What Underlies Our Creativity? The Infinite and the Finite are Two Hands that Clap the World into Existence

When I was teaching secondary school, students often asked: Where does creativity come from? Does it come from me? Is it a gift we are born with? Does it arise from how we relate to our lives? Is it from the universe itself speaking?

 

In a similar way, I sometimes wonder how I can keep writing blogs. I try to write one a week, but sometimes don’t succeed and can barely say a word. I worry that I’ve run out of ideas. Other weeks, I write three or four blogs and it seems everything I see or hear has hidden treasure in it.

 

Sometimes, even if I have something to say for myself, I wonder if I have anything helpful to say to anyone else. When I was in college, and about to go out on a date, I feared I would run out of topics for conversation. Or if I had a paper to write, I wondered if I could come up with anything original or real to write about.

 

Right now, I’m looking out of my window and see the edge of the forest. At first, I see the forest, a whole grouping of trees, grass, the dried stalks of flowers⎼ all at once. Then I notice a rhododendron bush, with green leaves that shine even though it is very gray right now, and rain or snow seems about to burst from the air. Or just beyond it, the naked, old branches of a lilac ⎼ thin fingers reaching out to heaven.

 

Even in this seemingly simple setting, there is a vast universe of unrecognized details. At first, an unverbalized, un-languaged sensing, a taking everything in. Then, words arise, individual details, singular things are born, but the vision of the whole obscured.

 

To make sense of all of this, my mind utilizes patterns of thinking I’ve found useful in the past, theories about reality, memories of recent as well as distant events. Everything I have ever thought or felt is alive in this scene that stares back at me as I stare at it. But I’m only conscious of one bush, one tree, one Buddha statue covered with shades of green moss, one memory of feeling as gray as the air now looks.

 

And yet, every once and awhile, if I’m attentive⎼ if I take a moment to just breathe; to take a walk or meditate⎼ then the normal noise of rushing from one concern to the next is paused, juxtaposed against a blank screen. I get quiet enough to hear what before was hidden. Maybe feel that original, pre-language sensing. The pattern of my thoughts or assumptions pops out in my mind. And when I do read a word or hear someone speak, I have a much better chance of perceiving not only the words but the feeling and reality beyond the words.

 

Author Robert Pirsig, in Part II of his novel, Zen and the Art of Motorcycle Maintenance: An Inquiry into Ethics, talks about how, in science, the more you look, the more you see. This sounds simple until you get to his conclusions. Pirsig, speaking of his main character, says:

 

“He coined a law.… ‘The number of rational hypotheses that can explain any given phenomenon is infinite.’ It pleased him never to run out of hypotheses. Even when his experimental work seemed to dead-end in every conceivable way, he knew that if he just sat down and muddled about it long enough, sure enough, another hypothesis would come along….

 

If the purpose of scientific method is to select from among a multitude of hypotheses, and if the number of hypotheses grows faster than experimental method can handle, then it is clear that all hypotheses can never be tested. If all hypotheses cannot be tested, then the results of any experiment are inconclusive and the entire scientific method falls short of its goal of establishing proven knowledge.” “[A]s you try to move toward unchanging truth through the application of scientific method, you actually do not move toward it at all. You move away from it!”

 

Substitute logic for scientific method and a hypothesis jumps out at us. Reason and science increase our understanding. They allow humans to develop and survive. But reality far exceeds any rational thought about it—and the value of the world, of reality, far exceeds anything we can imagine, certainly exceeds any use we can imagine for any part of it…..

 

*To read the whole blog post, please click on this link to The Good Men Project.

When Sleep Eludes Us: Instead of Focusing on the Sleep We’re Losing, Notice the Moment We’re Gaining

Last night, I fell asleep around 12:30 am and woke up about an hour later. It’s not unusual for me to wake up several times in the night due to pain and other reasons. Or to wish the hour was later and the night closer to being over. Or to hear myself wishing that for once, couldn’t I just sleep through the night. Then I tire of that.

 

I look outside the window at the night sky. The trees, stripped naked by winter, form a delicate lattice pattern made visible by a graying sky. The sight broadens my perspective. And I sit down and hold both the discomfort and pain that woke me up along with the sky that surrounded me and everything else. And I go back to bed and sleep.

 

I notice the quality of the night because I’ve learned from previous sleepless moments and writing about them how important it is to do so.

 

I learned that how I responded to waking up was crucial to getting back to sleep. And to be aware of my response required a specific sort of sensing, and monitoring, a mindful, open, non-judgmental one. One that allowed me to see the reality I was facing with more clarity.

