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{ You Don’t Need to Travel Far to Unhouse Yourself } Being Open To the Potential All Around Us Is A Choice …*

{ You Don’t Need to Travel Far to Unhouse Yourself } Being Open To the Potential All Around Us Is A Choice ...* | rethinked.org

A few weeks ago, I shared a list of the top five things that walking 500 miles helped me understand in a deeper or different way. Here is a bit more context around the third lesson- be open.

Earlier this week, Jenna remarked that we have both been writing a lot about travel these past few months. Perhaps even with puzzling frequency given that this is a learning innovations blog. Yet few activities compare to travel in terms of speed and efficiency at making the ordinary unknown–a critical condition for deep learning, cultivating empathy, curiosity and a host of other learning and flourishing-enabling capacities that fascinate (obsess) us, here at rethinked …*

When we travel, the scope and definitions of what we know become more malleable; we shed our routines and leave behind our habits. Our assumptions are questioned–whether by will or circumstance, or both.

This enlargement of the mundane through added awareness and presence is one of the most fantastic aspects of travel. But what I realized during my walk is that it is possible, easy even, to capture this sense of mystery and presence inherent to travel in one’s everyday. It is a question of choice, of choosing to be open to the present moment.

When I was walking, I met new people every single day–people of all backgrounds, ages and interests. In fact, some of the most meaningful friendships I made were with people I would likely not have been open to meeting at home in New York. I felt significantly more social on the Camino and more excited by the things around me–I peeked around corners; I entered decrepit buildings; I climbed bell towers; I looked up in churches. I felt so eager to interact with the life all around me and I found that many of the barriers I experience in New York, things like anxiety or tiredness, were absent. I wondered why that was and thought how nice it would be to live one’s life as if perpetually in foreign territory. And that’s when I realized how accessible it is to do just that. When I set out for my walk, as I almost always do when I prepare to travel, I set for myself the intention of being open and attentive to the new people I would meet and the new places I would visit. And then I did exactly that, and it was enough, it worked, I lost myself in the best way in the present moment all throughout my trip.

All one has to do is decide to be open to the potential that surrounds us. It seems obvious and it is. But so often we get caught up in the flow of things and we forget that our daily surroundings are teeming with potential for new discoveries, connections and experiences.

There’s a quote from one of Martin Amis’ brilliant novels, Time’s Arrow, which I love and which I’ve shared here before:

Mmm—people! It seems to me that you need a lot of courage, or a lot of something, to enter into others, into other people. We all think that everyone else lives in fortresses in fastnesses: behind moats, behind sheer walls studded with spikes and broken glass. But in fact we inhabit much punier structures. We are, it turns out, all jerry-built. Or not even. You can just stick your head under the flap of the tent and crawl right in. If you get the okay.

We have these ideas of the world being much more impermeable than it actually is. The places, people and experiences that surround us have infinite potential to surprise and delight us, if we just remember to be open. If we make the choice, daily, of asking for the okay.

{ Hacking Change Management …* } Doughnuts, Running & The Power of Habits

On November 3, I bundled up and stood on Manhattan Avenue cheering on a friend and the other runners participating in the 2013 New York City Marathon. Perhaps it was because parts of my cognitive functions had shut down from the cold and were not yet fully restored, or perhaps it was the lingering feeling of community and togetherness that had pervaded the streets that day–I still cannot explain this to myself–but the next day, I decided to enter the lottery for the half marathon, which will be taking place this spring. Now, for context, the last time I set foot in a gym (or in a sneaker, for that matter) goes back to my high school days. So when the momentary euphoria I felt after signing up dissipated, I was left with a sense of utter panic. Not only have I not kept to a fitness regimen in nearly a decade, but I particularly dislike–read abhor– running. My first reaction was to make endless promises to the universe about how much of a better person I would become if only I were not picked in the lottery. My second instinct, more mature and productive, was to gather up what I know about motivation and making changes and translate that into action (rethinked*annex, anyone?)

