I am indebted to Mark Spirtos who inspired this conversation.
What we say and talk about when we're
catalyzing
transformation ie the distinctions we leverage in the process of
bringing it forth, is really only secondary to the space that creates
for us to be transformed ie the space that leaves us with ie the space
that leaves us in. The distinctions of transformation, while critical
in galvanizing the experience of being transformed and bringing it to
front and center
stage, then become secondary once we're
free to be and free to
act.
In this way, distinguishing the distinctions of transformation is a
means to an end: the end is being transformed ie being
free to be and free to
act.
Werner
is wont to say that
"Creation is a matter of
distinction.".
I recommend you
listen
him speaking that - intently, clearly,
rigorously.
By it, he
brilliantly
distinguishes the way we create. We create by distinguishing something.
Once we've distinguished it, once it's brought forth out of
nothing, it's created. And look: if it's not brought forth out of
nothing, then something's not been created, rather something's
been merely changed. Bringing forth / creating being
transformed, is like that too, except what's being distinguished is an
experience rather than a sculpture or a painting or a poem ie rather
than a hard copy.
In regard to my assertion that distinguishing the distinctions of
transformation is a means to an end (the end is being transformed ie
being
free to be and free to
act),
distinctions are like transformation's chisels, its brushes, its pens.
And just as in
a studio
for sculptures, paintings, and poems, in the end we're left with
something brought forth ie something created: the experience of being
transformed. And at that point the chisels, brushes, and pens which
were deployed during the creation of / during the set-up
of the experience of being transformed, will become secondary (note:
not irrelevant - just secondary).
It's of marginal interest to
the artist
that we admire and appreciate her chisels, brushes, and pens. What's
paramount to her ie the whole impression of her creation, is the
experience we have of whatever artwork it is she creates using them.
They, like the distinctions of transformation, while crucial in setting
up the experience of being transformed, become secondary once the
artwork / experience is fully created. When the experience of being
transformed is fully gotten, we're
free to be and free to
act.
That's
the miracle
of
the work of
transformation!
So the end doesn't justify the means as much as it's set
up by it.
There's no more
sorry
a life than the life of a smart aleck Mr know-it-all who's
got all the distinctions of transformation down cold, and yet whose
life is patently unfulfilled, who's not
free to be and free to
act.
Don't fall into that
trap
(and oh my: isn't that a really easy
trap
to fall into?). The distinctions, while critical to
catalyzing
/ setting up the experience of being transformed, will become secondary
once it comes to actually living a life
free to be and free to
act.
Werner
is also wont to say that once you realize you really don't know
anything ie once you realize you know nothing ie once you
realize
you only know what you know
in order to survive,
a
portal
opens. And in that
moment
you will get to know the material (ie all material) in an
entirely new way. That's
the moment of
transformation.
And
the work of
transformation
provides the distinctions which open that
portal
and accelerate that
moment.
Just don't deploy the distinctions of transformation to be clever, to
impress people, or to look good. Don't intellectualize.
Be free to be. Act.
It's
simple:
just be a human being.
