The Creative Act: A Way of Being

The Creative Act applies terminology and key concepts of Zen Buddhist philosophy to persuade the audience about the validity of its recommendations and arguments. Although never stated explicitly, Rubin draws on the central tenets of Zen Buddhist philosophy in his advocation for meditation, awareness, no-self, sangha, and transcendence. This guide distinguishes between Zen Buddhism—an Asian religion comprised of various sects, scriptures, traditions, and teachings—and Zen Buddhist philosophy, which applies the former’s study of knowledge, reality, and existence into a secular framework. Rubin uses Zen Buddhist philosophy as means of translating many of his recommended creative practices. Finding an artistic group for collaboration and sharing work relates to the practice of sangha, a community of Buddhist monks and practitioners. Meditation as a means of cultivating awareness has been a practice of Buddhism since its inception. The concept of no-self as the expression of the entirety of the universe within the artist translates to the Buddhist term, annatā. The “I”/ego doesn’t exist, according to Rubin and Zen Buddhist philosophy. Rather, the self is an illusion created by the process of thinking. Rubin, too, disregards reason and logical thought as an avenue for creative activity. The truest expression of the self lies not in the controlling tendency of the ego, but in the openness of the no-self.

Several key texts written during the post-World War II era of the United States attempted to introduce and modify Zen Buddhism for Western audiences and practitioners. Some of these include Philip Kapleau’s The Three Pillars of Zen, Shunryu Suzuki’s Zen Mind, Beginner’s Mind, and Alan Watts’ The Way of Zen. Rubin uses the vocabulary found in many of these texts to relate his own ideas, such as the notion of maintaining a beginner’s mind. An enduring openness to the signals of the universe allows the artist enhanced creative capacity. Ultimately, the work of the artist, even in death, is never done. Their work can endure past their physical life. Later artists can adopt and recycle the old artist’s work. In a sense, the artist undergoes reincarnation through their art, even after their physical body disappears. In Chapter 67, “Ending to Start Anew (Regeneration),” Rubin describes this cycle of rebirth for the artist and their work. Each individual project also undergoes a reincarnation process. When one work is completed, the seeds of another can be nurtured. Likewise, Zen Buddhism maintains the belief in samsarā, the endless cycle of life, death, and rebirth. In sum, Rubin draws from the theories and vocabulary of Zen Buddhist philosophy for rhetorical and argumentative purposes.

To Rubin, the artist and the world constantly engage in negotiation and communication. The world provides the artist with ideas and stimuli; the artist responds with creation. The relationship between the artist and the world never ceases, but individuals can lose their connection to it. Rubin recommends that individuals practice awareness to maintain their connection to this relationship. Important transmissions from the universe manifest as moments of inspiration. In these moments, the artist has a duty to be creative and produce art. Throughout The Creative Act, Rubin assigns an ethical imperative to this relationship. Rubin advocates for the obligation of artists to transmit messages from the universe as self-expression. Although not meant to convey religious connotation, Rubin uses the word “faith” to describe this obligation, a faith that the universe will guide the art in the right directions if the artist persists. The relationship between the artist and the world is symbiotic: both entities must participate to exist. This relationship also exists in collaboration. The key in collaboration is to set aside egos. Working together to create the best art possible is always the goal.

Because the self and the world always change, the artist needs to adjust context of their creativity to express their art in its fullest expression. The language of the scientific method appears sporadically in The Creative Act. When speaking about the relationship between the artist and the world, Rubin uses vocabulary like experimentation, testing, and analysis. For instance, in Chapter 57, “How to Choose,” Rubin advises audience to use blind A/B Testing (a choice between two options) when artists work in the crafting and experimentation phase. Still, Rubin urges readers not to “overintellectualize” their methods, so as not to lose the connection the unconscious mind feels with the world.

At first, the concept of no-self contradicts the simple dichotomy of the self and the world. By the end of The Creative Act, however, Rubin clarifies that the self and world are one in the same because “self-expression isn’t really about you” (391). As another example of paradox, Rubin espouses the idea of self-expression through the concept no-self by becoming attuned and aware of the world. Through creativity, the self and world collapse into each other and manifest as artistic expression. Artists hold a responsibility to share substantiate this relationship in every work of art.