From what I have learned on the science of willpower–that it is a finite and easily depleted resource–and my intense dislike of running, I knew that if I were to stand a chance sticking to my training over the next few months, I would have to make running a habit. I remembered watching a Big Think Edge episode with Charles Duhigg author of The Power of Habit: Why We Do what We Do In Life And In Business and decided to use what I knew to (purchase) and lace up my sneakers and get started. My memory was a bit shaky on the concepts he had laid out, but I did remember that habits are made up of three components–the cue, the behavior and the reward. I also remembered that you have to create an extrinsic reward for yourself until the neural pathways connecting the cue to the behavior forms and strengthens to the point where the habit becomes near automatic and the reward intrinsic. Finally, the reward has to be a real reward, something you genuinely enjoy. I took all of this quite literally and told myself that every time I put on my sneakers (cue) and went for a run (behavior), I would buy myself doughnuts (reward). I am now on week three of my training regimen and I haven’t missed a single day. And yesterday, during the day, I found myself anxiously awaiting the evening to go on my run. It wasn’t the doughnut that I was anxious for, it was the run!

While my strategy for sticking to my running regimen may seem a bit extreme, I came across this video of an interview that Duhigg did with Jonathan Fields, founder of the Good Life Project, where he says, verbatim, “We know from studies that the best way to start exercising is, at first, give yourself a piece of chocolate as soon as you’re done with your workout. […] What you’re trying to do is you’re trying to trick your brain into associating this cue and this routine with a reward. And then, we know from studies, that after a week and a half, once you start exercising, you don’t want that chocolate anymore. The intrinsic reward becomes enough to sustain the pattern, but you have to trick your brain at first by giving it an extrinsic reward.” (Yay, neuroscience! )

Watch Duhigg explain the power of habits and get lots of practical tips on habit formation to get a head start on positive changes for 2014!

Enjoy & rethink …*

Good Life Project: Charles Duhigg – Power of Habit | Published on YouTube July 4, 2012

The Moxie Institute’s “Cloud Filmmaking” & The Science of Character ~ Let It Ripple Series

I recently came across the trailer for the The Moxie Institute’s upcoming film, due out this winter, The Science of Character, for which Dominic acted as an advisor. For those unfamiliar with The Moxie Institute, it is the brainchild of filmmaker & founder of the Webby Awards, Tiffany Shlain, and UC Berkeley robotics professor and artist Ken Goldberg. The Moxie Institute team is pioneering a new form of collaborative filmmaking, “Cloud Filmmaking”, through its series Let It Ripple: Mobile Films For Global Change.

 Cloud Filmmaking By The Moxie Institute  | Published

The Cloud Filmmaking Manifesto by Tiffany Shlain & The Moxie Institute

The 5 Principles of Cloud Filmmaking

  1. To use the cloud to collaboratively create films with people from all over the world.
  2. To create films about ideas that speak to the most universal qualities of human life, focusing on what connects us, rather than what divides us.
  3. To give back as much as is received, by offering free customized films to organizations around the world to further their message.
  4. To use the cloud to translate films into as many languages as possible.
  5. To push the boundaries of both filmmaking and distribution by combining the newest collaborative tools available online with the potential of all the people in the world.

There have been three Let it Ripple films to date, with the fourth, The Science of Character, due out this winter. The Science of Character explores why character matters. Can you shape who you are? Who you will become? New research suggests that you can — that we can teach and shape character strengths (things like optimism, self-control, and curiosity). So if you can build your character, who do you want to be? 

The Science of Character – Film Trailer | published October 9, 2013.

 

To tie you over until The Science of Character is released, here is Brain Power: From Neurons to Networks, the second film in the Let It Ripple series, which  is a 10-minute film and accompanying TED Book. Based on new research on how to best nurture children’s brains from Harvard University’s Center on the Developing Child and University of Washington’s I-LABS, the film explores the parallels between a child’s brain development and the development of the global brain of Internet, offering insights into the best ways to shape both. Made through a new crowd-sourcing creativity process the Moxie team calls “Cloud Filmmaking,” Brain Power was created by putting into action the very ideas that the film is exploring: the connections between neurons, networks, and people around the world. 

BRAIN POWER: From Neurons to Networks | published November 5, 2013.

I highly encourage you to head over to LetItRipple.org and explore further the principles of Cloud Filmmaking, the Moxie Institute’s other films in the series and the inspiration and stories behind the movement, and, of course, ways to get involved. Enjoy this fascinating and brilliant rethinking …* of the potential of storytelling and filmmaking in the interdependent age.

Rethinking…* what it Means to “Know Thyself” ~ Cognitive Empathy as the Great Art Form of the Age of Outrospection

“I think we need to think about bringing empathy into our every day lives in a very sort of habitual way. Socrates said that the way we live a wise and good life was to know thyself. And we’ve generally thought of that as being about being self-reflective, looking in at ourselves. It’s been about introspection. But I think, in the 21st century, we need to recognize that to know thyself is something that can also be achieved by stepping outside yourself, by discovering other people’s lives. And I think empathy is the way to revolutionize our own philosophies of life, to become more outrospective and to create the revolution of human relationships that I think we so desperately need.”

