Zen Buddhism and Japanese Art: the Inspirational Life of Hakuin Ekaku


As you know, most of the posts at Art and Zen Today deal with contemporary art practices.  However, it is helpful to have some understanding of how the various arts have traditionally been connected with various meditative disciplines.  Below is an article that provides a nice look at that connection in Zen.  This article was called to my attention by Jake Roshi, an avid supporter of Art and Zen Today.  If you come across any articles that you think might make a good post on the site, please let me know. Also, we are always looking for “guest editors” so if you have some prose or art work that you think our readers would like, please let me know.
By the way, you may find two previously published articles on Sumi-e painting practice by Beth Moskal Milligan (Esho) to be of interest.  Click on the links below to read these articles.

Zen Buddhism and Japanese Art: the Inspirational Life of Hakuin Ekaku

 Lee Jay Walker

Modern Tokyo Times

The holy Buddhist monk Hakuin Ekaku revived the school of Rinzai Buddhism based on taking Zen Buddhism far and wide. Indeed, his upbringing meant that he never lost touch with people at the bottom of the ladder, in terms of wealth. Also, despite Hakuin being outspoken towards other Buddhist sects, he never sought to alter the non-Zen Buddhist ways of people residing in the countryside. Hence, the roots of his early life meant that Hakuin could reach out both culturally and religiously to ordinary people in rural communities.

In other words, many lay people throughout the countryside fused the various aspects of rural Shintoism, Confucianism, and the ways of Buddhism. Hakuin fully understood the rich fusions of ideas that impacted on rural society and the religious – and philosophical dimensions – that remained like a rock during times of hardship.

True to nature, Hakuin declined to serve the most prestigious Buddhist monasteries in Kyoto that impacted greatly on high culture – just like other centers of power including Nara. Instead, Hakuin took the teachings of Rinzai Buddhism to the rural poor and extolled the virtues of Zen Buddhism based on lectures to other classes in society.

Hakuin said, “At the bottom of great doubt lies great awakening. If you doubt fully, you will awaken fully.”

Another saying, close to the heart of Hakuin, was “Contemplation within activity is a million times better than contemplation within stillness.”

In the world of art, calligraphy, and literature related to Zen Buddhism, then Hakuin fused these elements in order to reach out to the masses in multiple ways. Indeed, he wrote with great passion and in haste during the late stages of his life. Similarly, despite Hakuin being deemed one of the greatest Zen Buddhist painters of Japan, he only focused seriously on this area of his life when he was nearing sixty years of age.

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Below I have reprinted an inspiring article sent to me by Jake Roshi.  The article very much supports what Jake has been saying for years; that a mindful commitment to any activity that requires practice can be a “teacher”.  This may include what we traditionally define as “art” but can include any activity (cooking, gardening, accounting etc.) that entails practice with the goal of doing it “artfully”.
Below are links to past articles published in Art and Zen Today that speak directly to this connection between artistic practice and “meditative” practice.  There are many more and I suggest you explore the Archives.
http://artandzentoday.com/?p=3179   Myths about the nature of “Talent”

http://artandzentoday.com/?p=3121 Art and Mindfulness

http://artandzentoday.com/?p=3121  Improvization in music and Zen.

http://artandzentoday.com/?p=1830  Trumpet practice and Zen  practice  #2

http://artandzentoday.com/?p=1788  Trumpet practice and Zen Practice #1

http://artandzentoday.com/?p=1147 The Art of being present.

http://artandzentoday.com/?p=124  Art, Zen and Creativity


And now to the article, which was originally printed in The Washington Post.

Why making art is the new meditation

By Maia Gambis August 25, 2015

Photo by iStock

Many of us have heard about the benefits of meditation, but sometimes find it hard to do.  Fewer of us know about the profound benefits of artistic expression. Creating art, however, is another way to access a meditative state of mind and the profound healing it brings. 

“Art is a guarantee to sanity,” said Louise Bourgeois, a French-American artist who died in 2010 at the age of 98. She even went on to add, “…This is the most important thing I have said.” For Bourgeois, art — making art — was a tool for coping with overwhelming emotion. She says she remembers making small sculptures out of bread crumbs at the dinner table when she was a little girl – as a way of dealing with her dominating father. Art was more than an escape – it kept her sane.

Art therapy has a healing effect for a variety of ailments, including depression, trauma and illness. and is effective across age, gender or ethnicity. In a recent study of cancer patients, an art therapy intervention — in conjunction with conventional treatments like chemotherapy and radiation — not only diminished symptoms typically associated with cancer such as pain, fatigue and anxiety, but also enhanced life expectancy. The study, its authors said, was based on the belief that “the creative process involved in the making of art is healing and life-enhancing. It is used to help patients, or their families, increase awareness of self, cope with symptoms, and adapt to stressful and traumatic experiences.” 

