The quote above was embedded in my post “Mindfulness Wars: Langer Versus Buddha?”  It was not until I was proofreading the post that I realized how profound these 5 sentences were.   Interestingly, Jiyu Roshi used this quote as a basis for a talk at the Vista Zen Center a few days after the post had been published and  I found myself feeling a bit embarrassed as I had not printed author’s name, mainly because I did not take the time to look for it.  I later learned that the quote is attributed to Bhante Henepola Gunaratana, whose excellent book “Mindfulness In Plain English” I had read years ago. 

In “Mindfulness Wars”, I described  mindfulness training as a process where one learns to catch themselves (“remembering to remember”) as they drift into prolonged thought-sequences and then refocus their attention on internal  sensations. (See Creative Refocusing)  This kind of training may be viewed as one where a person learns to “awaken” themselves again and again from the “sleep” or “hypnosis” of ordinary consciousness which consists primarily of what might be called “internal dialogue”.  These internal dialogues are necessarily oriented towards either past or future experiences and to the extent that we can awaken ourselves, however briefly, we become aware of (or are in) the present moment as experienced through our somatic awareness. (see The Artist is Present)

Through meditation or some other form of mindfulness training, one can learn, over time, to also “awaken” more often in the midst of daily activities and interactions.  So the “time” that Guraratana is speaking of in the above quote, is the spit second that one gains when momentarily remembering/catching/awakening themselves before reacting automatically and mindlessly to whatever is going on around them.  This split second allows for a consideration of the consequences (for oneself and others) of any mindless reactions and for a creative (i.e. new ) response instead.  This is the choice that Guraratana says is won when we have time to mindfully consider our responses to what is happening to us in any moment.

Although, as seen in “Mindfulness Wars”, Langer’s approach to mindfulness is slightly different, the above description seems consistent with how she describes personal “reinvention” through engaging oneself in various artistic pursuits.  Late in the book is a Chapter entitled ” The Mindful Choice” which begins with a quote from Picasso saying ” I don’t know in advance what I am going to put on canvas any more than I decide beforehand what colors I am going to use”Langer goes on to say the following:

It’s time to get started.  Now that we understand that we shouldn’t worry about what other will think about our first painting, poem, or whatever it is we choose to do, that comparing ourselves with others is not in our best interest, that talent is not necessary, in short, that we are going to engage our creativity mindfully, it is time to go to the store and get whatever we need.  Once we are there however, the simple task of getting ready often quickly becomes daunting.  How do we decide what we need  ….In the face of such uncertainty, we perhaps ought to pay close attention to Picasso’s words, if we are to proceed mindfully, perhaps we shouldn’t be interested in knowing the answers to these question in advance.  We should just buy whatever colors appeal to us, whatever bushes we think interesting, and some surface on which to paint.  (pg. 212)


The remainder of her chapter echoes this same advice – decisions are made in ignorance because if we knew what to do we would just do it. Decisions are problematic, says Langer only when we think that we should know, up front, what the right choice is. She goes on to provide an interesting  analysis ( too lengthy to discuss in detail here) of what occurs during decision-making.  The essence of what she says sounds very Buddhist, although she eschews Buddhist terminology.  Her main point is that since we never can know the outcome of any decision we make and since conditions are constantly changing, the best we can do is make whatever decision is called for based on whatever information we have at hand and whatever makes sense to us in the moment.  So, whether we are talking about creating art or any other areas of life, we can always make new decisions based on whatever is happening in that later moment.  Langer argues that neither forestalling decisions (deliberating endlessly with the hope that new information will become available) nor automatically relying on some external rule or advice encourage mindful living.

At one point Langer declares “For some people , then decision-making is not stressful at all, because they are content with whatever consequences result” (pg. 217) .  This, and other comments, sounds very much like they are expressing the Buddhist ideal of equanimity; that is, not being attached to certain outcomes. A famous Chinese Zen poem begins with the line “The Great Way is not difficult for those who have no preferences”.  (Third Ch’an Patriarch Chien-chih Seng-ts’an)  Langer would probably say that letting go of comparing oneself with others, and concerns about how one is being evaluated will lead to one taking themselves “less seriously” and thus, less concerned about always making the “right” decision or choice.