In this RSA Animate video, philosopher Roman Krznaric urges us to rethink…* our definition of “knowing thyself” by shifting our frame of reference from the 20th century notion of introspection to one of outrospection: “the idea of discovering who you are and what do to with your life by stepping outside yourself, discovering the lives of other people, other civilizations.” Krznaric identifies cognitive empathy–perspective taking, which is about understanding somebody else’s worldview, their beliefs, their fears, the experiences that shape how they look at the world and how they look at themselves–as the great art form of outrospection and the catalyst for revolutions of human relationships. The video walks you through the concept of outrospection while providing ideas on how to develop your own empathic capacity (hint: nurture your curiosity!) and how to live one’s life as a great empathic adventurer. The video is a mere ten minutes long and worth every second, but in case you don’t have time to view it just yet, I’ve transcribed my favorite quotes from it, which should give you a good general idea of what outrsopection is and how it can help us rethink…* and enhace our lives and relationships.

 theRSAorg on YouTube, published December 3, 2012

Instead of the age of introspection, we need to shift to the age of outrospection. And by outrospection I mean the idea of discovering who you are and what do to with your life by stepping outside yourself, discovering the lives of other people, other civilizations. And the ultimate art form for the age of outrospection is empathy.

[…] empathy can be part of the art of living; a philosophy of life. Empathy isn’t just something that expands your moral universe, empathy is something that can make you a more creative thinker, improve your relationships, can create the human bonds that make life worth living. But more than that, empathy is also about social change, radical social change.

A lot of people think of empathy as a sort of nice, soft, fluffy concept. I think it’s anything but that. I think it’s actually quite dangerous because empathy can create revolution. Not one of those old-fashioned revolutions of new states, policy, governments, laws, but something much more viral and dangerous, which is a revolution of human relationships.

Cognitive empathy, which is about perspective taking, about stepping into somebody else’s world—almost like an actor looking through the eyes of their character. It’s about understanding somebody else’s worldview, their beliefs, their fears, the experiences that shape how they look at the world and how they look at themselves.

We make assumptions about people; we have prejudices about people, which block us from seeing their uniqueness, their individuality. We use labels and highly empathic people get beyond that, or get beyond those labels, by nurturing their curiosity about others.

Highly empathic people tend to be very sensitive listeners; they’re very good at understanding what somebody else’s need are. They tend to also be people who, in conversation, share parts of their own lives, make conversations two-way dialogues, make themselves vulnerable.

Now, we normally think of empathy as something that happens between individuals. But I also believe it can be a collective force, it can happen on a mass scale. When I think of history, I think not of the rise and fall of civilizations and religions or political systems; I think of the rise and fall of empathy: moments of mass empathic flowering and also, of course, of empathic collapse.

I think we need new social institutions, we need, for example, empathy museums—a place, which is not about dusty exhibits, not like and old Victorian museum, but an experiential and conversational public space where you might walk in and in the first room there is a human library, where you can borrow people for conversations. You walk into the next room and there are twenty sewing machines and there are former Vietnamese sweatshop workers there who will teach you how to make a T-shirt, like the one you’re probably wearing, under sweatshop labor conditions and you’ll be paid five pence at the end of it so you understand the labor behind the label. You may well go into the café and scan in your food and discover the working conditions of those who picked the coffee beans in the drink that you’re drinking. You may see a video of them talking about their lives, trying to make a connection across time and space into realms that you don’t know about.

It is the willingness to confront one’s assumptions that counts ~ Dominic Randolph on Creativity & Inspiration

In the Spring of 2009, as part of an oral history project centered on creativity and inspiration, I interviewed artists involved in a wide range of mediums, spanning from film to etching including painting, poetry, writing, music, and photography. I started off each interview with the topic of inspiration or its absence. One of my interviewees was Dominic Randolph–Sketcher, Etcher, Writer, Singer and Educator–on his creative process & sources of inspiration. Here is the interview in full, reprinted with his permission:

I get inspired by words, metaphors, provocative images, also other stories… many from memories. You take an idea and run with it…sort of brainstorming. For example, I remember being invited to a tea with the abbot of a Finnish Orthodox Monastery, I was living and working at the monastery for the summer. He was a Russian–sort of out of a novel living in the Abbott’s house–a Victorian house overlooking a lake. He had one of the old samovars that whistled away. It was odd to be with a number of young students meeting with the Abbott, but unable to speak with him. We had tea and then walked in the orchard. I can still remember that the air was cold, but it was sunny. The apple trees were in bloom. The next day we were again peeling potatoes and raking leaves. I wondered what the Abbott was doing since we never really saw him walk around the rest of the monastery.

