If you think that things of late have seemed a bit absurd, this short music video (see below) might be for you. It’s called “Absurd it Thru the Vape Grind” by Eureka Magicka and the Vape Grind Dancers. If the title seems absurd, it will start to make sense if you watch to the very end. As always, please watch on full screen mode with stereo speakers or headphones for enhanced enjoyment. You can see related videos on the “Art and Zen Today” Youtube Channel.
Here are two articles that align themselves very well with the focus of Art and Zen Today. One deals with visual art; the other with music. I hope you enjoy them.
“Many of his paintings are much more dense than this,” said O’Brien, assistant curator of art at the Albuquerque Museum. “Here there are no characters, no letters. The energy of the mark making, inspired by calligraphy, is the message. It is radically non-symbolic.”
Tobey’s painting, tempera on board, is among the 50 works in the Albuquerque Museum show “When Modern Was Contemporary,” which continues through Dec. 31.
“Lyric” is an uninhibited shout out of color – pale yellows, whites, squiggles of red, patches of olive green. The effect on O’Brien is to make him pause for a moment, to reflect.
“It’s painted in difficult colors, weird, strange colors, awkward colors,” he said. “I like paintings that resist you. They are sort of like Zen meditation. It’s not so easy to sit still.”
Integrated and engaged
In O’Brien’s view, all works of art should be objects of meditation. But he noted that this is especially so in the works by artists of the avant-garde movement of the 1940s to the 1960s – painters such as Tobey (1890-1976), Kenzo Okada (1902-1982), Mark Rothko (1903-1970) and Jackson Pollock (1912-1956) and the composer and music theorist John Cage (1912-1992). Unlike artists who poured out their souls onto their canvases, O’Brien said Tobey, Okada, Rothko and Pollock, all of whom have works in “When Modern Was Contemporary,” shifted the emphasis in their paintings from their own feelings to the objects depicted in the work.
He said that’s due in part to the fact that these trailblazers were very much influenced by Asian philosophies and religions, especially Zen Buddhism.
“Zen is about your whole body and your whole mind integrated and engaged,” he said. “Many of the artists in this exhibit were looking for ways to expand beyond materialism, consumerism and militarism. These artists are not depicting the world, they are organizing color, line and shape.”
On Saturday morning,O’Brien will lead a brief guided meditation followed by a tour of select works in “When Modern Was Contemporary.”
He is especially well suited to the task. He is an artist, a sculptor and a painter who does abstracts in casein (milk tempera). But he has also studied Zen for three decades and is an instructor in the Japanese Soto Zen tradition. On most days, he meditates in the morning and again in the evening.
“My tradition is just sitting and allowing sensation and thought to arrive and depart without manipulation and engagement,” he said.
And that works just fine for looking at abstract paintings.
‘Here I am’
O’Brien, 50, grew up in Littleton, Colo., and early on was unsure as to what path he would follow.
“I had a grandfather who was a painter and a grandfather who was a biological scientist,” he said. “I wanted to be both. I was drawn to medicine, and I was also interested in anthropology. But the art won out in high school.”
He earned a bachelor of fine arts from the Kansas City Art Institute in 1991 and master of fine arts from the Yale University School of Art in 1993. He was introduced to Zen when composer Cage was a visiting professor in Kansas City in the late 1980s.
Cage was born in Los Angeles and died in Manhattan, but his major influences were East and South Asian cultures. Cage attended D.T. Suzuki’s lectures on Zen Buddhism in the late 1940s and early 1950s and used the ancient Chinese text the “I Ching’ as a tool for creating his musical compositions.
O’Brien attended lectures Cage presented in Kansas City and interacted with the composer during one of those sessions.
“He was saying really interesting stuff about the non-existence of the self,” O’Brien said. “I said, ‘What do you mean I don’t exist? Here I am.’ He said, ‘Yes, exactly. And what is that?’ My brain couldn’t make anything of it.
“He had this Cheshire cat smile and these twinkling eyes. It was a beautiful, transforming experience. I connected with him very strongly. He was a singular and radiant individual. He singled me out, and he started talking to me about Zen.”
While doing graduate work at Yale, O’Brien studied at the New Haven Zen Center. Between 1995 and 2000, he spent time at Zen centers in Rhode Island, Kentucky and Northern California.
“Now, I use the ‘I Ching’ to compose my paintings,” he said.
Just as Cage helped form O’Brien’s zeal for Zen, Tobey’s interest in Eastern religions – he converted to the Bahá’i faith – may have influenced Cage to some degree. The men were friends and Tobey studied piano and music theory with Cage. And there are those who suggest that Tobey’s oriental brushwork and calligraphic strokes prompted Jackson Pollock’s drip paintings.
One of those Pollock paintings, “Number 8, 1949,” is in the show. O’Brien refers to the piece – a roiling, twisted mass of oil, enamel and aluminum paint on canvas – as organized activity.
