Evolutionary Unique Self, Outrageous Love & the Unique Self Symphony (Part 16)

Taken from a first draft text from the forthcoming book The Path and Practice of Outrageous Love by Marc Gafni and Kristina Kincaid, this series elaborates on a critical advancement of the Unique Self Dharma that Dr. Marc has developed after Your Unique Self was published.

Continued from part 15.

When we talk about self-perception as an artist we are really talking about self-love. Remember, in its inner subjective space, love is not merely an emotion, it’s a perception. Out of the perception emerges an emotion. So self-love is a self-perception. An act of self-love, not in the vain, contracting sense, but in the expansive sense, is to shift my self-perception, to thicken my identity. So one of the things we want to invite is the thickening the identity to include artist.

“But,” you ask, “What is the role of the artist that lives in me?” The first thing the artist does is open up a new space of insight. The artist, whether that’s the genius artist in history or whether that’s the voice of the artist that lives in me, opens up a new perspective. The essential creative move of the artist is to open up a space of insight that wasn’t available before, that wasn’t quite seen before, that wasn’t quite there, that is authentically, genuinely new.

The role of the artist is also dangerous and evokes resistance. The artist is an iconoclastic – icon-clast, the one who breaks the old idols. This is a word coined in reference to the old description of Abraham who breaks the idols in his father’s house. The iconoclast breaks through to something new. There’s a genuine experience of newness. There’s a genuine breakthrough. Because the artist sees something that is not only new, but is often subversive, the voice of the artist is resisted. The artist often points to something that no one else can see. And so the artist undermines our comfort zones, our sense of being comfortably numb. The artist pokes at and challenges the status quo. Artists challenge the old artifacts. Art opens us up to the possibility of possibility, which is precisely how evolutionary mystics understand divinity. God is the possibility of possibility. All this is part of the role of the artist. Because the artist opens us up to new possibility, we need to be aware of the resistance that lives in us, the narcissistic resistance, of the ego that doesn’t want to be open to new possibility, that doesn’t want its old, concrete sense of identity to be challenged.

The force of resistance, the force of inertia that stands against the voice of the artist is very, very powerful. One of the things we’re going to try is to break out and achieve orbit into that inherent creative possibility throbbing in the universe, uniquely expressed in us, as us and through us, that evolutionary creativity which is available to us.

Bateson talks beautifully about creativity happening when we step out of the nominal enclosure of language. He understands that language actually reifies a limited idea of reality. Abracadabra, taken from the ancient Semitic language of Aramaic, means “we create as we speak.” Being able to push beyond the old enclosures of language into a new way of speaking actually opens us up to the possibility of possibility, which is inherently pulsating in the universe at every second. That is why the spiritual artist is always searching for new words, a new saying. We reach for new language because language creates opportunity. When language pushes the breaking point of the old description of reality, then a new language a new mode of discourse emerges.

What we’re really saying is we actually have an obligation, a moral obligation to creativity. This is different than the more banal and narrow use of the term creativity. The artist is usually thought to be amoral, beyond the strictures of society. In our narrative of creativity, the artist is bypassing small self-conventions to fulfill his/her unique obligation to express a dimension of the ecstatic God impulse that only he/she can express. The artist is in the democratized sense that dimension of each of us that has something to say. Each person, by very virtue of their existence, has something unique to add. There’s an irreducible uniqueness that actually courses through us, and that irreducible uniqueness, an expression of the prior unity, an expression, a unique perspective of true self, of my authenticity, of my unique self, I’m obligated to give that. The world desperately needs my service. As Dickinson said of the artists, “Not ‘Revelation’ – ‘tis – that waits, but our unfurnished eyes.” My service is to unfurnish my eyes from the old traps of language, from the old traps of ego, from the occlusions of personality.

We need to unfurnish our eyes so each person can actually access their unique perspective and speak new languages. In doing so, we move from our side to the divine side. We shift perspectives. We become outrageous lovers. To be an outrageous lover is to see with God’s eyes, which means we make our eyes available to the divine.

Accessing my unique perspective, which gives birth to my unique creativity, which actually is the very engine of evolution is only available through the divine. Self-creating as the being who can manifest your unique creativity is what it means to be an evolutionary artist and outrageous lover. They are but two faces of the one.

To be continued…