There are many things I could mine in this–the apple trees, the cold water of the lake, the odd Russian/Finnish/global thing. I would probably sketch around and doodle and write–see if anything interesting emerges to then move on the next level. The next level is something that is more of its own–a drawing or a story or both–something that is connected to the original inspiration, but has its own integrity or life. Perhaps there is some image of apples and water that I could play off of. “Apples+Water”,  not a bad title. I could link this to other places where apples and water play off of one and another–remember “The Orchard” in Cambridge. That also links the idea to poets that I know–could be some interesting linkage there between British and Russian poets.

Of course sometimes they are just sketches or doodles or failures. I wait for something to catch my imagination. I don’t really think it has much to do with a creative mindset, no I think it is more of a constant thing but I do think that to produce something worthwhile (at the next level) one needs to get into “flow”. Here are the components of “flow” from Wikipedia: Csíkszentmihályi identifies the following nine factors as accompanying an experience of flow:

  1. Clear goals (expectations and rules are discernible and goals are attainable and align appropriately with one’s skill set and abilities).
  2. Concentrating and focusing, a high degree of concentration on a limited field of attention (a person engaged in the activity will have the opportunity to focus and to delve deeply into it).
  3. A loss of the feeling of self-consciousness, the merging of action and awareness.
  4. Distorted sense of time, one’s subjective experience of time is altered.
  5. Direct and immediate feedback (successes and failures in the course of the activity are apparent, so that behavior can be adjusted as needed).
  6. Balance between ability level and challenge (the activity is neither too easy nor too difficult).
  7. A sense of personal control over the situation or activity.
  8. The activity is intrinsically rewarding, so there is an effortlessness of action.
  9. People become absorbed in their activity, and focus of awareness is narrowed down to the activity itself, action awareness merging.

Not all are needed for flow to be experienced…

For me the flow is when you just forget that time exists and become super-involved in a certain task; you are interested in something and your interest takes over completely. I guess it happens naturally. I do think that there are some things that help–getting good sleep and having a space that is conducive to concentration–those things help. I think that it is also helpful if one has experienced flow before in one’s life… I think that it is addictive. The first time I experienced it was probably when I was playing an instrument when young–I think that you also need to attain a level of proficiency doing something so that it can become automatic to some degree, doing sports as well, running…There are periods when I don’t experience flow–when I am tired, distracted by other things, depressed–It makes me more frustrated than anything else. I’m not certain that I fear losing the potential of flow since I find I can get to it pretty easily.

Being around people who are idea generators helps. I think that there are people who are always thinking about different, new things; there are actually loads of people like this–much more common than we are led to believe. There are creative waiters and bus drivers, but we make out that only artists have real creative capacity…bullshit and a really unhelpful myth. Everyone has the potential to create, to experience the flow, absolutely. I think that we could all be more creative in our lives. It is just a matter of acquiring a certain mindset, of assuming that things can always be improved upon whether it is an idea, a drawing or the way that you cross the road…

Any experiences that are different from the routine are possibly an aid to creativity. Creative tension arises when one’s assumptions about something are questioned. So drinking mate from a gourd instead of Earl Grey out of a porcelain cup is going to make me think more creatively about tea. I don’t think that travel is a must, though–some of the most creative people didn’t travel much at all. It is the willingness to confront one’s assumptions that counts.

I just saw a bee outside of the window and remembered going to Corfe Castle in Dorset with my mother, brother and aunt. We were having tea in a garden next to the castle when we were attacked by bees interested in the jam. We were swatting them, running around trying to not get bitten…had to run into the house and let the bees win. Interesting idea of how nature can confound us, we think we are in control and then suddenly, we are no longer in control. I could think of drawing something that played with this conflict.

 

I have always been fascinated by the idea of the labyrinth–think of the Minotaur, the clammy walls, the fear, the thread. Why do we want to walk in a labyrinth? Do we always want to be on a journey or path to find something? Is it something grotesque, or something enlightening?