“All art is a mediation between order and chaos,” he said. “But Pollock was clearly the most chaotic of his generation.”
But that doesn’t mean his work is not Zen.
“Zen tradition is full of rogues, raconteurs and radicals,” he said. “Zen is not just the eternally beatific, monks and monastics.”
Kenzo Okada was born in Yokohama, Japan, and was a realist painter before he moved to New York City in 1950.
“Then he got swept up in the heated, abstract atmosphere,” O’Brien said. Even so, his abstract paintings retain a powerful Japanese sensibility and appreciation of form. His 1953 oil on canvas, “Abstraction No. 7” is part of the exhibit. Large shapes and smaller ones stand out against a desert-sand background.
“Notice the numbered title,” O’Brien said. “You are not supposed to be able to tease out any kind of story. Clearly Okada wants you to view that painting on its own merits. You are approaching these elements in their relationship to each other. He leaves these sort of wonderful negative spaces – landscapes of the mind and heart.”
Floating in space
Okada and Rothko were friends. Did Okada’s Japanese-flavored abstracts influence Rothko? Maybe. Maybe not.
But Rothko’s 1956 oil on canvas, “Old Gold Over White,” might just be the most Zen work in the show. O’Brien describes the painting as hazy rectangles floating in space.
“Do you fall into them, or do they come out and get you?” he said. “The best description of Rothko’s paintings is meditative. They are not promoting any Zen doctrine. They are just inviting you to meditate on them, on your experience with them.
“You can come back to a Rothko painting forever and have different experiences each time. You can say the same of Zen meditation.”
WHAT: “The Zen of Abstraction.” Art curator and Zen practitioner Titus O’Brien guides visitors through a brief meditation, followed by a tour.
WHEN: 10-11:15 a.m. Saturday, Dec. 2
WHERE: Albuquerque Museum, 2000 Mountain NW
COST: Program is free with regular museum admission of $1-$4.
A Few Questions (New blog article)
|Paint as you like and die happy|
* Perception to see your world (inner and outer) as it is
* Discernment to choose a course of action
* Focus to stay the courseThe following questions may help you find this perception, discernment, and focus. Write down your answers in a journal. Some of the challenging questions will ask you to dig deep.
* When are you fully self-expressed and connected as a musician?
+ Identify specific moments. Where were you? Who were you playing with? Who was in the audience? What did the music sound like?
+ How can design more of these experiences?* What artists/performances/
* If not, what can you change about your practice to connect with your own music on a deeper level?
* Imagine yourself ten years from now playing ideal music under perfect conditions. Where are you? Who is there? What does it sound like? What’s stopping you from doing this right now?
* Choose your audience: Who are the people who will connect and resonate with the music you create? What do they value? What type of experience do the seek? Where do they connect with each other?
* If you never performed again, who would miss you?
* What limiting beliefs get in your way? These biases and narratives may be hard to uncover, because they can be ingrained into our view of the world. A few examples:
+ I’m not naturally talented enough to ______ (a.k.a. “fixed mindset” (https://stevetres.us7.list-
+ I’ll never be as good as ______, so why bother
+ “Work” is inherently unenjoyable
+ Artists can’t earn a good living without selling out
* In The War of Art, Steven Pressfield outlines strategies for fighting “the resistance”—our biological need to feel safe and secure. This can sabotage our art. How does the resistance interfering with your best work? Some examples:
+ Talking yourself out of a project because of the fear of failure
+ Avoiding listening to recordings/watching film of your performances
+ Stage fright
+ Obsessive perfectionism
+ Procrastinating because you don’t “feel ready”
* Have you defined success and fulfillment for yourself, or are you stuffing your journey into somebody else’s model/expectations?
* If money wasn’t a barrier, what projects would you initiate?
* What’s an exciting project you initiate with little or no cost?
Ignore the resistance and start now.
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STILL FROM VIDEO “MODERN MUD MEN”
Over the past month I received numerous announcements that artists were invited to submit work for consideration by the curators of the 2014 International Artexpo in Spain. I usually ignore such calls for submissions but the description of the theme for this year’s exhibit captured my interest: Borderland – Hidden Identities & Forbidden Desires
The reason my interest was piqued is that this was the first exhibit where I felt my video “Modern Mud Men” might fit in. Apparently the curators felt that way also because the video was accepted to be shown. The exhibit will be held in Zaragoza (Spain) at Club Nàutico De Zaragoza, from the 05 to the 13 of April 2014, and in Almeria (Spain), at MECA Mediterráneo Centro Artístico, during the 11 and the 26 of April 2014 (video screening only). Since I realize that most of my readers have probably already booked their annual trips to Europe for this year, I made arrangements for you to see “Modern Mud Men” free on this site.
