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Author Archive for Amy Lenzo – Page 42

A New Language

Train2dresden

Right now I’m on the train to Dresden, thinking about language. I’m on my way to Dresden to experience what’s going on at the newly-formed World Café Europe’s first pan-European gathering, and I’m thinking about language because part of my role there will be to help convey this experience to others, and I am dreaming about ways to do that most effectively.

Processes like the World Café that offer replicable opportunities for individual and collective knowing almost always employ some form of “harvesting” as an essential part of their practice. It is often the ‘gestalt’ through which the group’s knowing is achieved – a complex and precise culmination of the deep listening and identifying of patterns that run through the gathering, and a conscious pulling together of diverse threads and perspectives into an articulate whole.

What might be possible if the harvesting was shared with the entire community of practice, or with the larger networks of people that employ these opportunities for collective knowing? If we could make this vast depth of knowledge and experience visible to everyone who was interested, might there be an accelerated collective apprehension and an experience of deep unity and connection beyond the specifics of any one group’s process?

Yesterday before I left for Germany I was having a conversation with my friend Michael Jones about different sorts of language – he’s identified three: the language of action (methods, protocols, prescriptions), the language of meaning (models, concepts, theory), and the language of story. In his system, the latter is more about conveying beauty, or an aesthetic, than it is reporting data. Using metaphor, the language of story is ambiguous, its meanings presented as a multiplicity, giving the listener’s imagination something to play with and explore from different angles. It sounds to me as if, using this definition, the language of story provides the material that can catalyze knowing in the listener. Full of question, its sentences are often more like gestures than statements; it’s the language of the senses, of experience itself.

This is the elusive language I am looking for, because important as they are for conveying useful data, I don’t think the language of action or meaning alone will engage the necessary senses in understanding what is really happening in a World Café. To access a language that takes us deep into the mystery of knowing we need details; vibrant, vivid details, alive with color and music.

I personally believe that the language of the senses – of smell and taste and touch and image – precedes story, in that these are the elements from which we create and share our stories. So what is for Michael the language of story I might call the language of the senses.

Whatever one calls it, this is the task I’ve set myself. Not only to call and ride the wave of this magical language of detail, story, and catalytic elementals, but to see if I can do so in a replicable way that would help others in their own harvesting. I have some great thinking companions in responding to this challenge, and I’m excited about this creative adventure, and the stories and catalyzations that might result.

Too Busy for Beauty?

A fascinating article – Pearls Before Breakfast – showed up in the Washington Post the other day, about a virtuoso performance by a famous classical musician offered unannounced one morning in a Washington DC subway entrance. Almost no one stopped or even seemed to notice.

I mean, sure it was rush hour on a workday … but this was AMAZING music, played by a internationally acclaimed master on a $3M Stradivari.

What do you make of this story? Are we really ‘too busy for beauty’?

Into Great Silence

Moment

I recently saw a film that absolutely transcended previous cinematic experience. It was called Into Great Silence, and as the name implies it was mostly silent, and close to three hours long.

It was unlike anything I have ever seen, right from the very first few frames…

Grainy old-fashioned film leisurely following snow flurries and dust motes in the cold winter light; morning in a Carthusian monastery high in the French alps; the almost imperceptible movement of the
stars across the night sky; the almost unbearable tenderness of men’s voices, singing their
prayers direct to God’s ear.

Time winds like a long, repetitive round of sound and light in this film … morning passing into day
into dusk and then night, dissolving into dawn and morning, again and again.
The seasons pass in a parade of light and shadow so slow you can barely see it move, the relentless red thread of time woven through all things.

I entered into it like I would a long meditation … my mind
chattering away at first ["What am I doing this for?" "God, this is
uncomfortable" "I’ll never sit here for 3 whole hours"] even as my body
slows and prepares to still… I slowly sink into the mesmerizing images
and sounds of the great silence on the screen, as its magic wraps itself around me and all of us in the room. We are so quiet we can hear every movement, every piece of popcorn crushing and sound from the movies next door, but our collective attention is so focused these sounds don’t distract us.

The experience is luxurious, painterly, yet never less than austere. We take the time to dwell lovingly on small details one could only be aware of when the pace is that slow… the images are almost excruciatingly beautiful and absolutely ordinary, a metal wash bowl propped against the wall, rocking slowly as water drains away. 