Art is not only healing for individuals suffering from severe illness. Here are four reasons why creative activity is such a potent recipe for psychological well-being:

1. Art is a vehicle for meditation and self-connection

Most of us can understand that art provides an escape to a sometimes harsh reality, but where does art’s healing potential come from? It impacts the state of our minds: Enjoying emotional stability is largely about taking responsibility for how we feel.

Research has shown the power of meditation and the science behind it. One of the reasons it is so powerful is that it fosters acceptance. Creating art is a type of meditation, an  active training of the mind that increase awareness and emphasizes acceptance of feelings and thoughts without judgment and relaxation of body and mind.

Art, like meditation, allows us to create space between our often negative, anxious thoughts and connect with our true selves – as opposed to with the fleeting or false sense of identity we sometimes have when we are caught up in our thoughts and emotions. Eckhart Tolle, spiritual teacher, writes: “Identification with thoughts and the emotions that go with those thoughts creates a false mind-made sense of self, conditioned by the past… This false self is never happy or fulfilled for long. Its normal state is one of unease, fear, insufficiency, and non-fulfillment.” Creating art is about reaching a state of consciousness and breaking free from the constant debilitating chatter of the mind.

Similarly to meditation, art can help us tap into a deeper and more quiet part of ourselves. We enter into a state of flow and present-moment awareness. “All true artists, whether they know it or not, create from a place of no-mind, from inner stillness,” Tolle writes. Artists experience that creative activity has the potential to tap into a space of true consciousness of being, void of interpretation. In this space, there can be a sense of having no physical parameters; no body, or form to separate one from the other. 

3. Art allows for true self-expression

The process of making art overrides the need for verbal communication. Creativity is its own language and enables humans to connect with one another — and themselves — on a non-verbal level. In therapy it can be an effective way of saying the unspeakable as is shown through the use of creative therapies with children. This also explains how we can be moved to the core when looking at a work of art, or even listening to music, without necessarily knowing the specifics about its origin. Art exists within its own non-verbal parameter and thus frees us up for unadulterated self-expression.

4. Art helps us become steady and centered

As a plus, it is interesting to note that Bourgeois, when asked to comment on her extensive body of work spanning her entire lifetime, says what impresses her most  “is how constant [I] have been.” Perhaps we need to redefine what we consider to be a storybook happy ending. Happiness may be less a matter of experiencing sharp highs (often followed by deep lows), and more a matter of nurturing a space that provides stability and a constant connection to our true selves.



There is reason to believe that many people are feeling depressed about the state of the nation and the state of the world.  If you relate to this, you might find the short statement below to be a useful reminder of some rather simple coping mechanisms.

Below is an excerpt from what a Rwandan told Western writer, Andrew Solomon about his experience with Western mental health and depression.  Thanks to Alessandra, a good friend and avid Art and Zen Today reader for calling my attention to this statement, as published on a Blog called “Under The Blue Door”. ( https://underthebluedoor.org/)  By the way, you can learn more about Alessandra by typing her name into the search box at the upper right- just doing that may help with your depression.

The Rwandan Prescription for Depression: Sun, Drum, Dance, Community.

~A Rwandan talking to a western writer, Andrew Solomon, about his experience with western mental health and depression.

“We had a lot of trouble with western mental health workers who came here immediately after the genocide and we had to ask some of them to leave. They came and their practice did not involve being outside in the sun where you begin to feel better, there was no music or drumming to get your blood flowing again, there was no sense that everyone had taken the day off so that the entire community could come together to try to lift you up and bring you back to joy, there was no acknowledgement of the depression as something invasive and external that could actually be cast out again. Instead they would take people one at a time into these dingy little rooms and have them sit around for an hour or so and talk about bad things that had happened to them. We had to ask them to leave.”


“Would You Mind Walking this Way?” is the latest video produced by Art and Zen Today and the One Mind Artist Coalition.  It speaks to the notion of being on what is variously referred to as an “inner journey”, a “trip” or a “Path”.  What I tried to convey in this video is that the Path entails  being in the moment while on the journey, no matter where it takes us.  The idea is to let go of concerns of where we are going or when we are going to get there and become fully immersed in the journey itself.  To do this we must let go of excessive conceptualization and allow the shift away from left brain processes that I spoke of in the previous post (Music, Trance and  Mindfulness ).  Although most of us have had experiences involving this type of shift, it is often not a comfortable one because it may feel that our sense of being in control,( which is the basis of our sense of self), is being lost (see previous blog post).  To find earlier posts on “left-brain process” or other concepts, use as key words in the search engine of this site at the top of the page.