The “Modern Mud Men” video came about after I read a review of a video that someone made about the Mud Men of New Guinea (see picture above). I set out to try to find this video on the internet but never found it. What I did find instead are the self-recorded video clips that make up “Modern Mud Men”. This video is a composite of mostly self-recorded experiences of men enjoying the sensual/auto-erotic pleasures of wallowing in mud. It provides a rare look at men engaging in an activity that seemly allows them self-indulgent pleasures usually reserved for females. Although I found videos of women wallowing in mud on the internet, they were never alone and do not display the earnestness of the men shown in these clips. In most cases the enjoyment of mud is carried out away from the public’s eye and yet the videos were made public. The original music that accompanies the video was inspired by the strangeness and yet naturalness and beauty of this kind of play. Click on link below:
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Today’s post features a socially conscious musician/artist who raises interesting questions about art, music, social activism and spiritual practice. You will be introduced to Glenn Weyant in a couple of short videos. This feature is the beginning of a shift in my approach to this blog. Up to now, most post have mainly been devoted to exploring the interrelationship between art and Zen practice. In the future, I will not spend so much time with theory and focus instead on actual art and actual artists. There is so much interesting work going on out there, locally as well as globally, and I aim to make my readers aware of it.
I have always used the terms “art” and “spiritual” in the widest possible ways and will continue to do so in the future. To my mind, almost any activity can be approached as an art and so if you know of some art or artists who you think should be covered in my blog posts, please let me know. For now, enjoy the videos below. For those familiar with the work of John Cage, be sure to listen to the last part of the second video.
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Right after I posted the video “What is it (Marcel Duchamp)? (see previous Post), my wife called me from Florida where she was visiting relatives. She told me that she had just watched it in the company of her six year old grandniece, Catalina. Apparently after viewing it, Catalina simply said “It’s like kind of crazy”.
My painting teacher, Sally Pearce, once told me that the most useful critiques of my painting would come from children. So it occurred to me that I should give this comment some thought.
First, Catalina’s comment brought to mind, a couple of similar comments I’d heard recently coming from fellow Zen students. The first was elicited after the person had read the teachings of Buddha in the Diamond Sutra which includes the central Buddhist notion that what we think of as “self” is not real. The verse in question has Buddha saying the following to his student Subhuti:
“And why not? Subhuti, a bodhisattva who creates the perception of a being cannot be called a ‘bodhisattva’. And why not? Subhuti, no one can be called a bodhisattva who creates the perception of a self or who creates the perception of a being, a life, or a soul.””
The Zen student wrote me that the Buddha’s comments “sounds insane”. Most of us would agree. (For more details see Discussion #3 on the FORUM page of this blog).
The other comment was one of those commonly heard observations about the state of the world; i.e. “everyone’s crazy”. This student didn’t really say whether he considered himself in this category or not. Certainly one possible translation of the rapper’s dialogue in the video “What is it (Marcel Duchamp)? could be “IT is crazy”, where IT refers to what Jiyu Roshi often refers to as “the whole ball of wax”. EVERYTHING’S CRAZY!
Eihei Dogen, one of the most influential Zen philosophers, didn’t use the word “crazy” but did say that we all live in “delusion”. And for those who are used to thinking that “enlightenment” is somehow an antidote for or the opposite of “delusion”, he argues that they are one and same. Now, THAT sounds crazy, doesn’t it? (If you haven’t already, you may want to check out an earlier post titled “SUN RA, THE ALIEN: THE THIN LINE BETWEEN GENIUS, SPIRITUALITY AND CRAZY”)
Whether something is considered to be “good” or “bad”, “crazy” or “sane” or “enlightened” or “delusional” depends on how that “thing” is defined. As Dogen and many Western philosophers’ have shown us, definitions are not fixed and do not enjoy complete consensus as to their meanings. This seems to be the point of Duchamp’s “Fountain”.
In doing research for the video, I learned that Marcel Duchamp was fascinated by the concept of “transubstantiation“. If you watched the video closely you saw that I played with this concept in the video. According to Wikipedia this term was first, or most famously, used at The Fourth Council of the Lateran (1215) where it was stated that Christ’s “body and blood are truly contained in the sacrament of the altar under the forms of bread and wine, the bread and wine having been transubstantiated, by God’s power, into his body and blood.” From this perspective, the bread and wine are not just symbols of Christ’s body and bread but are his body and blood, although in another form. Later, more liberal interpretations allow that the bread and body are symbols or metaphors for Christ consciousness and that what makes this real or true is the faith of the participants in Communion. In other words it is as if the wine was Christ’s blood.
Here is how Duchamp used the term transubstantiation:
- “The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place… …All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”
- “The Writings of Marcel Duchamp (Marchand du Sel)” e.d. Michel Sanouille and Elmer Peterson,New York1973, pp. 139-140
When Duchamp entered the urinal in a art show, he was obviously raising the question “What is it?”, or more to the point, “Is it art?” His point seems to be that it all depends on how “it” is seen by the spectators. If it is defined and perceived as art, (as if it were art) by viewers, then it will be perceived and responded to differently than if it is seen as “just a urinal”. If something is seen as “art” it brings forth a special mode of attention that is different from something seen as part of “everyday life”.
