Essentials: How to Access Your Creativity | Rick Rubin

1. 0:00 – 0:23

   Rick Rubin & Creativity

   1. AHAndrew Huberman0:00

      Welcome to Huberman Lab Essentials, where we revisit past episodes for the most potent and actionable science-based tools for mental health, physical health, and performance. I'm Andrew Huberman, and I'm a professor of neurobiology and ophthalmology at Stanford School of Medicine. And now for my discussion with Rick Rubin. Great to have you here today, Rick.

   2. RRRick Rubin0:21

      Thank you for having me. It's a pleasure.

2. 0:23 – 1:53

   Creativity as a Dream or Cloud

   1. AHAndrew Huberman0:23

      Of all the topics in science, and in particular in neuroscience, I confess that creativity is the most difficult one to capture. As I went into your book, the example that you give, this idea that ideas and creativity are a little bit like a cloud. If you look at it at one moment, y- you might think that it looks like one thing, but then you look at it a moment later, it could be quite a bit different. And if you look at it an hour later, it very well could be gone. How did that come to you, and how does it serve you in trying to ex... I don't want to say extract, but trying to access creativity?

   2. RRRick Rubin0:57

      I think the best way to think about it is like a dream. It's like if you think about your dreams, they don't necessarily make sense. When you wake up, you'll rem- you might remember part but not the whole thing. Then if you start writing them down, they'll come back, and they may not make sense to you. You know, maybe someday in the future you'll be able to look back and understand what they mean, and maybe not. And that's sort of how this, the art-making, uh, process works is like we're making things and we're looking for a feeling in ourselves. It could be a feeling of excitement or enthusiasm, a feeling of interest, a feeling of curiosity, a want to know more. It's not an intellectual process. It's a different thing. I think language is insufficient to, to drill down on creativity. It's more, um, it's closer to magic than it is, uh, science.

3. 1:53 – 3:29

   Childhood, Openness & Originality

   1. AHAndrew Huberman1:53

      Do you think kids are more, are just by definition and by design more creative than adults?

   2. RRRick Rubin1:57

      Yes. Ki- kids are-- they're open, and they have no baggage. They don't have any belief system. They don't know how things are supposed to work. They just see what is. Most of us select from an endless number of data points av- available to us to, well, as a s- as a species, to make sure that we don't die and to procreate and to feed ourselves are probably the primary functions first, and then we learn things about what's right and what's wrong, and we learn things about, uh, how to do certain things, or we're inspired by someone who makes something we love, and we want to do it the way they do it. And all of those things undermine the purity of the creative process. They can be, um, tools to build your skill set to be able to do it yourself. Like if you're a, a singer, you might imitate a singer you really like for a while to get good at it and then eventually come to find your own voice. But if you're three years old or five year o- years old and you try singing, you're not singing like anyone else. You're, you're singing with your own, your own voice. And when you make something, you're making it based on not knowing. And I, I think I had the advantage early in my career of starting making music without any experience, which was helpful because I didn't know what rules I was breaking. I was doing things that other people wouldn't do.

4. 3:29 – 5:27

   Trust Your Taste; Experiment, Don't Over-Explain

   1. AHAndrew Huberman3:29

      When something feels creatively right, let's say in the studio or maybe even you're listening to something that somebody sent you, and again this could be about writing or comedy or, you know, or science or podcasting for that matter. How do you, say, keep going that way when they might not even recognize that they did it? And I'm guessing a lot of times they don't.

   2. RRRick Rubin3:50

      I'll, I'll try to be in a, in a setting where as we're talking about it, we can engage with it in that moment. Let's say I was producing your new record and you played me something and I had some thoughts about it. It wouldn't be so helpful for me to tell you what those were. It'd be better for us to wait till we were in a place where we could try things and see where it goes. I wouldn't rely on language to do it. It would be more of a making a suggestion of something that's actionable. We try it, and then we have more data. It's that simple. So much of, you know, when we go to school, it's to get us to follow the rules, and in art it's different because the, the rules are there as a scaffolding to be, um, chipped away as need be. Sometimes they're helpful, sometimes they're not. Understanding how you feel in the face of other voices without second-guessing yourself is probably the single most important, um, thing to practice as an artist or skill set to develop as an artist is to know how you feel and own your feelings. If I'm undermining my taste for some commercial idea or, uh... It, it defeats the whole purpose of doing this. This is not-- That's not what this process is about. This process is I'm doing me, and I'm showing you who I am, and you can like it or not, but either way, this is still how

5. 5:27 – 7:05

   Creative Aperture & New Perspectives

   1. RRRick Rubin5:27

      I see it.