In the grainy film colors lose their distinction, outlines blur and particles merge dissolving into each other. As in a dream, I kept reaching in awe for my camera to record what was being revealed around me, only to be shocked to find I am in a seat watching a movie.

As part of the round of cinematic repetition, quotes in three languages kept appearing on the screen, over and over. One quote captures my attention each time, "Oh Lord, you have seduced me. And I was seduced." Every syllable strikes a chord & vibrates in my psyche.

This film seduced me with its rich thirst for silence; I wanted to surrender, like the monks, to simplicity and the raw beauty of the perfect eternal present. I was seduced by the rhythmic throb of nature’s pattern, wanting to give myself into it utterly, as if responding to the call of an insistent lover. It seduced me like the love of God had seduced those monks.

It seemed dream-like, a million miles away, but these were young men, living now, in modern times. Every now and then there would be some detail to bring that modernity home – a computer in someone’s room, or some bright packaging, a sticker on fruit. But they were living a life that was as old as time; their song books illuminated manuscripts from the 17th century, read by the light of candles; their feet treading stones that had been trod for centuries.

I was right there with them, my senses completely alive, cells toughening to withstand the cold as I knelt on the hard stone, planted the early shoots while snow still lie on the ground. I felt myself shyly expand into the warmth and joy of the short but utterly sweet summer, then let it go when the time and season changed. A year passed, and yet the flow continued; another winter, season into season, life into life, youth into age and dark into light.

When it finally ended, I wasn’t ready to go. My companion and I just sat there in the dark empty cinema, listening to the shifting scene around us, preparing to leave the silence … adapting to the current of our lives, the here and now of the Berkeley street just outside the doors … it wasn’t an easy transition, but I could sense the beauty in the silence that still remained, the eternal silence that always remains at the center of everything, and that was enough somehow.

Afterwards, talking about my experience with others, and again now writing about it, I am struck by what an amazing phenomenon it really was… far beyond anything I’ve ever experienced in a film before. It’s almost like it changed the molecular structure of my body; certainly it took my consciousness someplace I’ve never been except after many hours of meditation.

In spiritual work, they say that once you’ve ‘woken up’ you can never go back to sleep again, at least not in that completely unaware way; similarly, I believe the experience of sitting with this film for three hours can change you; if you surrender to it you’ll never be the same again.

Kindness

A colleague and I were having a conversation the other day, about human kindness and anonymity and how the latter can adversely effect the former, particularly in online environments.

The conversation made me aware of my own tendency to become irritated
with over-eager telephone marketers, or tech support people who don’t
seem to know what they’re doing. In fact, I’ve been close enough to
being rude in those circumstances (i.e. threatening bodily harm, in my
mind at least) that I have had to force myself imagine them in the room
with me. This allows me to access any residual good nature that might
be lurking beneath the bitch from hell I seem to be
channeling in that moment.

Over the years I have found it totally changes the experience if I think of whoever I’m irritated by in an anonymous situation in the room with me. Then I see them as a human being, with the day’s cares on their face, someone with children and a wife and mortgage, etc.

Here’s another example: I’ve been working with a designer I’d never met on a client logo for some months by phone and email without a satisfactory resolution. After a combined investment of about 50 hours the problem had become so acute that we were in danger of one or the other of us just giving up in frustration, which would have meant having to deal with a very messy financial situation.

Finally, I had the idea of meeting in person at my studio and seeing if we could reconcile our issues together over a shared flat screen. The result was almost miraculous. We were able to resolve things that had hung us up for months in a couple of hours. At one particularly exhilarating moment we talked about what had kept us connected to this process, even when things looked so bleak.

I said I’d trusted in his professionalism and ultimate ability to do what we’d asked, and he said it was the fact that I had been so kind. He went on to say that he rarely receives that level of courtesy in his work when things start going badly, and I’d been so patient with him that he’d have done anything to fulfill his commitment and not disappoint us.

That really made me think. How much more might we do together if we are aware of each other as full human beings, rather than just objectifications that exist to meet our needs? What kinds of conversations might we have online if we imagine each other as friends, and extend the level of care and patience we offer in ‘real life’?