Teaching Is Communication

It is passing on information,
and we all communicate in one way or another.

Whether verbally or non-verbally, we are constantly picking up information and signals. Our motivation is the driving force as to what we tune in to – how we ‘surf’ – so it is usually more of the same. In the first instant, communication is based on openness, which is love. We want to be at one, but then a cue in the communication sends up warning signals – and the love waivers.

Usually we want just enough communication in order to agree, smile and walk on: any more and it can become uncomfortable. It depends on what we can all handle. When the love is fresh and bright, we should let it go so as not to smother. If we try to hang on, we might start to disagree and aversion arises – or we agree and desire arises.

A problem may occur when we realise that the other person knows more about a subject: depending on how this is expressed, we are either attracted or repulsed. Enthusiasm can either enrich or smother: it can appear to others as a useful tool or a weapon :D. Both are teachings, as our reactions are telling us something about ourself. This is the real dharma. This is real crazy wisdom.

There are times when whatever we say will repulse another. This is because we are not in tune with their motivation, their philosophy or their beliefs, and so we need to be very skilful in communication. We drop in a little signal and see if the cue is picked up. If it’s not, we leave it alone. The same information can be received on many levels. It can go to the head/mind/consciousnesses or connect with the heart/uncontaminated purity. Less is more: open space allows more in!

It’s all about clarifying what another already knows – but first we have to be clear our self! Whatever is being communicated has to make sense to the other.

This space of love can feel uncomfortable because we are touching someone else’s longings, and they can feel vulnerable. That is when we have to be worthy of trust.

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  1. tony says:

    At the Florence Academy of Art, we had drawings, casts and life models to copy. The instructors came round to give critiques of our work, and explain that one line was too long or too short or that the angle was incorrect, or a tone was too warm or too cool. They were not criticising the artist: they were criticising the proportions of the work and the student could verify this when their eye was trained. When we draw, we usually produce a generic ideal rather than what is actually there. Of course, we all want to appear to be better artists but we only improve by seeing accurately: there is tremendous satisfaction in drawing when all the proportions and shapes ‘lock in’ and the perspective is right.

  2. marcel says:

    Lovely post..

    “I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy-three I have at last caught every aspect of nature–birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further and I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life. – from Hokusai’s ‘The Art Crazy Old Man”
    ― Hokusai Katsushika

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