with online disembodiment. Holst’s Planet Suite as used in Kubrick’s 2001, Eno’s Apollo soundtrack, Vangelis’ Blade Runner soundtrack: all these are good records – but sonically speaking, they’re as futuristic as the Titanic, nothing but updated examples of an 18th C sublime.
Like science fiction films, science programs sometimes suffer from beatlessness or weak beats. The video of the strange octopus (it's taken from the documentary Learning to Sea) is full of great and lusty beats. The beats make the science less metaphysical and airy. We see the octopus living to the rhythm.