 

Pain and sleeplessness can be so awful and disruptive. But maybe the worst part of it, and what deepens it into suffering, is feeling powerless before it or not knowing what caused it. If we think our chest pain is the beginning of a heart attack, we feel the pain more intensely than if we think we have stomach gas. If we’ve had the pain in the past and seen a doctor, received answers about what’s causing the symptom and how to treat it (and that it’s treatable), it’s often easier to face.

 

And when we are ready and can face what we feel, or expand our vision beyond it, we have the possibility of transforming it. In dreams and nightmares, when we run from the monster that chases us, it gets bigger. So far in my life, almost every time I turned towards the monster, it turned away from me or transformed into something either friendly or less fearsome.

 

So how we respond to what happens is as important as the fact we experienced it. Knowing this is powerful. It can take us out of our ideas of who we are and let us return to the broader reality of what we’re feeling right now.

 

I learned from being awake in the depths of night to notice and let go of any thoughts or expectations I had about what I’d see or hear. And to look specifically for beauty. To befriend the night as much as I could. To recognize darkness can be intriguing and can illuminate what was formerly hidden….

 

*To read the whole piece, please go to The Good Men Project.

Seeing With a Diversity of Eyes, Revisited: Imagination Is a Brush We Can Use to Paint Our Way Anywhere, Even Home

It all began one evening when I got totally engrossed in viewing Japanese woodblock prints, especially the night scenes by Kawase Hasui. Hasui was one of Japan’s most prominent and prolific printmakers, who died in 1957. He created landscapes that beautifully merged humans⎼ their homes, boats, shrines, castles, and temples⎼ into the land around them.

 

I was looking through several paintings and when one stood out, I’d imagine myself in the depicted scene or sit with the mood the print and my seeing of it created.

 

One night scene was of the Chuson-ji Temple in Japan. A long series of wide steps led up through trees to the temple. There was moonlight and a bright star, but no moon. I slowed down, stopped rushing, and just lingered on the scene, let my eyes feel the steps so I could walk up them in my imagination and reach the building itself.

 

Then I closed my eyes and let the scene rest inside me, before opening them again to allow new details I had missed earlier to enter the picture. By touching in this mindful way, we are touched; we feel what we see. The artwork is perceived with more dimension. I learned this practice at a retreat organized by psychotherapist Lawrence Leshan.

 

Later that night, I drove into town to buy groceries. Along the way, I noticed the scenery took on a totally new quality. The homes surrounded by trees, the lights amidst the dark, the moon over the hillside⎼ one minute, the scene before me was the physical road, buildings, and trees. The next, a beautiful portrait of the same.

 

In the afternoon a few days later, a similar experience occurred. As I walked up a rural road, I saw as I might normally see⎼ light breaking through the hillside forest roof and bouncing off tree leaves ⎼ and then as Hasui might paint it. By viewing the art, my eyes were tuned to beauty; I now had two sets of eyes, two ways of seeing.

 

Hasui seemed fascinated with not just art as a creation, but vision itself. He painted the same scene in different seasons and times of day. There are at least three renditions of the Chuson-ji Temple, for example⎼ one at night, one on a spring day, another in the snow. But what we see in each painting is one moment, or each instant as a once in a lifetime event.

 

The beautiful temples Hasui painted were not just an external scene he perceived but an element of the artist, his society, history, mood, the time of day, the weather and quality of light. We are not a being locked in a wall of skin, but one movement in a universe dancing itself into being.

 

Sometimes, we get caught up in what we see or hear. Our focus becomes possessive and exclusive. The object we see over there reinforces the sense of a separate me over here. And we lose appreciation for the very act of seeing or hearing, or the fact we can perceive or know anything at all. We lose the mystery of it. Studying how we perceive, being mindful, can remind us to notice, and look beyond what we see in order to enjoy the act of seeing. That we see can be as miraculous as what we see.

 

Exercises looking out a window:

Is it possible to perceive each artwork as a window or a door to a hidden place in ourselves, or the universe, like C. S. Lewis’ wardrobe doorway to Narnia? Just like a painting might be framed, a window frames the world for us to view with care and attention.

 

Here are exercises we can use to expand our appreciation of art and perception. We can do them for ourselves or share them with students. Before we share them, we first practice them ourselves. We feel and reflect on how they affect us. We imagine each individual child doing it. Many of us are struggling now with painful traumas and loss. We need to develop trauma sensitive eyes and hearts. We need to hold our children and ourselves with hands of empathy and compassion….

 

*To read the whole piece, please click on the link to Education That Inspires.

 

**This blog is an expanded revisiting of one I wrote last year for The Good Men Project.

***Before doing any of the exercises, please consult the links for fuller explanations.