On the other hand, when we allow such experiences to happen, it can often be quite liberating; liberating in the sense that one learns that there are other ways of being that are free of stress and strife.  I remember my father, who one health professional described  as a “Type Triple A Personality”, telling me about having  such an experience while on vacation in Puerto Rico.  He found that, even far away from his practice (he was an M.D), he could not stop thinking about his work.  According to him, after several days of not being able to relax, my mother gave him a pencil and pad and told him to go draw something on the beach.  This, he told me, finally allowed him  to “let go” of his thoughts, be more fully present and he enjoyed the remainder of his vacation.  As he told me this story, it was clear from his voice and the tears in his eyes that this had been a major “realization” in his life.

The roots of the word “vacation” are variously described as “free of occupation” and “to be empty”.  In my Dad’s case he was “preoccupied” with thoughts about his work and unable to experience his moments on the beach and elsewhere in Puerto Rico by being fully there.  Ideally, the novelty of the places we visit on vacation allow us to become fully present and this can only happen by “forgetting” our left-brain/self-sustaining thoughts.  This is why, I think, that Dogen famously wrote that “to study the Buddha Way is to forget the self” and why Csikszentimihali said that “flow experiences” happen when we forget the “conceptual  self, but not what Langer calls the “experiencing self”.

In Zen, sitting mediation is the key practice in studying the Buddha Way; the way of reality-i.e. being with whatever is happening in your life rather than what you want to be happening.  Zazen may be thought of as a practice time where one goes on a brief vacation under conditions that facilitate practicing the difficult task of “vacating” or “emptying”. But, Zen, along with other Spiritual disciplines also emphasize the need to eventually extend this practice into all aspects of life.  One way this has been emphasized in Zen is by incorporating “kinhin” or “walking meditation” into the routines of those practicing sitting meditation.   When correctly practicing walking meditation one is fully absorbed in the waking process with no thought of going anywhere.  When you watch the video look for instances of such mindful walking; the title of the video alludes to such mindfulness. The music that accompanies this video is a remix of the song “Caravan”, which is a jazz standard composed by Juan Tizol and first performed by Duke Ellington in 1936.   See the video below.

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My last post  contained a music video called “Dronology 101: Tongue in Cheek – Drool on Desk” (scroll down to read) and prompted a couple of interesting responses from readers.  In this post I want to start to address these remarks.  You can read the comments by Charles and James by looking in the Replies Section to the Right.

I can’t tell you how many times I feel asleep while working on this music video; often waking up with a smile on my face at the irony of me falling asleep during an art piece that I hoped would capture the interest of an audience.  Granted, unlike Charlie, I did not usually work on this after drinking coffee.  For me, the video was a metaphor for the painful process of waking up (i.e. becoming perpetually mindful) in the Buddhist’s sense.  So having practiced Zen for over 10 years, I identified with each and every one of the people and animals in the  video.  However, as an artist I am also interested in whether art and music can and should strive to induce mindfulness among viewers/listeners and this interest is behind the current series of posts.


Like Charlie, I have difficulty with most minimalist music, finding that I either tune it out and start thinking about something else, fall into reverie or physically fall asleep.  On the other hand, like James, I like the use of drones if and when there is something else going on in the music.  This, of course, is just my opinion and could see someone making the argument that even in the most  repetitive of music, one should be able to mindfully find variety and nuisance enough to maintain their attention (See Langer’s take on “mindfulness by using the Search feature on this site).  I once attended an Aftican Drum class where the instructor had each of us playing a simple repetitive pattern over and over.  As a jazz drummer, I kept hearing complicated riffs that I wanted to play.  Not being allow to do this I, at first, become bored and wanted to leave.  However, after about 15 minutes of this process, I suddenly became aware of what other drummers were doing and how my simple part contributed to the larger whole.  As I let go of my personal needs and interests, I shifted temporarily into a non-ordinary state of consciousness, a trance, to use a term that Charles brought up in his comment.

Because drones and repetitive drum patterns often accompany trance states in traditional societies, Westerner scholars have spent a lot of ink trying to account for the relationship between music and trance.  Part of the problem is that the term “trance” has no universally agreed upon definition and the nature of the trance state (both external behavior and phenomenology) varies greatly from culture to culture. Efforts to find a universal psycho physiological marker of trance has lead only  to the observation that in a trance a person is deeply relaxed but not asleep.   Summaries of studies of the music-trance connection suggest that  the most that can be said is that music can lead  to trance if and when those participating (ie. playing instruments, singing, dancing or simply witnessing,) want to and expect to go into a trance. If you play a drone instrument within hearing distance of someone, for instance, they will not automatically go into a trance. 