Based on my own experiences with painting, I agree with Langer that this type of activity can  help one to learn not to take things so seriously.  So-called “mistakes” (i.e. “bad” decisions”) can often lead  to later decisions that result in one going in directions never imaged. Furthermore, one can always white-out the canvas and simply begin again, hopefully having learned something from the so called “mistake”.   To the extent that one can gradually drop concerns about how well one is doing according to some set of arbitrary external standards, one can let go and enjoy the process of creating and any choices or decisions that need to be made can become less stressful.

At the risk of flogging a dead horse, I want to reiterate what I said in “Mindfulness Wars”.  The process that Langer refers to as “Reinventing Yourself Through Mindful Creativity” can be strengthened  by the kind of mindfulness meditation recommended by Gunaratana in “Mindfulness in Plain English


In the long Langer quote, printed above, she seems to suggest that after reading the earlier chapters on letting go of self-evaluation and various anxieties about our creative practice, the reader should now be ready to dive in and start creating mindfully.  But her next sentence suggests that she knows it is not that easy.  Having painted for a period of ten years, I can attest to the fact that every time I approach my studio, I am confronted (i.e. I confront myself) with all sorts of thoughts and worries that can undermined the enjoyment of painting as well as restrict my creativity.


 I have read interviews with artists of all sorts and have concluded that such thoughts and worries are simply part of the creative process.  I believe, along with Langer,  that simply engaging in artistic practices for a long period of time can help a practitioner  learn to live with this fact.  But, I also believe that daily mindfulness training can facilitate and deepen this process. 


The time that Gunaratana says is gained when we practice mindfulness can allow us to nip in the bud all the creativity-defeating thoughts such as those covered in Langer’s early chapters.  These kinds of thoughts infuse themselves into all aspects of our lives and it may seem surprising that they appear even when we are engaged in activities that we love to do.  I would suggest however, that it may be easier to become mindful about them, and eventually let go of them, when we are doing things we are passionate about.

In the literature promoting mindfulness training, authors commonly emphasize how the practitioner can use the time gained in mindfulness to re-channel  angry reactions into responses that lead to less suffering for themselves and others.  I do not think that it is far fetched to consider such redirection as a form of mindful creativity since the alternative, bought by time, allow for a novel response.  Pairing daily mindfulness training with a mindful approach to fun activities, such as the arts, can provide a practicum of sorts for developing creative mindfulness in the widest sense of the term.  Here one may learn how to extend his or her mindfulness training into activities which require moment by moment decision-making.  By learning to “gain time” through practicing mindfulness in such situations, the practitioner is also gaining skills that can be used in situations where the consequences of his or her choices are perceived as being more “serious.  And, there is reason to believe that the time necessary to make skillful choices diminishes with mindfulness practice (see “Yeah Man: Improvisation in Jazz, Comedy and Zen).

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A customer approaches a small table set up among the produce booths at the Hollywood Farmer’s Market.  A small sign on the table reads:

                                                        Poem Store

                                               Your Subject, Your Price


The poet, who sits behind the table asks her customer for a topic and is told “Since Wednesday”.  In about 3 minutes she types and then reads the following poem to her customer:

Time has moved along

slowly, inching with heat

and asking us to understand

what can happen in a single

day, in the rise of a week…..

The customer, with tears in his eyes tells the poet:  “So Martha started chemo on Wednesday” and the poet simply nods.

This above exchange was described in a recent article by Deborah Netburn in the LA Times titled “Poems While You Wait”.  The article focuses on the unusual occupation/practice of a poet by the name of Jacqueline Suskin.  Jacqueline can be found most days set up at a small booths at Farmer’s markets and similar events . The payment is up to the customers but most pay around $5 for their poem.  Suskin always asks if she can read her poem because she considers poetry to be an “oral art”. Some people try to think up far out topics but most ask for a poem that somehow relates to current events in their lives.  She has a lot of repeat customers and newcomers are usually surprised at how relevant and poignant their personal poems turn out.  .

Jacqueline is quoted as saying: “The thing I like about Poem Store is that it is not about me.  I’m not thinking about myself. I’m writing about my interaction with a person, and I want to give them something that is just theirs.”

Because she understands that her customers are wanting to buy  vegetables and get right home, she works very quickly.. According to Jacqueline: “Part of the exercise is to get down immediately what comes to me.  They are like little mantras, little prayers that get handed out”.