   2. AHAndrew Huberman5:27

      In your book you describe, again, when you're thinking about it, the creative process as, uh, the cloud. For me, again, it just serves as such a powerful anchor. And then I think about the, the biology, the neurobiology of, like, strategy formation or strategy implementation. And then almost by sheer luck or miraculously, I turn a few pages later into the book and there's a description of how animals that are trying to accomplish something, eat, mate, find water, the requirements of living, it requires a narrow visual focus. This is something my lab is kind of obsessed with and I've been obsessed with. And in that more narrow visual focus, we know that the, the playbook becomes more narrow. Now, at some point, in order to come up with a new creative idea, that means that broadening vision is essential in some way, or broadening thinking.

   3. RRRick Rubin6:24

      Well, it could either be a broadening or a narrowing, but it's changing the aperture from the standard to present something new that maybe you already knew but didn't know you knew it. It's not unlike what a comedian does. You know, a comedian makes you laugh. Usually, what they're saying, it's outrageous, but you know that it's right, you know, just no one says it that way or no one has said it that way before. But it's always the truth in it that makes it funny. Recognizing something that seems really obvious once you see it, but seems like nobody else sees it or no one else points it out.

6. 7:05 – 8:31

   External Feedback & Staying True to the Work

   1. AHAndrew Huberman7:05

      So do you think nowadays the fact that one can create something and, quote-unquote, "release it quickly," I can put it, something out onto Twitter or Instagram now, and I will get immediate feedback, which is external feedback, of course, but then I can iterate on the basis of that feedback. Do you think that's problematic for the larger opportunity for creativity?

   2. RRRick Rubin7:25

      I don't think it's wrong or right. It's just, it's more information that you can use or not use and use it in a useful way, and, you know, you can make something and put it out, and people can not like it, and you're like, "Oop, they still don't get it. Here, I'm gonna-- I gotta go harder." There could be different stories that happen at the same time where you're making something, and you have an idea of what it is, and then other people engage with it, and they have a different idea of what it is, and they like it for a different reason than you did or dislike it for a reason different than the reason you like it. We can't control any of those things. The only part of it that we can control is how we relate to the thing that we make, and any external information that undermines the clarity of that connection is probably bad for the art, is my, is my guess. [chuckles] All I've ever tried to make was something I like or something that I felt like was missing as a fan that I wanted, and I-- nobody was making it, so I'll, I'll make it.

7. 8:31 – 9:52

   Finishing Creative Projects

   1. AHAndrew Huberman8:31

      When I listen to an album or a song, I mean, I have to assume that there, at some point, it becomes not strategy development or creativity, but strategy implementation. Like, songs are gonna come in this order, and like... At what point does one decide, "Okay," like, "now's the time to get into that more narrow focus of, of effort?" Like, "We've got it. Let's run with this." Because there is a component in the creative process that involves packaging and finishing, and is that part less satisfying to you, or is it just all part of the same larger arc?

   2. RRRick Rubin9:06

      It's all part of the same... It's, it's nice. There's a good feeling. There's usually a good feeling when something is done. It's a commitment because up until the time that you say it's done, you can keep experimenting and changing it. You know? If you, if you think, "Well, maybe tomorrow I can make it better," then it's not finished, and you keep thinking that for a long time, you can do that forever and never, never put out anything. Getting to the point where you're ready to sign off is a good feeling. One of the things I talk about in the book is, um, because it is a difficult thing to do, 'cause it's fun to play and it's fun to-- maybe it's not the best it could be yet, you know? Um, to use whatever the next project is gonna be as motivation to finish the one you're working on now.