I love the idea of punctuation as being something more than a protocol for making sense. I am obsessed with ellipsis right now–the path, the potential, the dots moving our minds along, to what?

They’re cool, image-wise, and then you start thinking about what they can mean…perhaps it is a matter of looking for the extraordinary in the ordinary, like Morandi and his bottles. He just sat in his room and painted bottles again and again.

 

 

The Russian Formalists talked about this idea of estrangement. Roman Jakobson described literature as “organized violence committed on ordinary speech.” Literature constitutes a deviation from average speech that intensifies, invigorates, and estranges the mundane speech patterns. In other words, for the Formalists, literature is set apart because it is just that: set apart. The use of devices such as imagery, rhythm, and meter is what separates “Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns (Nabokov Lolita 9)”, from “the assignment for next week is on page eighty four.” This estrangement serves literature by forcing the reader to think about what might have been an ordinary piece of writing about a common life experience in a more thoughtful way. A piece of writing in a novel versus a piece of writing in a fishing magazine. At the very least, literature should encourage readers to stop and look closer at scenes and happenings they otherwise might have skimmed through uncaring. The reader is not meant to be able to skim through literature. When addressed in a language of estrangement, speech cannot to be skimmed through. “In the routines of everyday speech, our perceptions of and responses to reality become stale, blunted, and as the Formalists would say ‘automatized’. Literature by forcing us into a dramatic awareness of language, refreshes these habitual responses and renders objects more perceptible (Eagleton ‘What Is Literature’).” In 1917, Russian Formalist scholar Victor Shklovsky coined the term ostranenie to describe the artistic strategy of presenting the well-known as if seen for the first time. The term is translated into German as Verfremdung, which became the cornerstone of Bertolt Brecht’s anti-Aristotelian dramaturgy of estrangement. The traditional means of estrangement in theater are epic devices central to Brecht’s strategy of breaking theatrical…taking the ordinary and making it extraordinary….taking the little girl’s walk through the woods and making it into Little Red Riding Hood…taking advertisements and making them into artistic statements.

The duckrabbit confronts one’s assumptions about things, it challenges one’s perceptions (what you think is a duck is actually a rabbit)–how can you have an image of one thing be an image of something else? The duckrabbit is key…It creates the paradox, creates the tension, read something one way and understand that there is another way of reading. Interpretation and meaning.

Restlessness…Chatwin was right…always seeking…always uneasy…get unhoused…to drive from a house or habitation; to dislodge; hence, to deprive of shelter…it also means to make people feel uncomfortable, to shake up…

 

                                                        

 

…* {other people}

Your daily bite-sized source of rethinking…* inspiration:

 

Mmm–people! It seems to me that you need a lot of courage, or a lot of something, to enter into others, into other people. We all think that everyone else lives in fortresses, in fastnesses: behind moats, behind sheer walls studded with spikes and broken glass. But in fact we inhabit much punier structures. We are, it turns out, all jerry-built. Or not even. You can just stick your head under the flap of the tent and crawl right in. If you get the okay. -Time’s Arrow by Martin Amis

On the Things that Haunt Us

 

 

 

Who am I? If this once I were to rely on a proverb, then perhaps everything would amount to knowing whom I “haunt.”

So begins André Breton’s Nadja, perhaps the best embodiment of the spirit and attitudes of the Surrealist movement. It’s an interesting question, who am I? So much of how you answer has to do with who you are, and what you understand the question to mean. Is it whom I haunt? Or is it what I’ve accomplished; what I think I am; what I want to be; what others think I am; what haunts me? Who am I? It’s an eternal question and no single response can exist. But it’s worthwhile to think about because your answers mean so much to how you conceive of and interact with others and the world around you.

A few days ago we were writing about the absence of public collective spaces in which to reflect, as a community, on our experiences of self and existence in a deep, meaningful and productive context. Perhaps it is because we lack this sense of having a right, place and time to talk about our meaningful ideas and violent obsessions surrounding existence and humanity that we often resort to surface-level small talk when meeting new people. This is not to say that talking superficially about our education, our professional backgrounds, where were from, what we like to do in our free time, what sports teams won last night and what the weather will be like tomorrow are not interesting conversations, but they reveal so very little about how we truly exist in the everyday. Why don’t we discuss the ideas that matter most to us in those beautiful opportunities we have to engage with strangers? Why don’t we seek to have our models, ideas, beliefs and systems challenged by another’s perspective and collectively re-imagined in the course of these brief impromptu exchanges? Of course these conversations might not be well suited to the fleeting contexts in which they occur but that should not been seen as a barrier. Rather, it is a call to action to rethink ways in which to integrate the exchange of deep, meaningful ideas into short and spontaneous interactions.