What is the special kind of attention associated with art? Those of you who have been reading my previous post know that is what I have been calling being “present/awake/alive”. As I suggested in an earlier post “Performer/Audience Communication“, some works of art allow the artist and the audience to share this unusual mode of consciousness.
The piece pictured to the left is a continuation of Duchamp’s dialogue by conceptual artist Michael Craig-Martin. His work “An Oak Tree”, installed in the Tate Modern consists of a glass of water, which the artist has declared he turned into a “full-grown oak tree”, “without altering the accidents of the glass of water” Craig-Martin is claiming that, although the form of the piece looks like a glass of water, it is in fact or in substance an oak tree, which is transubstantiation of the kind that is central to the Christian doctrine. Of course such work is likely to provoke remarks such as “Is it really art?” or “It’s like kind of crazy”.
Since Duchamp created “The Fountain”, artists of all stripes have been interested in exposing the tenuous nature of the distinction between art and all other aspects of life. For instance, in “Essays on the Blurring of Art and Life”, Allan Kaprow wrote:
“Consider certain common transactions–shaking hands, eating, saying goodbye– as Readymades (a term Durchamp used for pre-existing “art objects” like the urinal). Their only unusual feature will be the attentiveness brought to bear on them. They aren’t someone else’s routines that are to be observed but one’s own. just as they happen”.
What Kaprow seems to be saying is that living life attentively is making one’s life an art piece, which begins to sound pretty “Zen-like”. He strengthens this association by writing : “Lifelike art in which nothing is separate is a training in letting go of the separate self”. In the next Post, I will explore how the kinds of philosophical discussions prompted by Duchamp and others have been going on for centuries among Zen and other Buddhist’s philosophers.
“The Zen-man is an artist to the extent that, as the sculptor chisels out a great figure deeply buried in the mass of inert matter, the Zen-man transforms his own life into a work of creation….” (Presumably Suzuki would agree that the same is true of a “Zen-woman”)
D.T Suzuki, Zen and the Japanese Culture
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Over the past month or so my posts have focused on improvisation in the arts and Zen. This was spurred on by Peter Hershock’s suggestion that the outcome of Zen practice resembles jazz improvisation. This is consistent with much of the Zen literature which paints a picture of the awakened life as one of openness, spontaneity, “choiceless awareness” etc. , that results from a “letting go” of the rational mind and the “self”. Relying on more contemporary writers, I have suggested that there is some scientific basis for understanding this process of “letting go”. However, I also started questioning some aspects of this way of understanding what happens during improvisation. This includes improvisation in the arts or in the “social virtuosity” that Herschock says characterizes Zen enlightenment. In this post I continue in this direction and hope to clarify why it is important to be careful about how we talk about this process.
In my last post (The Practice of Yes/No), I suggested that while, to both the performer and the audience, it may seem, that there is an absence of left-brain processes with attendant decision or choice-making during improvisation, this is not a completely accurate account of what is happening. Here I want to go further and suggest that, when it comes to the practice of Zen, individuals who subscribe to this traditional idea that “I am no longer making choices”, could end up creating more suffering for him or herself and for others. Although he is not a Zen student, Lance Armstrong’s interview with Oprah about his use of illegal performance-enhancing drugs provides an example of the kind of thinking that can lead to the kind of suffering I am talking about here.
In the interview Armstrong said: “At the time, it was easy, it just flowed. I was in the zone like athletes get”.
As seen from earlier posts, the Zone or the “flow experience” is one where one temporarily loses the usual sense of self and of being the author of decision-making. It appears that in Armstrong’s case this sense of being free of the usual constraints of selfhood, also was experienced as evidence that he could do no wrong and was not responsible for his own actions. In a recent talk, Jiyu Roshi suggested that something similar often occurs among advanced Zen practioners and their counterparts in other spiritual disciplines and provided examples from his own life.
Think of John Coltrane improvising, Jackson Pollack flinging drips of paint over a canvas or Robin Williams doing a stand up routine. They are totally absorbed in what they are doing, manipulating their “tools” with such rapidity that there appears to be no conscious thought involved. It is not uncommon to hear of such performances described by witness or the performers themselves as being “possessed”, “channeled” , “in a trance” or as being expressions of an “inner self”. In all cases, I think, the intention is to convey the idea that whatever is being expressed is not emanating from that performer’s personhood but rather some other source beyond whatever it is we see as responsible for ordinary behavior. The implication is that there is no conscious thought or conscious choice involved. This sort of language is also used in the Zen literature, as well as in other spiritual disciplines” to describe the state of consciousness and conduct of the awakened life.
