Make It So

Pasta. Meat sauce. Warm Bread. Wine.

Pasta. Arugula salad. Wine.

Tripper Dog-Dog-Dog knows the world through his nose. He sniffs everything. It is not uncommon after we finish a meal to come face-to-muzzle with a scent-curious Dog-Dog. Lately, as the objects of his sniffer, we’re given to staring into his amber eyes and offering the menu, saying something like, “Pasta. Arugula salad. Red wine,” or “English muffin. Peanut butter with black cherry jam. Banana. Coffee.” Satisfied with our description, he moves on to the next smell-enticing investigation.

I delight in our Dog-Dog food reports. They’ve become commonplace and matter of fact; “Chocolate chip cookie. Espresso.” Our reports never contain qualifiers, so, for instance, we never say, “A great chocolate chip cookie. Delicious espresso.” We provide the minimum, the noun.

Our Dog-Dog reports have rekindled an age-old fascination of mine: the power of words, specifically, the enormous power of the labels we attach to our experiences.

Language is a sword that cuts both ways. It can liberate and it can imprison. The difference is in how it is used. Language is the primary tool we use to make meaning. Big magic happens the day a person realizes that meaning is not something that is found, rather, it is something that is given and it is given the moment we apply a word-label to an experience. Nothing is good/bad, hard/easy until our label makes it so.

Applying a label to an experience is an act of creation. It is not passive. Take note of the word-judgments you apply to yourself or to others. For a week make a game of flipping them over and applying the label “beautiful” to where you usually apply a judgment. So, for instance, instead of, “I am fat,” why not say to your self, “I am beautiful.” Both are labels. One imprisons while the other liberates. The difference is a single word.

The label determines the possibilities we see (or don’t see). In a past life I used to facilitate organizational change and I came understand that my role was to help my clients ask better questions (use different language). They always came to the table with a “how” question: how do we change without feeling any discomfort? Response: what might you see if you stopped pre-labeling what you might feel as “discomfort?”

The mantra: have the experience first, make meaning second. And then, recognize the great capacity and opportunity you have to make meaning. Why not make a better meaning? Why not take a step and let it be a step merely?

Try this: do the Dog-Dog and, for one week, eliminate the qualifiers so that nothing is good or bad or right or wrong. It just is because you choose to make it so.

Jump!

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The set for The Lost Boy

Once, I stood on a ledge. I wanted to jump into a river several feet below but I was afraid. I’d watched kids do it all day. They told me in excited tones that it was only a 70-foot drop. I’m a bit afraid of heights – okay, I’m a lot afraid of heights – and from the ledge it looked to me more like 1000 feet. I jumped but have no memory of it. After investing in my fear for many minutes, I remember making a decision, standing and walking toward the edge. I remember bobbing to the surface and laughing aloud.

I learned a great lesson that day: if I put my focus on my fear I will be paralyzed. Before taking the big step off the ledge I sat on a rock, and told myself that I was afraid. I was stuck. I couldn’t move. My mind was atwitter with all the reasons I couldn’t do it. When, finally, I realized that, if I put the same amount of focus and energy into jumping as I was investing into being afraid, the jump would be easy. It would be inevitable. It would be a decision, a choice. And, it was easy. The jump was as intentional as the fear was irrational. It was enlivening.

The Chili Boys in rehearsal

The Chili Boys in rehearsal

Last week we performed my play, The Lost Boy and through the process I revisited my ledge of so many years ago. The opening night served as a touchstone of growth. A play is made complete with the addition of an audience. Boil a play down to its essence and there is an actor and an audience. One is exposed and vulnerable, the other is safe within a group. That’s what makes it work: the one facilitates the journey for the many.