This is similar to hypnosis; a subject will go into a trance only if he or she allows that to happen.  I once volunteered to be a subject in a class  I was taking in hypnosis.  The teacher guided me through a variety of relaxing procedures and I willingly allowed myself to become completely relaxed, although I was aware of the teacher’s voice and aware that other students were watching.  Once relaxed, I felt very comfortable and did not worry about what I was going be asked to do or about what the others were thinking about me.  The usual thought processes slowed down and although I was aware of the teacher’s voice, I felt like I was in a state of “semi-awareness” (to use the term in Dronology 101).  At some point she told me that she was going to ask me my address and that I would not be able to remember it.  I recall briefly thinking to myself something like: “I could remember that if I wanted to but it would take too much effort and would require moving out of this wonderful relaxed state”.  So there was a conscious decision on my part to play along with the hypnotist’s request and not try to come up with my address, even if others might think that my inability to do so meant that I was deficient in some way.


As I said the term “trance” is not well defined and seems to refer to a wide range of situations where, temporarily, the usual left brain process slow down or stop completely. Since our left brain processes are responsible for how we define ourselves, we often strive to keep them going and view any shift away from their dominance as a cause for concern.  This can happen in minor ways when we forget something we should know or do something absentmindedly.  However, sometimes, more than most people acknowledge, we experience marked shifts of this nature.  In Western culture, where left brain dominance is almost universally considered to be the norm, shifts in consciousness of this nature are viewed as signs of mental illness or procession or some other undesirable phenomenon.  It is generally agreed that a person’s specific experience during such shifts of consciousness and their understanding and reaction to it afterwards, depends on their mental set and the setting during the incident.  This idea was especially useful in understanding altered states attained by using psychotropic drugs, but has also been used to describe shifts occurring under non-drug induced situations.

With regard to “setting”, a person who has this kind of experience in a church may well experience it and understand it as a “religious” experience of some sort.  In some cultures, such experiences a viewed as instances of possession by some foreign entity or spirit.  In traditional societies where trance is common and accepted, it is not seen as a big deal.  However, in the West, where there is no appropriate set and setting, it can be frightening.

When the Set and Setting is Right, even Westerners can enjoy TRANCE.

Apparently it is rather common in the West for youth to have such experiences spontaneously but as Maslow found most end up denying or forgetting them since they were experienced as a dangerous loss of self-control.  I recall when I was around 10 or 11 having two experiences of this type; they both took place when I was on my own and in a large crowd of strangers.  I did not freak out but, I remember being concerned about what was going on afterwards.  As it turns out, my best childhood friend, a guy who was mature,  smart and creative for his age, also had had similar experiences and also had a name (“trance”) for them.  And so we would sometimes sit around and discuss our trance experiences.  I recall that it was quite comforting to me to have a name for these experiences and to know that I was not the only one who had them.   Although I did not think in these terms back then, I believe that my friend and I realized, at a rather early age, that what most people accept as normal consciousness is a limited way of being.  I feel grateful to my friend for helping me attain this insight at such an early age; most kids seem to discover this later through the use of psychotropic drugs or not at all.  I like to think that this friend was also responsible for my later academic interest in altered states of consciousness and in Eastern meditation practices.


So does meditation involve going into a trance?  Again, it depends upon your definition but in Eastern spiritual disciplines the state is referred to as Samadhi and is sometimes translated as “trance”.  It is understood that Samadhi is something that can vary in intensity but essentially involves the kind of slowing down or diminishing of left-brain thought processes that I described above.  When this happens, one expands awareness or consciousness beyond the internal dialogue that is thought to be normal consciousness.  From my understanding of the literature, this mode of consciousness, the awakened consciousness, will gradually become the normal, everyday consciousness of those who consistently practice meditation and other practices.  Using the word trance to describe this state is misleading because of what we usually associate with this term (stupor, unconscious, sleep etc.).  The Zen state does not necessarily entail a curtailing of left-brain activities but rather an opening up (See Fehmi’ on “Open focused experiences” by using SEARCH on this Site) to right brain activities in a balanced form (see James Olson”s  The Whole-Brain Path To Peace).  Doing so allows one to respond to whatever is happening in the present moment and not be “ruled”, so to speak by old conditioned responses that govern the left-brain. This is what “mindfulness” is all about.