Jacqueline thinks that people generally ask for poems that might provide them help with or insight into personal problems:  “They want hope, or confidence, or they just need someone to see who they are.. Half the time I feel like I am a therapist or a psychic”.

The poet doesn’t know how she manages to write poems so quickly.  “There is just this blurry area there.  There is no answers to how I can do it so quickly, so I don’t question it”. She goes on to say, however that it is exhausting work:  “This is the most physically draining thing I’ve ever done in my life.  When I’m done writing poems for four hours for people I don’t know, I’m like a zombie.  My brain is mush”.

Those of you who have been reading my past blogs, can probably see why I was intrigued by this article.  The quickness of her responses to requests for poems resembles the improvisational skills of jazz musicians and the storied shenanigans of traditional Zen  masters (see  YEAH MAN: IMPROVISATION IN JAZZ, COMEDY AND ZEN) ).  Although Jacqueline seems to be making a living writing poems, there is a selfless element to what she does. One of the elements of the Buddhist, Eightfold Path is right livelihood, which essentially means that a practioner should make a living in a job that is consistent with Buddhist ethics and ideals.  Certainly, Suskin’s Poem Store seems to be an example of this.

 Jacqueline Suskin’s interactions with the public also remind me a lot of Marina Abramovic’s performance piece at MOMA where she sat staring into the eyes of museum visitors during opening hours for a month.  In a post called  The Artist is Present”, I admired the Zen-like quality of Abramovic’s art.  Both Marina and Jacqueline attest to the strain of having to “be present” with strangers for hours on end, but both also seem to draw an immense degree of satisfaction from their actions.

I think many artists become depressed or cynical because they feel that the public does not appreciate their creativity to the degree that they would wish for.  They suffer alone and are not able to feel that they can find a way to use their creative skills to benefit others.  It seems that Jacqueline has found a unique means for accomplishing this, while still supporting herself doing the thing she loves to do..  I wonder whether the Poem Store concept, might  be  something that other artists could, with some creative “tweaking”,  utilize to energize their own practices?  I’d love to hear reactions from some of my artist readers (or anyone else for that matter) about their take on this article.  To read the original article, use the following address:

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Mindfulness Wars: Langer Versus Buddha?

Reading this post might make you more mindful.  Here is how.  The term “mindfulness” is used differently by Langer and by those in the Buddhist tradition.  Langer says one way to become more mindful is to see “similarities in things thought different and the differences in things taken to be similar” (pg. 16, On Becoming An Artist: Reinventing Yourself Through Mindful Creativity).  Here is an opportunity for you to play with that notion and hopefully become more mindful.  Or, you could choose, mindfully of course, to check out what has gone viral on YouTube today.

In my last blog post I described the Genjo Practice at the Vista Zen Center as having certain parallels to Ellen Langer’s “program” for “personal reinvention”.  The arts have long been associated with Zen practice and, although I don’t have any hard evidence to support this, I suspect that these art practices have been used as sort of a practicum where Zen Monks could apply what they learn sitting on a cushion to everyday life.  As Langer points out, learning to make mindful choices is easier when these choices are regarding activities that are seen as not having “serious” consequences. (See last blog).  I also asserted my belief that engagement in so called non-serious activities as a way of developing creative mindfulness is likely to be more effective (at least for most people) if carried out as a complement to more formal meditation practice. 

Is the glass half mindful or half mindless?

Here, I want to lay out why I think this may be the case, but to do so I need to deal with the fact that not everyone agrees on what the term “mindfulness” means.  Almost every contemporary review of the mindfulness literature suggests that Langer’s concept and that developed within the context of Buddhism are not the same.

For Langer, creative mindfulness is a way of making choices that are not determined by from old established “rules, routines and mind-sets” (pg.16) , to use her words.  She recognizes that her understanding of the concept has some relationship to the term “mindfulness” as it has developed in the Buddhist tradition but does not feel that two are the same.  According to Langer:

“For me the two way of  becoming mindful are not at odds with each other.  Becoming more mindful does not involve achieving some altered stat of consciousness through year of meditation.  It requires, rather, learning to switch modes of thinking about ourselves and the world.  It is very easy to learn to be mindful, which makes doing so appealing to those unwilling to sit for twenty minutes twice a day.  Mindfulness is simply the process of noticing new things.” (pg. 16)

I am not certain why Langer associates Buddhist mindfulness practice with “altered states of consciousness, unless she sees what I have been referring to in this blog as being “alive/awake/present” as an altered stated.  In some way it is an altered state in the sense that most of us, most of the time are not fully alive/awake/present.  Yet as I look throughout Langer’s book, it seems to me that when she describes people acting mindfully, she is describing precisely someone who is alive/awake/present and so is talking about the same thing that I see as the ideal of most spiritual disciplines.