The actor gives and the audience receives – and, if the actor is doing his or her job, the audience gives and the actor receives. It’s a loop. It is a relationship. For the actor, this dance of giving and receiving can be either a terrifying proposition or an exhilarating experience. It all depends upon where the actor places his or her focus. If the focus is on pleasing the audience, the play will be a miserable affair to perform. The audience will play the role of judge or worse, the enemy. It will be a ledge alive with irrational fear. If, instead, the focus is on the action of the play, the simplicity of doing, the experience will be alive and invigorating for everyone involved. The audience will be allies on a single journey with the actor. The actor will be present so that the audience can also experience presence.

When Kerri and I stepped onto the stage last Friday, there was no ledge; it was all jump…

[to be continued]

Be The Fool

The Fool card from The Radiant Rider Waite deck

The Fool card from The Radiant Rider Waite deck

Each day I open The Bible of Mankind (sadly, now out of print) and read a phrase. It’s a form of daily meditation for me akin to throwing the I Ching; I pick from the reading what seems relevant. Some days the phrase is confusing, some days it is curious, some days it is profound. Every day it is significant. Today, the phrase was from the Buddhist tradition and under the subtitle, Foolishness & Wisdom:

“The man who has learned little grows old like an ox. His flesh grows but his knowledge does not.”

I delighted in the pairing of foolishness with wisdom. I suspect there is only one path to wisdom and it requires a good deal of foolishness. I googled the meaning of the Fool card in the tarot because, as I recollect, when upright, the Fool is about beginnings and bold steps into the unknown. From my search I found other words and phrases like unlimited potential, purity, and innocence. The Fool is ever present and has in his (her) bag all the tools and resources necessary for the journey through life. The Fool came to this earth to learn.

Another phrase that caught my attention was this: the Fool is always whole, healthy, and without fear. He is the spirit of who we are, the spirit expressed and experienced as wonder, awe, curiosity, and anticipation.

Recently, Bruce and I had a great talk about how life looks different at 50 than it did at 30. The main difference is that you know without doubt that it is limited. And, because the big death is visible, all the little death passages, the steps into the unknown, take on more import. Yearning is more electric when mortality is undeniable. All of the belief and investment in outcomes and achievements dissipate. This life is an experience, nothing more. It passes. And, it is dealer’s choice whether the experience is expressed and experienced as fear or expressed and experienced as The Fool: wonder, awe, and curiosity.

The wisdom path is the Fool’s path. The ox, to become a fool filled with knowledge, need only step out of its pen, into the unknown, and be filled with new experiences.

title_pageGo here to buy hard copies (and Kindle) of my latest book: The Seer: The Mind of the Entrepreneur, Artist, Visionary, Innovator, Seeker, Learner, Leader, Creator,…You.

Eve, by David Robinson

Eve, by David Robinson

Go here for Fine Art prints of my paintings.

Explore The Human

photo-2

my latest work-in-progress. No name yet, approximately 5ft x 9ft.

Standing on the stair to her studio, Pam said, “I’m not sure where my work is going. I’ve pulled out all of the old paintings so I can see where I’ve been, what I’ve been doing, and maybe that will help me live into what’s next.” Like me, Pam has been a painter most of her life. She’s been through this transition many times before and recognizes the necessity of fallow artistic fields. Rather than push or panic, she’s matured as an artist and knows enough to value the emptiness.

With maturity comes faith. The muse never leaves. She rests. Artistic cycles are no different than seasons. Like a farmer living through the winter months on the harvest of the fall, Pam will spend hours sitting with her old work, thinking nothing, drinking in the nutrient of her artistic yield, allowing her inspiration fields to recharge and rejuvenate. She will allow herself to go empty, creating ample space for the new work when the muse reawakens. And then, one day, she will pick up a brush and be surprised by what comes through her.

Hans said, “An artist matures when he or she ceases working from their pain and begins exploring the human condition.” Working from the wound is necessary as adolescence is necessary. Most artists in our western tradition begin in rebellion, pushing against, making statements. We celebrate the outsider, the margin-sitter and so the wound can be difficult to escape: artistic pain becomes a role, an expectation. In practice it is akin to a developmental stall. The only place to go when pain is the norm is into the intellect: to produce, to make statements. Pain isolates and ultimately, an isolated artist is ineffective. Artistry, like all things vital, must occupy a shared space. It is communal or it is impotent.