Whether or not we use the term “trance” to refer to these kinds of shifts in consciousness, I believe it is accurate to say that they can vary in intensity. It may be best to avoid that word altogether simply because it carries some negative connotations in the West where generally, at least until recently, right-brain thinking has been considered normal and variations away from this as problematic.  I should add that such a shift can be problematic depending on the situation.  As Charles rightly points out, moving out of right-brain attentiveness to a lecture can negatively affect a student’s grade.  Stopping to groove to music being played in a department store while there is a fire is not a mindful choice.  So, yes, what we are referring to as trances could be dangerous under certain circumstances.  On the other hand, vigilantly maintaining a self-protective left-brained orientation can be harmful to one’s health  


This leads back to the issues raise by both James and Charles regarding the function of repetitiveness in music and how this may affect mindful listening.  However, the “Dronometer” on my computer is alerting me to the fact that this post has gone on too long.  So, I plan to return to this at a later date.  Before I sign off, let me just say that I believe that someone listening to music can experience this left to right brain shift that I have been talking about.  There has to be a reason the music is a dominate form of entertainment in almost all cultures. The term “entertaining” has come to refer to anything that “engages or keeps our attention”.  If we are attentive to (mindful of) what we are listening to we are not attending to (or listening to) the internal dialogue that comprises our left-brain thought processes.  And so the degree to which we become entranced or mindful of a musical performance can vary greatly.  In the next post, I want to look at what it might look like to consciously practice mindful listening and riff a little bit about James’ comment on the use of repetition in music.




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Evolution of The Adagio – a therapeutic motion machine





Most of you remember a post from the past that looked at the interesting ways that Sean Voisen found to immerse himself in the interstitial areas between art, technology and spirituality.  (See ” Art, Zen and Technology: A Visit With Sean Voisen”)  Today’s post is written by guest blogger James Wilson, who is playing in the same field and looking at similar overlapping areas.

  Yes this is the same James Wilson whose appearance here on earth was largely orchestrated by me in an effort to manifest a life-long playmate. (See “Aliens From Inner Space”)  This is the same guy who used to give me nightmares by shaking his crib all night long in his efforts to “escape” it’s material and confining nature.  He’s been rattling his crib all his life and the post below provides a look at the wondrous possibilities “beyond the crib”.

By James Wilson

When I was still a student in music school at Boston University, I became aware of what I felt to be a subtle motion, or flow, in music that nobody was talking about. It was something slow, smooth, and not a direct component of the usual suspects: rhythm and harmony. At the same time, since I was a student of composition, I was studying the theories of Heinrich Schenker and others who suggested that the great Masters constructed their music with a conscious implementation of “tension and release” within their musical structures. In other words, their compositions would build to a climax, then release the built up tension, repeat again, and so on, taking us, the listener, on a virtual musical and emotional roller-coaster ride. This was also in alignment with what I felt and heard in music.


Dr. Norden

Also during this time, I was studying with a wonderful professor at Boston U., Dr. Hugo Norden, who was considered the foremost authority on J.S. Bach, counterpoint, and also on the topic of using the Golden Ratio in music, art, and architecture (“Form: the silent language”, is one of his books on the topic).

The “Golden Ratio”” (also often referred to as: extreme and mean ratio, medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut, and golden number) is exactly that, a mathematical ratio, which is 1:1.618. In music, Dr. Norden theorized that it was used by the Masters (again, consciously), when laying out the form of the piece they were about to write. Basically, the idea is to lay out a piece of music as a function of time. In other words, if you plan for the piece to last, say, 5 minutes, then at minute 3:06 (1/1.618 = .618 * 5 minutes = 3.1, or 3:06 minutes) the composer would make some extraordinary event occur at 3:06 to divide the time line. This might be a jarring modulation, a loud chord, introduction of a second theme, etc.


This ratio was also used heavily in architecture, especially during Greek and Roman periods, and even way before the Greeks! Often this ratio was used as the ratio of width to height, i.e.

1 .618: 1.00 = width:height.













This ratio is also often found in nature!:



Further discussion of the Golden Ratio in nature can be found in a book by Jay Hambidge, entitled “The Elements of Dynamic Symmetry”.









Authors such as Matila Ghyka, postulate that the Golden Ratio was used by well-known artists:








With these forces at work, I wanted to design and build a device that would:

  • Visually display the subtle “motion” I was experiencing when listening to music
  • Visually display the up-and-down/tension-release in music,
  • Incorporate the design principles of the Golden Ratio.


