As long as I have the screen of facts through which I translate every experience, the residue is falling below. If I have no screen then it will be quite different.
The problem is that I am only aware of factual memories and I am not aware of psychological memories. I am aware of facts, techniques and actions as memory. I have learned how to play and I translate every song through my technique. I have learned how to write and I am translating the untranslatable. Therefore, as long as I have a technique, the vision of a poem is always limited. As long as I have a technique, which is factual memory, I cannot find that which has no technique.
As long as my brain is made up of facts, techniques, discipline, everyday routine, it cannot find the immeasurable. After all when I write a poem, it is to think of the immeasurable. After writing it I think I am dissatisfied with it because I feel I have not captured the spirit; and in that very process I get lost; thus the process becomes much more important than the problem.
With this mentality of the awareness of the factual, i.e., through the screen of the conscious, we are trying to understand that which is not factual, that which we call Love, God, Death, the Unknown.
Group Discussion 29th November, 1947