Potency comes when the eyes turn out, when the question of “we” becomes more vital and interesting than the question of “I.” Artists mature when they reorient, when instead of the art expressing their pain, they serve the art and, make no mistake, art is another word for “human condition.” Art is bubbling life in all its forms: visual, kinesthetic, aural. As Hans said, “I want to fall deeper and deeper into the music. I want to find the edges and follow where it takes me, give myself over to it.”

title_pageGo here to buy hard copies (and Kindle) of my latest book: The Seer: The Mind of the Entrepreneur, Artist, Visionary, Innovator, Seeker, Learner, Leader, Creator,…You.

DSC_1196 copyGo here to support the kickstarter campaign for my play, The Lost Boy.

Do.

from my children's book, Play 2 Play

from my children’s book, Play 2 Play

About the river, Jim said something like this: I had to stop complaining, leave town, or do something about it.

Jim chose to do something about it. He got busy. Now, he’s dedicating time each week to clean and care for a stretch of the river. He’s working to make people aware of the rich life that the river supports. He’s drawing the plant life. He’s made and delivers an incredible Powerpoint presentation.

Jim came to an awareness threshold: complaining is not doing – but unlike most people, he crossed the threshold and changed. The first necessity in any change process is to change yourself. Complaining is a first step but it is where most people stop. Complaining feels good because it provides the illusion of action. Complaining can become fuel if it is followed with a step toward action.

I’ve worked with scores of people who wanted to write books or paint paintings and most came to me with a complaint: lack of time, no quiet space, or some other circumstance that blocked their happiness. When we removed complaining as an option, they created time or quiet space. They wrote. They painted. It was not magic. It was practical. Complaining requires dedicated energy. It also takes time and more than a little thought-space. Painting, writing, or cleaning the river also requires dedicated energy. The question is about where the energy is dedicated.

Ultimately, as Jim described it, the move from complaining to doing changed how he was in the world. He changed so his world could change. He stepped from helpless witness to active participant.

title_pageGo here to buy hard copies (and Kindle) of my latest book: The Seer: The Mind of the Entrepreneur, Artist, Visionary, Innovator, Seeker, Learner, Leader, Creator,…You.

DSC_1196 copyGo here to support my kickstarter campaign for my play, The Lost Boy

 

Learn To Swim

from my children's book on how to play, PLAY 2 PLAY

from my children’s book on how to play, PLAY 2 PLAY

Hoodie tells me that he is sarcastic by nature but I don’t believe it. I’ve spent a lot of time in nature and I find no sarcasm there. I also understand much about human nature and know that sarcasm is not a native plant; it is invasive. It is introduced into fertile, unknowing soil.

Sarcasm is the tool of the drowning man. It is an act of desperation to push others under the water in order to elevate the self. I’ve walked many paths and worked with many powerful and not-so-powerful people. There is a rule on the stage that applies: the king never needs to act powerful because the king is powerful. Those who need to demonstrate power have none. As Quinn used to tell me, if someone has to tell you that they’re important, they really aren’t. Sarcasm is a form of importance-telling. Powerful people create power with others. Power is a creative act. It is a communal act. They have no need to diminish or reduce others because they recognize that reduction also reduces. People who must reduce others are not powerful; they’ve confused control with power. They want to be king. They want to be seen as king. But, they do not believe they are king. Sarcasm is a form of perception control.

No one is by nature sarcastic. Sarcasm is learned in batting cages, at dinner tables, and on the field of play. Sarcasm is a mask. It is a place to hide smallness. It is passed down generationally. Masks both conceal and reveal and while it might feel good to pull others under the waves, it also reveals a non-swimmer. It is habit. It is learned.