To do this, I incorporated another concept that has held fascination for me; the sine curve. The sine curve occurs often in pure and applied mathematics, as well as physics, engineering, signal processing and many other fields. Its most basic form as a function of time (t) is:


BTW: For those interested in religious symbols, the key idea here is that the sine curve is formed by the circle as a function of time. Circles commonly represent unity, wholeness, and infinity. Without beginning or end, without sides or corners, the circle is also associated with the number one. In other words, “perfection”, when brought into the flow of time = the sine curve!


Original "Adagio"

All this put together, resulted in my building a visual device that moves very slowly in front of the viewer’s eyes. I have named it “The Adagio”. A Video of the Adagio in action, along with a piece by Mozart, can be seen HERE.

The Adagio incorporates the sine curve, as well as Golden Ratios in the dimensions of the container, and in the angle of inclination of the sine curve itself. The slow moving line can be speed adjusted to the correct “flow” of the music, and the upward and downward movement of the lighted line follows the tension and release of the music being played while you watch.

As stated above, the original construction of Adagio was purely as a means to visualize motion-in-music, and to encapsulate the up/down emotional tension in music. It has done this beyond my expectations.

However, almost by accident, the Adagio was used in a biofeedback study at Nova University, in 1978. It was a very well conducted scientific experiment designed to differentiate between activities associated with our right brain hemisphere, and our left-brain hemisphere. It was discovered that by activating the right hemisphere of the experimental subjects, the Adagio has stress-reducing characteristics! A summary of the study can be seen HERE.

I finally have time to explore usage of my invention and am doing a “crowd funding” to build a commercial version of The Adagio. My goal is to:

  • Produce a production model that will be more aesthetically pleasing than the original prototype,
  • Produce a production model with greater durability suitable for consumer use, and
  • A production model constructed with readily available components.

Here’s a concept drawing of what I envision this new commercial version of the Adagio to look like:






(Click the image above to activate)

You can watch the video about Adagio’s history and potential uses here:

Adagio Therapeutic Motion Lamp – Uses in Dance, Music, Yoga, Meditation


I would appreciate any comments/observations you might have.

Readers may be interested in a follow-up post called  “Truth, Faith and B.S. in Art and Zen”  Also past post on the flow experience can be located by typing “flow” into the Search Window.( Or see “To Know Flow or No Flow” and subsequent posts on Flow)




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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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: http://healthland.time.com/2012/01/11/mind-reading-jon-kabat-zinn-talks-about-bringing-mindfulness-meditation-to-medicine/#ixzz2ZuGSEOXG

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 (.http://www.prevention.psu.edu/projects/documents/Bishopetal.article.pdf)

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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Ensoes by Beth Moskal Milligan


(The 2000 year-old art form of Japanese brush painting is spiritually rooted in Zen Buddhism.  My friend and fellow Zen student, Beth Moskal Milligan has practiced both Zen and Sumi-e and finds that the two disciplines are mutually supportive in her spiritual growth.  I have asked Beth to be a “guest blogger” for this post.  I think you will find her piece, found below,  a fun, informative and inspiring read. It is also a great example of the “Genjo Practice”, as described in the previous post. Steve Wilson)

Leaping Fish by Beth Moskal Milligan



Zen tells us to wake up! How does one do that?  One way is to leave a totally familiar environment and move to a strange, new one. That’s the way I started the process-leaving almost heaven-West Virginia for heaven-Southern California. Ocean, desert, palm trees, odd flowering plants, low humidity, altered seasons, day after day of sunshine, multiculturalism, surfing, avocados, abundant wealth (seemingly). I knew 2 people-the friends I was renting from. The rest was an adventure awaiting. But first I had to fall apart. And then in the process of finding the pieces and putting them together in a new way, I came to Zen, specifically the Vista Zen Center.  My son, Ryan, came to live with me and was a practicing Zen student of the San Francisco Zen Center. He had his sitting practice and I was intrigued. I was from a strong Lutheran background and had been involved in the Christian charismatic movement and later became very interested in meditation and the labyrinth, both of which introduced me to the value of silence. When I entered the Vista Zendo (meditation hall)  for the first time, I knew I belonged. A welcoming, strong silence was present there and there were people who believed in its value. I knew this was a place where I could grow from the bottom up, and explore the possibilities that had presented themselves in my new world. The pieces began to come together.

Landscape by Beth Moskal Milligan

One of those pieces was art.  I had been an art major for a year in college but had dropped out after my freshman year. I dabbled in drawing and watercolor a little bit in my adult life but always had a problem with being too judgmental of the work and not able to enjoy the process except for a few brief periods of inspiration. But the desire to create was there, just buried. It was awakened in an art workshop taught by Alessandra at the Zen center and the spark became a flame when I discovered Japanese sumi-e painting. Minimalist and nature-inspired, a technique where every brush stroke counts and taught in a classroom in which the Japanese teacher, Takashi Ijichi,  creates a peaceful and concentrated environment, the focus of which is finding your vision and putting it on paper. The focus is on the process, the result is fun and interesting and occasionally  even looks good. Everyone’s creation is different and uniquely theirs. It is a discipline but it is not onerous.

