The Creative Act: A Way of Being

Chapter 2 assigns the artist’s principal job as cultivating an awareness of the universe. By noticing all the details of the physical world—“[e]very nest, every peach, every raindrop”—the artist translates cosmic messages into intentional expressions (6). Rubin insists that artists don’t need to understand these messages; they need only be attuned and sensitive enough to transmute these signals from the universe. However, the artist shouldn’t only rely on the physical senses. Artists must also rely on an immaterial frequency, one beyond physical phenomena, to gather of data from the world.

Chapter 3 describes how everything in the universe is source material for artistic creation. The Source is “[a] wisdom surrounding us, an inexhaustible offering that is always available” (14). This Source can emerge as dreams, random thoughts, coincidences, and other bizarre phenomena that individuals subjectively experience. Rubin compares The Source to a cloud because clouds never truly disappear; they merely change form as different parts of the Earth’s water cycle. Here, Rubin includes a short verse on manifesting ideas into artistic expression. “The imagination has no limits. / The physical world does. / The work exists in both (17).

Chapter 4 talks about cultivating an awareness without attachment to our subjective experiences. Rather than allowing physical senses, emotions, and or external stimuli to govern existence, one should practice “detached noticing” (20). To practice this skill, Rubin recommends using less effort and more persistence. By allowing awareness to simply happen, the artist becomes attuned to the manifestation of The Source in even the smallest details of the universe. Rubin reminds readers that although what is being noticed cannot be changed, the method of noticing can be dictated by the individual. Shifting perspectives on the same object can completely change the interpretation. The ability to change perspectives allows the artist to perceive the universe in all its generalities and particulars. Rubin concludes with a line of verse that reads, “The ability to look deeply / is the root of creativity” (23).

Chapter 5 encourages readers to rediscover “our childlike perception” of the world. This spontaneous and innocent mode of perception retains beliefs while practicing openness. Allowing material from The Source to be collected without filters allows artists to express their creativity organically. As the artist manifests their own expressions, they create new source material for later artists.

Chapter 6 challenges the idea of art as only a commercial endeavor. Rather, Rubin writes that “[t]he act of creation is an attempt to enter a mysterious realm” (31). Art is a doorway into the spiritual world—mystical rather than firmly religious. Rubin writes of a dimension, to which artists can attune themselves, detached from intellectual and logical spheres wherein deeper meanings are hidden. Rubin believes coincidences can be guiding forces for creative decision-making. Experiences “that take your breath away” should be paid with particular attention because they reveal the “elegant design of a complex machine” of the universe (33).

Chapter 7 recommends that readers pay attention to the universe’s subtle transmissions. These clues appear as overheard conversations, chance encounters, random natural phenomena, and unexpectedly profound works of art. Rubin recommends that “[w]hen something out of the ordinary happens, ask yourself why? What’s the message? What could be the greater meaning?” (38). Rubin relates this to a doctor recommending that he have his appendix removed and then seeing a book by Dr. Andrew Weil, the famous naturopathy author. Rubin opened the book to a random page. The passage read: “[I]f a doctor wants to remove a part of your body, and they tell you it has no function, don’t believe this” (39). As a result, Rubin did not have his appendix removed. The universe, he says, nudges us with reminders that we can follow if we become sensitive enough to its communications.

Chapter 8 describes the artistic life as providing a more profound relationship with The Source. Rubin defines a practice as “the embodiment of an approach to a concept” (43). This practice can be improved by setting up a daily schedule based on rituals that facilitate creativity, such as deep breathing, eating mindfully, daily walking in nature, and feeling the sensations of our bodies. The purpose of a practice is to exercise our capacity to notice the subtle textures and tones of the universe. Moreover, this practice of awareness must be refreshed continually with constant attention. Rubin predicts that eventually this “state of constant openness to receiving” will become habit. The verse after Chapter 8 includes a line that reads, “Living life as an artist is a practice. / You are either engaging in the practice / or you’re not” (47).