Hoodie is not by nature sarcastic. Hoodie is a swimmer. He has the stuff of kings. He also tells me that his nature is to give comfort, to help others. He will one day realize, after he transcends his habit of drowning, that his nature to lift others is the center of his power place. Sarcasm separates him, reduces him, as do all forms of self-diminishment/control. Sarcasm is a lonely planet. Power is always a movement toward others. It is generative, as is all of nature.

title_pageGo here to buy hard copies (and Kindle) of my latest book: The Seer: The Mind of the Entrepreneur, Artist, Visionary, Innovator, Seeker, Learner, Leader, Creator,…You.

Go here to support my kickstarter campaign for The Lost BoyDSC_1196 copy

 

Sit Down

google "Chicken Little" and this one will come up. www.homesforsaleinlascruces.com

Google “Chicken Little” and this one will come up. http://www.homesforsaleinlascruces.com

Many years ago I was feeling disoriented in my life. I told my friend Rob that I was lost in the woods and looking for my way out. He replied, “Sometimes when you are lost in the woods the best thing to do is nothing. Just sit down.” His message was clear: no one gets oriented or reoriented by spinning. Running in circles, although it might feel useful, will only make you dizzy. Sit down. Get quiet. Listen. It was great advice and at the time nearly impossible.

Orientation to life comes from getting quiet. In one of his books, Deepak Chopra wrote that an important practice on the path to success is a half hour of meditation in the morning and another half hour at the end of the day. Make a practice of getting quiet. Exercise the muscle of stillness. Listen. Clarity will ensue. That way, when the inner compass goes awry, the right tool for the job will be more readily available.

Sitting down can be hard. Stillness and disorientation are not natural bedfellows. The impulse is to action, any action. I was once in a car on a remote mountain dirt road. The road collapsed and the car slowly rolled into a gully. My friend and I spent two days trying unsuccessfully to build a road out. It was only after we gave up and sat down that we were capable of thinking things through. Disorientation generally inspires panic. Panic-driven actions, like running in circles or hauling stones to build a road, are generally comical and make for great stories after orientation is restored. We’ve all turned the wrong way down a one-way street when lost and panicked. Pulling over would have been better but much harder to do when dedicated to forcing an outcome.

Beneath Rob’s message to me was a more important lesson: let go. Let go of the need to do. Let go of the need to solve, fix, or find. The path to orientation always leads through a necessary disorientation and the disorientation comes from hanging on to old ideas, old roles, old baggage, old heroics. The cycle is perfect as hanging on necessitates letting go and letting go often means to sit down, surrender, and breathe. To sit down always affords the opportunity to see where you are as distinct from where you think you should be. To surrender is to open. To breathe is to invite in the new. No one is lost when they stop trying to be some other place.

title_pageGo here to buy hard copies (and Kindle) of my latest book: The Seer: The Mind of the Entrepreneur, Artist, Visionary, Innovator, Seeker, Learner, Leader, Creator,…You.

Go here to support my kickstarter campaign for The DSC_1196 copyLost Boy project

Ask, “Now What?”

photo-1On one of the many Post-It notes that line our idea wall is written, “Say ‘I Don’t Know.” It is especially relevant today as a few days ago, in a fit of spontaneous remodeling, we tore the five-decade-old laminate off the countertops. After the moment of deconstruction we looked at each other, shrugged our shoulders, and asked “Now what?”

I delight in moments like this for two reasons: 1) the first action (tearing off the laminate) always comes from years of wanting change but seeing only obstacles. In what feels like a spontaneous moment, the focus shifts from the obstacle to the action. 2) When the focus shifts only a single step is visible and that step is always some variation of, “I don’t know but I’m going for it anyway!” Second steps are generally invisible until there is a committed action, until there is a first step taken.

These two steps together are a good working definition for the creative process. Shift your focus from the obstacle to the only action you can see. Take the action. Repeat until the action takes hold of you.