I take Tuesdays as a day off from work and attend painting class in the afternoon and sit at the Zendo in the evening. The two complement each other;  PRACTICE, DISCIPLINE, FOCUS, DISCOVERY—AND JOY.

Practice Ensoes by Beth Moskal Milligan

PRACTICE  Practice, practice, practice”  my Sumi-e painting teacher, Takashi Ijichi tells us.

“Practice, practice, practice”  my Zen teacher, Jiyu Roshi tells us.

Practice is repetition, repetition is practice.

Practice Bird Heads by Beth Moskal Milligan

"Three Cranes" by Beth Moskal Milligan

DISCIPLINE   Discipline enables the practice, it brings us to the practice in time and in place. It makes the decision for us to come to the practice.  Make the time, prepare a place, enable the process: the painting, the sitting, in the art room, in the Zen Center, at home where the place is ready and waiting, for painting, for sitting.

Beth's Meditation Space

Beth's Painting Space

FOCUS  Pay attention. Be the hawk perched and watching, the flower blooming,  the horse galloping, the mountain standing, the fish swimming and leaping, the enso circling. Be one in the moment with the subject of the painting. Be one in the moment in the stillness of sitting. Practice and Be.

"Bodhidharma Bird in Contemplation" by Beth Moskal Milligan

There are 3 main elements to both my painting practice and my Zen meditation practice. The teacher, the meditation practice, and the Sangha (spiritual community) .  One on one relationship with my teachers is a very valuable part of both practices. During our Zazen sessions, I meet individually with Jiyu Roshi to discuss my practice and progress. During my painting classes, I meet individually with Takashi Ijichi to carefully observe his painting technique as he paints on my individual tablet and answers any questions I might have about the subject.    Sitting meditation occurs in the quiet Zendo. Sumi-e painting is also a form of meditation, we practice in a community library setting.    And each activity involves a Sangha, a group of people dedicated to practicing that unique meditative discipline and who become intertwined with each other through that unique practice.

DISCOVERY   I have discovered that the process, not the results is the important part of these activities. Living in the process and not living for the results enables me to live in the present moment, immersed in the activity. This is very refreshing for body, soul and spirit. And the results are not completely under my control and the results are more often than not, surprising. In a painting, the ink may be absorbed by the paper in a very interesting way or the lights and darks of the ink formed a wave of water or a flower petal that I did not plan.  In Zazen practice, calmness in the face of a difficult situation or a solution to a previously unsolvable problem may present itself unexpectedly.   The terms ‘beginner’s mind’ and ‘non-grasping’ come to mind to describe these occurrences.

"Ocean Waves and Rocks" by Beth Moskal Milligan

JOY   Joy results in being in the process, in creating, in relationship with my teachers and in relationship with the other students and Sangha members, being a part of a long and honored tradition, passed on person to person, no technology needed! Simplicity indeed! Learning, growing, focusing, practicing, discovering. relating—Life.

" Galloping Colt" by Beth Moskal Milligan


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If you have been following my last few posts, you know that I have been riffing on the book On Becoming an Artist by Ellen Langer, a professional psychologist and amateur painter.  Langer suggests that painting and other creative arts can be a way of developing mindfulness and the path to a richer, more authentic and satisfying life.  As I mentioned in my last post, the author sees our tendency to compare ourselves with others and evaluate ourselves according, as the biggest block to developing creative mindfulness.  In this post, I will focus on one chapter where Langer tackles what she sees as the most damaging belief that prevents people from engaging in new activities such as painting.  Even though we understand that engaging in new activities can lead to a more rewarding life, we often avoid doing so because we are convinced that we have no talent in that area.   The name of the chapter from Langer’s book dealing with this is called “The Myth of Talent”.