The social scientific literature on the experience of “trance” is helpful here. From this perspective a hypnotic trance is viewed as a situation where one person agrees to allow another to direct his or her behavior. Anthropologists have found that “trances” are common in most non-Western societies and are collectively understood to be instances where some external entity (e.g. a spirit) is directing the behavior of an individual. In most cases, when trance is manifested, the person is not held responsible for their actions and becomes eligible for special consideration from the other members of society and especially those designated as healers. The literature indicates that trance is a learned behavior that requires normal mental facilities. What appears to be a relinquishing of normal mental facilities and a sense of self-control is a culturally agreed upon understanding that entails often rather sophisticated mental capacities and maneuvers and does not entail a diminishing of rational thought.
What I take from this literature is that there is a propensity to explain the sense that “I” (i.e. my “self”) is not “in charge” by attributing ones seemingly automatic and spontaneous conduct to some external entity or “agent” (to use the language of post-modern scholars), or force or spirit. Now, according to Buddhist philosophy and post-modern theory (Buddha might be seen as the first post-modern theorist) , whatever it is we call our self is a social fiction; a convenient fiction that we acquire during socialization to allow us to take part in the social activities of our culture. Associated with this “sense of self” comes an important and necessary (at least for the larger society) sense of responsibility and accountability for one’s own actions. This is what allows “societies” to exist. Those who seemly do not have these qualities are considered sociopaths. The actual experience of this absence of a substantial self is seen as essential for the progress of the Zen student. But this experience carries with it the possibility of conduct, which may not be fully “sociopathic” but can lead to suffering of others.
While the language used to describe what is occurring may differ in describing trance, jazz improvisation, comedic improv , expressionistic painting or those who have become awake/alive/present through spiritual practice, these descriptions commonly give the impression that what is happening is not the result of “self-control” or of conscious choice. I suggest that it is necessary to make a distinction between appearances of what is occurring and what is, actually happening. I believe it is possible to preserve the wonder and wonderfulness of improvised performances without fully buying into those explanations that place “agency” somewhere outside (God, spirits, muse etc) or “inside” the person as in references to “inner self”, “real self”, “Buddha Nature” and so forth.
Following my argument in the previous post, I see such “inspired” performances as not something other-worldly but rather the result of someone who has practiced their craft to the point where thoughts or choices are executed with such rapidity that they appear to be manifesting from somewhere other than the “self”. Such improvised behavior is not a result of somehow replacing left-brain processes with “right-brain” processes but rather an integration of the two, resembling the expanded state of awareness that Fehmi called “Opened-Focus Attention”. It widens the range of information to be used in decision-making to include various signals or sensations not usually considered to be part of cognition.
I suggest that, whether we are talking about improvised behaviors in the arts or as a result of spirtual practice (a la Hershock’s contention that Zazen can lead to “social virtuosity”), the performer is making conscious choices. They are simply being made with such rapidity that it seems that this is not the case. When asked how they do what they do, most Improvisors, in all fields of the arts, will point to extensive bouts of practice that were necessary to be able to improvise.
In his book, Ways of the Hand, Sudow describes looking at his hand while improvising and not being able to predict what it was going to do next, and talking about his hands as having an intentionality of their own. But, the majority of the book consists of detailed description of the practice regimen that he, Sudnow, underwent to get to that point. Basically, he describes how he learned to recognize, through trial and error, which possible notes to strike in order to sound good at any point of the songs being played at breakneck speed. My reading of this is that he, and other jazz musicians are making choices all during a solo, but they are happening so rapidly that they seem as if there is no choosing and no one doing the choosing.
In the post titled “Yeah Man: Improvisation in Jazz, Improv and Zen“, we saw how comedic impov requires that actors “say yes” to each new possibility from others on stage in order to keep the skit moving. Although Hershock used jazz improvisation as a metaphor for understanding the awakened Zen practioner, I believe that comedy Improv is is a better metaphor because the nature of the verbal exchange is closer to what we encounter in everyday social interaction.
The accomplished Improv actor may improvise with such rapidity that it seems that he or she is not thinking. However, the actors must not only think up a possible response to what someone else says but must also think ahead far enough to see whether or not it has the possibility of moving the skit forward or squelching it. In other words, to say “yes” to the antics of another actor, he or she must filter through possibilities and reject those that may lead to a “no” ( that is, behaving in ways that would put a damper on the other actors and the overall flow of the skit). Let’s imagine that an professional improv actor could within a nano- second come up with a response which he is fairly certain will help keep the skit alive but, almost simultaneously, realizes that the audience consists of young kids and so decides against saying what first comes to mind and allows another response (maybe from another actor) to be expressed instead. In other words, even the heat of frantic improvisation, actors have the capacity to say “no“.
So where is all of this leading? Throughout the centuries that Zen has been developed, the idea that the conduct of the of the enlightened practioner is beyond thought and choice has been accepted. The way that this is generally understood is much more sophisticated than that associated with Spirit possession of Shamanism where an outside entity or force is seen as taking over agency of the person.