8. 9:52 – 12:32

   Focus, Disengagement & the Subconscious

   1. AHAndrew Huberman9:52

      I'm very interested in, you know, your process. When it comes to going from project to project and, and you know you're gonna be doing work with somebody, do you have a process for removing the functions of the day and the, what you were doing last week and what's going on and how do you clear the static? What are some of the operational steps that you think might be more, um, generalizable to regardless of where some- somebody in, you know, um, Africa is listening to this now?

   2. RRRick Rubin10:21

      I would say when I'm, when I engage in a particular project, whatever it is, I, I dedicate all of myself for that period of time, whatever it is, whether it be twenty minutes or whether it be five hours, whatever it is. Total focus and no outside distraction whatsoever. And when I leave that process, I do my best not to think about it when I'm away from it. I don't bring any materials with me. I don't leave the studio with works in progress and spend time listening to them during the day or looking for ideas. I, I stay as far away from it when I'm not di- directly engaging in it as possible. And in the best of situations, I have something else to totally engage myself in in between. So instead of working on project A for five hours and then leaving and doing nothing, I'm hoping to engage in a project B or B, C, and D with all of myself before going back to project A again.

   3. AHAndrew Huberman11:28

      Even though you're disengaged, do you believe that your subconscious is working it through?

   4. RRRick Rubin11:33

      I believe so. I believe so. Uh, and I think in general, to stew over a problem is not the way to solve a problem. I think to hold the problems lightly. A- and when I say a problem, you know, when we're, when we're starting a project, there's a question mark at the beginning of every project. I, I, I'm always anxious when I start a new project because I have no idea what's gonna happen. I never know. There's always a sense of anxiety because I know whatever's gonna happen is completely out of my control. Something either interesting or not will appear, and then we're gonna follow that wherever it goes. And until something appears for us to follow I have a lot of anxiety, even though I ne- even though it has never not come, you know, it has come every time, but there's something about it, 'cause I also feel like there might be expectation on me that I'm gonna m- make it happen, and I know that's not happening. That's not how it works.

9. 12:32 – 15:22

   Perception, Storytelling & Uncertainty

   1. AHAndrew Huberman12:32

      So what I keep coming back to is that I, I'm imagining in my mind kind of two ends of the continuum. One that is about fairly narrow focus, training, training, strategy implementation, cultivating craft, building craft. And then the other side is this, the cloud.

   2. RRRick Rubin12:45

      Yeah.

   3. AHAndrew Huberman12:45

      And so we're taking this cloud and we're, we're deciding what things are.

   4. RRRick Rubin12:49

      Yes. We go through our lives doing this all day with everything we see. If it's something we don't know, and something we're not familiar with, first thing is, is, "This doesn't make sense." Then what we do is, without thinking, we create a story that explains what just happened, a hypothetical. "Oh, maybe he's running 'cause his dog ran away and he's chasing his dog. Maybe that's why he's running." And as soon as we have that thought of what it might be, we relax, because now it's not just a guy running and this is weird, but it's a guy running. Oh, he's probably running after his dog. And now we register that story that we just made up without even knowing we were making it up as what happened. And then later in the day, if someone says, "Yeah, did you see that guy running down the block?" It's like, "Yeah, he was chasing his dog. I saw that." And y- you won't even realize that it was the maybe hypothetical story that was the first possible explanation that allowed you to continue walking. Our whole lives are reacting to things, making up a story of what we think may have happened without realizing that's what we're doing, and then living the rest of our lives as if that thing that we made up really happened, and we never know. That leads us to we can't know much. Do you know what I'm saying? Our resolution is so low on everything. We're grasping at straws. We have no idea. We have no idea. And there's great power in knowing that, because if you think you know what's going on, y- chances are you're being deceived. Not because somebody's deceiving you, but because they're telling you what they see, and they don't know.

   5. AHAndrew Huberman14:43

      Mm-hmm.