In this chapter, Langer makes the bold declaration that: “Everybody has an equal talent for everything” ( pg. 171). Drawing upon the biographies of successful artists, and studies of artists, she concludes that creations by people generally seen as creative artists are more a product of learned skills rather the result of some inherited quality.  In other words, what we usually consider to be some innate or inner quality, is largely a matter of learned skills.  According to Langer:

“we usually impute to people who are very talented, like Picasso, a knowingness that he wouldn’t recognize as he embarked on a new work.  It isn’t that the talented “know” what they are about to do as much that they are willing to start something and see where it leads them.  We, however, tend to focus on their results and ignore the struggles, uncertainties and false starts.” (pg. 150)

Langer points to recent laboratory studies of Mondrian’s work that showed that he constantly scraped his canvases to revised his paintings until he was satisfied.  According to Langer, “Like all of us, Mondrian painted step-by-step, despite how he or anyone else might describe his work”  (pg. 159) The final product and the statements of critics and/or the artist, leave the impression that the work could only be the product of a quality (genius or talent) that most of us do not processes. The failure to grasp this error in logic, prevents countless numbers of people from trying activities that they might find rewarding and which could lead to their developing their own unique talent in that area.

 As the author points out, most of the artists now considered to be talented were not seen as such at first or even during their lifetimes.  Langer asks:

“Would we want to say these artists were not talented because they lacked audience appreciation?  Of course not, yet many of us consider their works and can only feel inferior by comparison……..By definition, “everyone can’t be great at something” if we think that is so. No. everyone can’t be equally great if we hold still a single criterion for evaluation.  But criteria can and do vary” (pg. 172)

With "mindless judging" most of us become convinced that we have no talent.

When we subscribe to a single rule or set of criteria, we are reacting mindlessly.  If the artists that are now considered talented had mindlessly accepted the current cannons on what constituted talent, they would never have begun their practice.  The whole point of Langer book is to  help her readers break through the kind of mindlessness that will deter them from trying something new and potentially rewarding; new activities that could possibly help the readers learn to become more mindfully creative.  One way Langer attempts to do this is by suggesting that they mindfully consider the consequences of exploring new creative pursuits This is nicely summed up when she asks:

“If I try, and fail, am I any worse off?  It is interesting exercise to attempt to do things we think we can’t do, but would like to try just for fun.  If we don’t globalize the result and conclude “I can’t paint (or more global still, I can’t do anything artistic) because I can’t draw this dog,”  for example, what is lost?  Whose affection is at risk?  What opportunity that we’ve counted on will not be ours? … (pg. 172)

I have personally found in my own painting process, that my most “creative” painting occurs when I am willing to take risks- doing something that I’d never seen done before or something that I knew could end up being considered “a mistake”.  Taking such “risks” is not easy and these kinds of risk never seem to go away as you develop as a painter.  Risking “failure”  is part of the territory but is also what makes painting (or anything else) a challenge and fun.  It requires a fundamental shift in one’s world view where we put our choices and our actions into perspective and to stop taking ourselves so seriously.

Now, dear readers, “for your moment of Zen” (apologies to The Daily Show’s John Stewart) we will include one more quotation from Langer’s book.  It is a continuation of the quote I included immediately above where she is talking about taking chances to do something like painting which you have never done before.  Below she continues by  applying the same principles to life in general:

“Someone might point out that these examples are mere avocations, so with them there’s not much at stake,  Fine, now do the same exercise with matters we take to be more serious.  The results are not all that different.

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?”

Wow!  Is she saying that we can stop worrying so much about how everything we do in life is evaluated and take risks to try new ways of being without worrying about whether we are judged by others to be a failure?  I think that is exactly what she is saying and I also think this is one of the key lessons that can be learned from practicing meditative disciplines like Zen.  I agree with Langer’s approach of starting your mindful practice in the so called “avocations” or “less serious” pursuits such as art.   As we learn to become more mindful in these areas, we are “practicing” so to speak for other areas of life where the stakes seem to be or actually are higher. It is for this reason that, at The Vista Zen Center, in addition to Formal Zen Practice a more informal practice is also emphasized. This informal practice is described on The Vista Zen Center Website as follows:

The second approach, “Genjo Practice” is concerned with a student’s engagements outside the traditional Zen setting. The students everyday lives become the focus of their Zen practice.

To facilitate “Genjo Practice” Jiyu Sensei encourages students to work with him focusing on a specific aspect of their lives. Often this will be something they love to do and will probably continue to do no matter what else is going on in their lives. For some students, this might be the time spent in working in a creative domain such as painting, poetry, or music. Or it might be home-schooling one’s children, taking care of the garden, or the livelihood that puts food on the table and a roof over their heads. 

Note that at The Vista Zen Center the “Genjo Practice”, which could be viewed as encouraging what Langer calls “creative mindfulness”, is practiced in conjunction with Zazen which is a more formal and specific mindfulness training.  In future posts, I will look at why I think this combined training program is probably more effective, at least for most people, than Langer’s approach.

And so there, ladies and gentlemen is Art and Zen Today’s moment of ZEN.

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