It’s important to share how you and others experience the everyday, and we (cultural we) rarely do. How we live, what it means to be us, every day, to be human, to deal with our need for meaning, that is something that every single person on this planet grapples with. From the slums of Calcutta to the skyscrapers of New York, we all deal with being human every day.

Take a second and concentrate on what goes through your mind as you think about the word  PEOPLE.

For most of us, when we think of people, we think either of the individuals in our immediate reality–our friends, family and acquaintances–or we think of people as an abstraction–People, statistics, the billions of others we know share our planet but never see. And that’s very problematic because it reinforces the often perceived binary of humanity as unchangeably divided between we and them.

That imagined dualism is a big part of how we start to dehumanize them, the ‘others’–all those people who aren’t us, and who have problems, beliefs, and systems we want to ignore because they threaten our own model of existence and reality. When there is a we and a them how can humanity move forward? All hierarchies–social, cultural, geographic, economic, etc. are man made, they are systems to deal with reality in ways that fit the dominant definition of it. The need and desire for all to be aware and keep in mind that every single person experiences existence through our shared human condition and that we are all entitled to flourish, feel safe, nurtured and valued is not about institutions. It’s not hippie, communist, utopist, or other -ist propaganda, it’s a core belief that every single human life is equally valuable. It’s an attempt to move past all the institutions that govern our existence and to see other people as they are: so like us. We all have our unique mix of dreams, desires, needs, fears and characteristics but we are all human.

Perhaps by being aware of and remembering our own humanness–all our dreams, obsessions, all those moments, people and things that have haunted us and made us realize that we are part of something much larger, messier, more interwoven, complex and glorious than we are usually aware of in our every day–we will become more aware and focused on the fact that everyone else shares this quality of being human. By accepting the complexity and the similarities we begin to live out our commitment to empathy more authentically.

The connections between haunting and identity provide fertile ground for salient insights about the individual in the everyday. You can learn a lot about a person from looking at their stuff, all those things they possess. What kind of insights could emerge from looking at the things that people possess inside their heads–all those fragments of existence, that have touched them and which they have stored in some part of themselves? Stuff defined as the remnants of life, those moments that tangibly affect us long after the incident in time in which they occur has passed and that have changed, in whatever way, our perception: people, objects, memories, photographs, experiences, knowledge, rituals, sounds, images, places, smells, ideas, passions, beliefs, questions, scars, dreams, obsessions and desires.

We designed a questionnaire which aimed to foreground points of salience in one’s belief system and existence that one might not be consciously aware of in their everyday experiences. Our Index, once answered becomes a collage of the stuff (as defined above) that is meaningful to us. It becomes a reminder of the wonder of small moments and the joys of connecting with others and the world around us. By making us aware of the human qualities of our existence, it reminds us of our shared condition with other people and renews our focus on the role of empathy in living our lives.

Could the questionnaire also become a starting point for redesigning small talk to be more stimulating, productive and empathetic? A list of topics and ideas to choose from when chatting with strangers. Placed side by side these indexes of various individuals’ collections of things that have haunted them will, at the very least, present a beautiful, vibrant and diverse recording of humanity and the human existence.

Without further ado, an experience in self & empathy:

THE HAUNTING INDEX:

List and describe, in any format you chose-lists, essays, paragraphs, pictures, video, songs, poems, etc.,–the things, people and moments that have been most haunting in your life in the categories below. It is up to you to delineate and define ‘haunting’ in whichever way you choose.

Books

Films

Poems

Images (paintings/photographs/mental images)

Places

Smells

Sounds

Tastes

Moments

Rituals

Childhood

Obsessions

Object

Other

What haunting means to you

~ ~ ~ ~ ~

We’d love to know what your Haunting Index looks like. Share it with us in the comments section or if it’s too big or elaborate for the comments send us a link to your images/video/website/however you chose to represent the things that have haunted you and we will feature it on our blog. And check back for our own Haunting Indexes.

Last but not least, did we mention that the Index is a great memory generator. Let the memories flood as you try to think of what haunts and haunted you. Relive and see, like projections on the wall, old and gold flashes of moments that have really mattered thus far.

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