Yet even among the most pragmatic of the Zen philosophers, there is a tendency to rely on the language of mysticism to account for awakened conduct. This is, in itself, not really a problem, because the kinds of “performances” I have been talking about among arts and Zen adepts is truly wondrous and mysterious. However, it does appear that within Zen and other spiritual disciples, problems can arise when the experience of awakening, the sense of no longer being “self”-directed, results in actions which create suffering for the person and others.
In his book on creativity, Lehrer talks about the thin line between creativity and other pathological states. I looked at this in depth in my post called “Sun Ra: The Thin line between Genius, Crazy and Spirituality”. We all know of artists who fit this category. It is also the case that Artists can become addicted to the flow of their improvisations processes (see “Are You A Flow Addict?”) because they cannot flow in activities outside of their specialty. In Zen, however, the aim is to extend the flow of what Hershock calls “social virtuosity” to all aspects of life. It is here where the sense that “I” am not the actor, the chooser or the “decider” could lead to problems if they buy into the believe that they can not or need not say “NO”.
Although the Zen practioner may not understand their sense of acting without a “self” as indicating a possession of some sort, they do have to come to terms with what is happening to them. A thorough understanding that whatever was originally experienced as having “a self” is, from a Buddhist perspective, erroneous can help provide one with a grounded sense of being OK with their new way of being. However, it appears that it is not uncommon for someone who has opened up such experiences to begin seeing their actions as part of the natural order of things, (expressions of “Buddha Nature”) and thus inherently valid. The number of spiritual teachers that have supposedly reached an awakened state who and gone on to commit actions that create suffering for themselves and others is staggering. It is for this reason, that over the centuries of it’s development, Zen teachers have placed heavy emphasis on the precepts, which maybe seen as ethical guidelines for practioners.(For a nice discussion of the precepts and their relevance to the Lance Armstrong case, see Sean Voisen’s latest article “Zen and the Art of”.
Although these guidelines are not seen as moralistic absolutes (and violations are not considered as “sins”), the fact that they have existed so long in the Zen tradition seems consistent with the view of enlightenment that I am outlining where each action one takes is a matter of making-decisions and choices (albeit very rapidly) and not some supernatural state where actions are dictated from beyond.
So I am suggesting that in all types of improvisation choices are being made. However, in the case of true awakened improvisation, choice is even more salient because being awake/present/alive means the person is capable of attending to a wider range of data to inform his or her decision-making. Because the left-brain processes never really go away, there is always the possibility of making choices that are self-enhancing and possibly result in suffering for oneself and others. Because of this there is no end to practice and it is my opinion that those who choose to follow this difficult path do so because they find this constant practice to be a source of flow, finding satisfaction in life by constantly challenging themselves through practice.
The chart above was sent to me by James “The Sax Guy” who also adds some interesting comments to the previous post.
In the last post “Great Unexpectations: Jazz/Zen improvisation“, I pointed to some parallels between jazz and the awakened life, as described by Peter Hershock in his book “Liberating Intimacy”. Hershock points out that Zen practice can lead to a “social virtuosity” which entails being attuned to the needs of others and being willing and able to spontaneously respond in ways that allow for a harmonious social discourse. He points out that while jazz musicians are provided a great deal of creative freedom, each is also oriented towards enhancing the overall quality of the band’s performance and suggests that the practice of Zen can also lead to conduct that somehow enhances the larger social whole.
Hershock goes on to point out that this “awakened virtuosity” includes the understanding that one will often not be the center of attention. This willingness to “sacrifice” for the larger performance of our collective lives is what he sees as the essence of the Zen enterprise. According to Hershock:….the sincere practitioner must be willing to ‘do’ nothing at all and simply allow his or her life to proceed unchecked. Anything else amounts to holding on (obsessive attachment) and holding off (the arrogance of aversion). Like a piece of improvised music, practice is something other than the sum of its individually experienced, factual or behavioral parts, and there are times when the part ‘we’ play in it seems so infinitesimal as to be no part at all. To extend the musical analogy, practice sometimes puts us in the position of playing a simple rhythmic pattern again and again, subtlety opening up the field of time and space on which we find others soloing, expressing the infinite degrees of their freedom. There is no glamour in this “repetition” no exalted sense of individual accomplishment, and yet it is precisely what is needed at times for the music to come fully to life.
While being in the spotlight, as a soloist, is part of what it means to play jazz, it is only one momentary aspect of the whole scene. Equally, if not more important, is being able to provide harmonic support for other soloist and the group as a whole. In jazz, as in other fields, “showboaters” usually do not last very long. Hershock seems to be saying that the so-called “enlightened life”, as it evolves through Zen practice, involves “playing second fiddle” in ways that support the free expression of others” as much, if not more than, being in the spotlight.