When Langer writes about her (and others’) experiences when she started creating art, she uses terms like “enlivening”, “engaging” “being there” and “being fully present” as she describes mindfully making choices required in such projects.  She presents evidence from experiments that suggest that engaging in mindful creativity leads to the creators to feel more “authentic, and prompts others to perceive the mindful creators as more “charismatic” and their creations as “more interesting”.  All of this suggests that Langer’s concept of mindfulness is closely related, if not the same as what I have been referring to as being alive/awake/present. Since I see becoming more alive/awake/present as being the ideal of the kinds meditation practices that have been associated with Buddhism, including Zen, I would suggest that the process Langer calls “Reinventing Yourself through Mindful Creativity” is in accord with this ideal.

Langer argues that immersing oneself in a creative practice , like painting, can lead to a gradual development (“Reinventing Yourself”) of mindfulness in all areas of one’s life.  I do not dispute this possibility but would suggest that for many people, the generalization of mindfulness into other aspects of life will be limited.  One need only point to the biographies of numerous creative people who also lead miserable self-destructive lives as evidence to support my contention.  I also know from my own experience that simply doing art does not generally make one consistently mindful in either art or other areas of life.  I am also aware of many people who have taken up an artistic practice and are satisfied to produce pieces over and over again, that may display their new-found skills, but not much in the way of “mindful creativity”. This is why I suggested in my last post that for most people a creative practice, as prescribed by Langer,  plus mindfulness meditation/training would be more effective in leading to the development of more widespread and consistent mindfulness.

Mindfulness meditation is the central practice in the Hinayana  branch of Buddhism and these techniques have recently found their way into Western psychotherapy.   Kabat-Zinn, who has been a leader in this development defines “mindfulness as :”the awareness that arises through paying attention on purpose in the present moment — non-judgmentally.”  There are various techniques for doing this but they all require setting aside a time for a meditative practice in order to foster and learn to consistently apply this purpose.  The Zen literature does not often use the term “mindfulness” but it seems to me that the practice of Zazen, often referred to as “just sitting” also fosters this non-evaluative attention that Kabut-Zinn describes above. 

Kabut-Zinn goes on to say: 

Mindfulness isn’t about getting your way or meditating so that you can be better at something. My definition of healing is coming to terms with things as they are, so that you can do whatever you can to optimize your potential, whether you are living with chronic pain or having a baby. You can’t control the universe, so mindfulness involves learning to cultivate wisdom and equanimity— not passive resignation—in the face of what Zorba the Greek called the full catastrophe of the human condition.

Read more:

This sounds very much as a way of describing the ideals of Zen as well as those put forth by Langer.  Langer’s work seems to focus on making decisions that are based on being awake/alive/present, while the meditation routines described as mindfulness training and Zazen, may be seen as a practice for acquiring the micro-skills necessary to learn to become awake/alive/present moment by moment.  One way of thinking about what happens in mindfulness training is that one acquires the skills to awaken or enliven themselves over and over again in meditation, when demands are few, with the idea that eventually these skills will “spill over” into more active situations.

 In Zazen and other mindfulness meditation practices, the practioner learns to “catch” themselves as they drift off into protracted thought-trains and learn to refocus their attention on bodily sensations that are happening in the moment.  In earlier articles I referred to this as “remembering to remember”.   Having such skill would help immensely in making the kind of mindful decisions that Langer calls for in her book.

In comparing Langer’s notion of “mindfulness” with how that term is used in Buddhist meditation and the subsequent uses in Western therapy, Scott Bishop says the following”

Langer’s mindfulness involves the active construction of new categories and meaning when one pays attention to the stimulus properties of primarily external situations.  While our own definition emphasizes the inhibition of such elaborate processes as one pays attention to primarily internal stimuli (thoughts , feeling and sensations).  Bishop et. al.   pg. 6 (.