The first step generally feels like deconstruction. It feels like breaking things or breaking out of things (like a focus on obstacles). A committed step into, “I don’t know” creates motion and motion begets motion. Rip off the old laminate without a plan and a plan will emerge. Or a mess will emerge followed by a new plan.

title_pageGo here to buy hard copies (and Kindle) of my latest book: The Seer: The Mind of the Entrepreneur, Artist, Visionary, Innovator, Seeker, Learner, Leader, Creator,…You.

Go here for all digital forms of The Seer.

Or, go here for fine art prints of my paintings (and other stuff, too)

Eve, by David Robinson

Eve, by David Robinson

Welcome The Bump

With Kerri on the top of a mountain

With Kerri on the top of a mountain in Colorado.

Just beyond Vail, Colorado there is a tiny two street town called Minturn. It began as a mining town when people were rushing for gold but these days it survives as a place for tourists. It is radically different than its founding fathers intended. We stayed there for a few days of rest and recuperation after our two-week double loop through Middle America.

The double loop through America was nowhere in the plan a month ago. Things just seemed to pop up. A death. Kerri’s daughter stumbled into a new job that necessitated an immediate move. Plans changed. Our intentions for the month went out the window. All of the artistry went on hold. We quickly packed the car and hit the road.

Just as plans change it is also true that change is rarely planned. I’ve yet to meet a person who doesn’t resist change (despite their rhetoric). Change requires a step into the unknown and that’s precisely the point: real change comes when we simply don’t know. Most of us like to know where we are going before we step. Change finds its way through the cracks that happen when patterns are disrupted, when things just seem to pop up, when we have no idea what the next step is. Change happens when we are making it up as we go. Change is a creative act, a tap dance on the event horizon.

Last week we drove to Colorado from Wisconsin through Iowa and Nebraska to attend my grandfather’s funeral. After the service we drove to Columbia, Missouri, crossing the full expanse of Kansas, to deliver some treasures from Beaky (Kerri’s mom) to Wendy (Kerri’s niece). Since we were driving to Denver, why not go home via Missouri? We returned home long enough to wash our clothes, pet the dog, and repack the car and head to Minneapolis. We packed up Kerri’s daughter and moved her to Vail via South Dakota with a sharp turn through Nebraska before arriving again in Colorado. After a rest in Minturn, a few hikes, some time with wine sitting on a porch, and a few precious nights with my parents, yesterday we returned to Wisconsin through Wyoming, South Dakota, and Minnesota.

It was a tap dance. Change found its way in as our patterns disappeared in the spontaneity of the double loop. We arrived home exhausted and exhilarated, with renewed eyes, a riches of profound and varied experiences, and much clearer intentions. What seemed initially like an interruption in our path was, in fact, a crack in the pattern, a necessary bump into the unknown.

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Chase Your Lion

This is from the long ago archives. A sketch I call Persephone

This is from the long ago archives. A sketch I call Persephone

We were talking about fear. I’d suggested that some fears were actual and some imagined. For instance, if a lion were chasing me, fear would be my ally. It would be actual and useful. My fear would possibly save my life. It would make me run faster. On the other hand, if I feared pursuing my dream, of doing what I wanted to do in the world because of what others might think, my fear would be imagined. It would not be useful.

He said, “You don’t understand how afraid I am.”

“How afraid are you?” I asked.

He wrinkled his brow, “How can I answer that? No one can answer that.”

“Well, tell me how big is your fear?” I said. “Give it a size.”

“I can’t do that!”

“Sure you can,” I said.

“How do you quantify fear? How does anyone quantify fear?”

“Oh, quantifying fear is easy.” I said. “You simply count all the things you don’t do because of your fear. Those things are quantifiable. Count all the life experiences that you are willing to lose by holding onto your fear.”

He was silent for a moment. Then asked, “Like what?”

“Most people lose access to their lives. They let go of their dreams. They tell themselves that they don’t know how or that they were not meant to do what they want to do. How much life are you willing to miss by telling yourself the story that you are afraid? Count the days, the moments, that you stop yourself. Those moments are actual. Those days are quantifiable.”

He was angry, so I added, “Dreams are not lions.”

 

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