Having played drums in a variety of improvisational groups, I relate to the role of providing unglamorous “repetition”. Except for the rare drum solo, the drummer’s main role is to support the other musicians as they play the melody and take their solos. Primarily this entails maintaining a steady beat, but especially in jazz, it can also involve adding embellishments that add to the overall performance of the group. An accent on the bass drum, a change in dynamics or a riff that responds to what the soloist is doing can add a vibrancy to the performance and can affect where the soloist goes in his or her improvisation. I found that I needed to learn to find a sense of accomplishment in providing this supporting role for the group as a whole and forgo the natural inclination to be “in the spotlight”. The most satisfying compliments I received as a drummer were those from fellow musicians who acknowledged that I was both listening to them and providing support or fodder for their improvisations. In a sense, the appreciation was for my being fully present with the other musicians, doing my part to help them be fully present and doing my part to help “the music to come fully to life” (Hershock).
When this happens, says Hershock:
………. our simple contribution is heard in a completely new and always unanticipated way, becoming something much more sublime than we could ever have imagined. In the same way, as long as we are fully engaged in practicing Ch’an, even though we may from an objective point of view be doing nothing out of the ordinary, the meaning of our activity – our conduct- is undergoing continual transformation. Even though we are doing nothing special, our relationships become progressively more open and truthful. (pg. 120)
Hershock’s term “social virtuosity” may be misleading. It does not necessarily refer to being what we often call “socially adept” and it does not refer to an attitude of concern about social injustices or other societal maladies. The awakened person may certainly possess these characteristics, but they are not the essence of what Zen practice is all about. Zen students are encouraged to take the vow of “freeing” all sentient beings” which seems to be a clear message that, as in Jazz, the goal of Zen practice should not conceived as a personal or selfish one, but one that is social, in a certain sense. (See “Four Vows” as practiced at The Vista Zen Center”. http://www.vistazencenter.com/vows-and-precepts)
Understandably, this vow raises also sorts of interpretations as to what is meant by “freeing” (often the word “saving” is used) and what is meant by “sentient beings”, as well as questions about the feasibility of such a task. There has been a great deal of discussion about what exactly this vow calls for on the part of a Zen student. However, Hershock seems to argue that, whatever is involved in fulfilling this vow, it does not entail “doing something”. It does not involve the usual, goal- directed orientation that most people adopt when trying to perfect their behavior. Rather it is the Zen practice of “not-doing” that allows one to fulfill this vow; the “not doing” of spontaneously responding to what is in the moment, of improvisation grounded in years of practice. For a more,in-depth and lenthy theoretical/Zen/philosophical discussion of this topic, click on the FORUMs tab at the top of the page and see Discussion #3, COMMENT D.
For Hershock, “social viruosity” or “awakened conduct” consists of spontaneous responses to what is happening in the moment. It is being present/awake/alive, in a way that also allows or encourages others the freedom to be present with the “business” of jointly carrying on their lives in ways that minimizes suffering.
“Don’t ask what the world needs. Ask what makes you come alive, and go do it. Because what the world needs is people who have come alive.”
In comments on my post titled “Practicing Zen/Trumpet: Part 2” Jiyu Roshi wrote the following: …….for practice to work you have to be open to the unexpected, either in an answer you’ve arrived at, or in whatever may be a new question to which you are trying to find an answer. It’s the unexpected which is reality and the reason for practicing.
This quote reminded me of something that happened at one of my trumpet lessons. While Nathan, my teacher, and I were warming up before the lesson, he played an incredible complex exercise in the upper register. I asked him how likely it was that he would ever encounter any written music where he would have to playing anything that complex. He answered that it was very unlikely, but that since he played improvisational jazz, he wanted to be able to play whatever he was “hearing” during solos. ( He may have used the word “feeling” instead of “hearing”).
In playing jazz or other improvisational music, each piece has a distinct series of chords that provide a common structure for the musicians. During a solo, the players are free to create their own melody as long as it fits with the chord progressions of the song and whatever they play is in harmony with what others in the band are doing. In other words, each musician is free to spontaneously play whatever sounds right in the context of what everyone else in the group is doing. Instantaneously, all the others in the band are responding to whatever is being created by the soloist.
It is through constant practice that the improviser prepares himself or herself to respond instantaneously to whatever others in the band are doing moment by moment. Accomplished improvisers will tell you that true improvisation is accomplished only after one has so thoroughly mastered their instrument that they no longer have the need to think or plan as they solo. But, having superb technique is not enough. To learn to improvise, musicians must also throw themselves into musical situations where improvisation is expected. This is beyond the comfort zone for most musicians and so is avoided, even by those who have superior musical skills.
Using the language developed in my past posts, we can say that jazz virtuosos are able to “be present-awake-alive” so that they can spontaneously do what is necessary to contribute to the collective creation of the piece being performed. It is this aspect of improvisation that Peter Hershock emphasizes when he attempts to use jazz improvisation as a metaphor for the enlightened or awaken Zen life. (“Liberating Intimacy: Enlightenment and Social Virtuosity in Ch’an Buddhism.”)