I think it is possible to see the interconnection between these two facets of mindfulness if we remember that creativity involves dropping old ideas or approaches as well as developing new ones.  The literature on creativity shows again and again that new ideas and solutions are most likely to develop when we stop engaging in rational thought processes See( Sudden Insight)

What is learned in mindfulness training is how to let go of old persisting thoughts, ideas, rules, mind-sets etc. by expanding one’s awareness into the somatic realm, as described by in To Know Flow or No Flow. This form of meditation is sometimes referred to as “insight meditation.”  The idea here is that new ways of seeing things can result from letting go of thoughts, mirroring the results of studies in the creativity literature.(Sudden Insight and Creativity)

In previous posts on refocusing and reframing, I argued that this skill makes in easier for people to make creative choices in everday situations.  So someone who has consistently honed the ability to “drop” out of the “thought realm” and into the “realm of bodily sensations” by practicing meditation, should have an advantage of making mindful decisions in the heat of everyday life, whether making art or making a living.

 Langer’s focus seems to be on what happens when people are actively engaged in daily activities and does not really write about the mechanism of “letting go” that is the essence of  mindfulness training.  Yet, if you look closely at what she says, there is nothing to contradict or dispute the importance of this “letting go”.  In fact she speaks directly about the importance of dropping social comparisons and subsequent self evaluations, – a process she describes as replacing our “evaluating self” with our “experiencing self”.  This latter term seems to refer to our innate capabilities to pay attention to the kind somatic awareness that is emphasized in mindfulness training/meditation.  What she is writing about here is the importance of becoming “non-judgmental” in the same sense as practiced in the daily  practice of mindfulness meditation/training (see Kabat-Zinn’s quote earlier).

In her experiments Langer prompts some subjects into becoming more mindful by asking them to look for things that they would not  otherwise look for before making decisions.  Langer’s assumption is that by engaging in artistic pursuits, people can learn to do this on their own.  I believe that this can happen but have doubts about often and how consistently the general population will be able to learn to “awaken” themselves from being caught up in old habitual thought forms so they can discover mindfully creative solutions to everyday problems.

I believe that some people may naturally have developed these self-awakening skills naturally. and find it easy to move mindfully into new activities with no need for mindfulness training.  However, most of us have not   I suspect that Langer is one of those who may not feel the need from a daily regime of mindfulness training based on what she says in the quote below (and others in the book)–which would help explain why she has little interest in meditation practice:

To my good fortune, I’ve never thought to ask myself whether I have the talent to do something.  If the activity- academic, artistic , or physical- seemed interesting, I tried it.  If I didn’t quite get it, I tried it differently.  Why should I know how to do something I’ve never done before?”

Langer says  that it is easy to learn to be mindful because it is simply the process of noticing new things, and it is easier than meditating twice a day.  However,  I would argue that most of the population will not find themselves becoming significantly more mindful in all areas of their lives simply by taking up painting or gardening.  On the other hand I feel that such “creative pursuits can be excellent ways of allowing one’s growing mindfulness as developed in meditation to “spill over” into daily life activities.  By engaging in activities that are generally perceived as “less serious”, there is the opportunity to face challenges that will help reveal one’s degree of mindfulness or mindlessness moment by moment without worrying as much about whether one is making right or wrong decisions.

 I agree with Langer’s general idea that engaging in various forms of creative endeavors can help propel one on a path of self-regeneration. Langer seems to say that we can become more mindful simply by “learning to switch modes of thinking about ourselves and the world.”  This “switching” for Langer can occur simply by remembering : 1) that any rules were made by a person at some point and that those rules may not apply in the present situation and 2) to look for differences in similarities and similarities in differences.  But this is not always easy when we are in the midst of everyday interactions and activities. Most of us, most of the time do not “remember to remember”, which I see as key to this “switching” process that Langer refers to.

This is why the techniques learned in meditation practices like Zazen can help in this process ofRemembering to Remember”. One who has spent the necessary time in meditation practice, watching how his or her thoughts form and disappear and learning techniques that allow “refocusing/reframing” when they catch themselves can help them to “remember to remember” in a wide range of situations.  This ability to “awaken” oneself before getting caught up in the thought- streams that reinforce the perceptual and thinking habits that foster mindless reactions is not really the focus of Langer’s work, although nothing she writes contracticts it’s importance. However, this skill is exactly what Zazen and other mindfulness training practices could provide to add depth to the kind of self-reinvention that Langer purposes.

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