Rather than seeing Zen practice as an attempt to attain a special experience or state of consciousness, Hershock writes about enlightened or awakened conduct; a distinct “social virtuosity” which entails being attuned to the needs of others and being willing and able to respond in ways that allow for a harmonious social discourse. He points out that while jazz musicians are provided a great deal of creative freedom, each is also oriented towards enhancing the overall quality of the band’s performance. But, this responsiveness is not calculated or rule-driven. Rather it is based on a spontaneous and expanded awareness of what is needed, moment by moment, allowing the musical band to “pull off” it’s performance as a whole unit.
According to Hershock: “Whenever a solo appears, it is not conceived and then executed in seriality, but courses through the musician and his instrument, flowing from that unlocated, unlocateable source of the unexpected lying outside of every horizon, every name and form.”….This flow comes about when the musician stops checking, when he stops figuring out what to play and abandons the projection of the known, the hunger for closure, for sense. ….The aim of improvisation is not to negotiate or regulate an agreement about how thing are, but rather the creation of a novel harmony through jointly articulating a new world- be it musical., poetic, choreographic or erotic. (pg. 76)
Note my underlining of the word “jointly” in the last line of this quote. Whether we are talking about music or ordinary life we are always affecting and being affected by others.
Whenever an instrumentalist in a jazz group plays a solo, he or she is instantaneously influencing the other players, whose responses, in turn, help shape the direction of the solo. At any moment something new or unplanned may appear and each musician, and the group as a whole, finds itself going in an unexpected directions. When the musicians have practiced and mastered their instruments, the conditions (a balance between challenge and skill) that Csikszentimihalyi says are necessary for “flow” can occur. (See Are You a Flow Addict and So Can an Average Joe Learn to Flow). When all the members of a band get into a flow state, it is often referred to as “getting into a groove” and I recall one musician describing that experience as “being the most fun a person can have with their pants on”.
In everyday life, change, and thus the unexpected, generally stems from other people around us. Most social groups and even our personalities are geared towards reducing the unexpected and probably Zen’s most important insight into human behavior is that such efforts are fruitless and lead to suffering. This leads us back to Roshi’s last point in the quote at the beginning of this essay: It’s the unexpected which is reality and the reason for practicing.
When we sit in Zazen, hour after hour, we observe that whatever or whoever we think we are changes from moment to moment. We learn to see how change is the only constant and we learn how to simply flow with whatever is happening. Working with a Zen Koan involves learning how to let go our ordinary ways of responding to problems and allowing ourselves to move into the realm of the “unexpected”. Zen teachers have traditionally been known to respond enigmatically to questions from their students in order to thrust them out of the ordinary mode of consciousness. The goal in all of these practices is to prepare the students to be comfortable with the unexpected, and thus, to be masters of improvisation. This entails extending one’s comfort zone.
Some of you may be wondering what all of this has to do with the Buddhist vow of “saving all sentient beings” which is central to the Zen tradition. I will offer an opinion on that in Part 2.
I just spent a week in Texas visiting my grandsons and and then another week at The Vista Zen Center for a meditation retreat. So, I am a bit behind in my blogging. While I work on my next installment of the series on “practice”, I would like for you to visit with Piotr Krysiak, a painter and Zen student from Poland. Piotr has sent me several comments regarding Art And Zen Today and I have spend time roaming around his website (see address at bottom).
Below I have copied Piotr’s statement about his Zen and artistic practices as well as his background. All of the pictures on this page are images of Piotr’s acrylic paintings, but these are just a few of many and I would suggest you visit his website to see all of his paintings as well as some interesting videos. One of the things I like about his paintings is that they have both an ancient and contemporary quality to them: Zen art for the 21st century.
I’ve been practicing zazen for several years. Two times a day. Every day. Mainly to unprogram myself from what I have been suggested as good, bad, right, wrong, important, unimportant, fashionable, desirable, expected, valuable, mine. Unprogram from all that reaches me constantly – all the variable ideas that are only subsequent interpretations of reality.
Zazen causes disappearance of these conditions. The result is serenity. The combination of artistic practice and zazen gives the possibility to balance on the
edge which on one side enables to be consciously in the now while on the other leaves behind artifacts reminding of coming back to the now.
Copied from an email from Piotr
MA – Academy of Fine Arts in Krakow
2011 – Salted Candy, collective exhibition – Poznanska Galeria Nowa
2011 – II Triennial of Contemporary Polish Painting – Jesienne Konfrontacje,
collective exhibition – BWA Rzeszow, BWA Zamosc
2010 – New things, solo exhibition – Museum in Bielsko-Biala
2010 – Under, collective exhibition – Cellar Gallery, Krakow
2005 – Piotr Krysiak – painting, solo exhibition – Schindler Factory, Krakow
Museum in Bielsko-Biala
Dave Bown Collection, USA