   6. RRRick Rubin14:43

      It's all... Do you know what I'm saying? It's all made up. Everything that we c- everything we know is made up. Maybe, maybe it's true. It's, this brings us to pro wrestling. [laughs] It's, it's, it's the reason that pro wrestling is closer to reality than anything else we can watch or any other content. It's, we know it's made up. We know that it's a performance, it's storytelling, and that's how everything is, except we think wrestling's fake and the world is real. Wrestling's real and the world's fake.

10. 15:22 – 16:44

    Pro Wrestling, Playfulness & Reality

    1. AHAndrew Huberman15:22

       I do wanna ask you about wrestling. So I have questions specifically about wrestling, but it's really about process.

    2. RRRick Rubin15:27

       Yeah.

    3. AHAndrew Huberman15:28

       What is the deal with your relationship to wrestling?

    4. RRRick Rubin15:32

       Uh, I think it, it maintains that kind of playfulness, anything is possible. We expect the unexpected all the time in wrestling, and it's a way to have a kind of a feeling of the energy of a sport with, with no competition. It's e- everyone is working together to put on the best show they can, so it's more like a ballet than it is like a, a sporting event.

    5. AHAndrew Huberman15:59

       I actually think, uh, the way you describe, um, wrestling as, you know, it's the energy of the sport. It's not the whether or not it's this move or that move or who wins or who loses. It's the energy, and I'm guessing it's the energy that it creates in you-

    6. RRRick Rubin16:15

       Yes

    7. AHAndrew Huberman16:15

       ... as an observer.

    8. RRRick Rubin16:16

       Yes. It's the energy it creates in me, and the reality that it's honest in what it is in a world where seemingly nothing is honest at, at what it is. In some ways, it's comforting, and there's still this mystery of like, "Well, I wonder if that's true or not," because we never really know. Someone gets hurt. Did they really break their back, or are they just going on vacation? We don't know. We'll never know. It's fascinating.

11. 16:44 – 17:34

    Morning Routine & Receptivity

    1. AHAndrew Huberman16:44

       When you wake up in the morning, um, are your thoughts immediately structured, or do you enjoy the kind of clearing of the clouds?

    2. RRRick Rubin16:51

       It's a s- it's a slow process for me to wake up, and I like that. I like not engaging too much too soon.

    3. AHAndrew Huberman17:00

       Does it become more structured as the day goes on? Does your thinking become, um, more structured around projects and plans?

    4. RRRick Rubin17:05

       I, I try to, um, deal with things that need dealing with after that and in preparation for going to work. And then when I go to work, it's more like this free thing where I'm, again, hoping something good comes, uh, welcoming something good, paying attention, and maybe trying to will it to happen, but knowing I don't have the ability to make it happen. I can just be present for it and be ready if it does arrive.

12. 17:34 – 22:31

    Four Phases of Creative Work; Deadlines

    1. AHAndrew Huberman17:34

       Obviously, deadlines are relevant, time of day, right? There's only so many hours in the day where one can stay in the groove or in the s- like, readiness to receive. Have you ever found yourself in that mode where you're kind of grinding, like, "Ah," like, "Here we are," like, "Okay, I'm not coming home for dinner tonight. It's the next... You know, we're gonna push."

    2. RRRick Rubin17:53

       Yeah.

    3. AHAndrew Huberman17:53

       We're like the put on the coffee pot kind of thing.

    4. RRRick Rubin17:56

       A lot, a lot. In the, over the course of my life, a lot. Not as much now. And one of the things that I discovered through working on the book was we're not required to treat the different phases of work in the same way, whereas before I did. Before, everything was in this state of play. Everything had an, uh, wide open time schedule- It happens when it happens. If it takes two years or three years, it doesn't matter. It's not about that. It's only about this thing has to be great. And what I came to realize in working on the book is that there, there are different phases, and the first phase is this seed collecting phase, which is kind of an ongoing part of life in general. I do that always, whether I'm, whether I'm working on something or not, I'm always in the seed collecting phase, and there's no deadline or, uh, anything that interests me that I think I want to learn more about or has potential to be something... A- anything. Something, I hear something, think, "Hmm, I'd like to read more about that," or, "I wonder if, I wonder if there's a movie about that. Is there a movie about that? If not, maybe there's a movie to be made." You know, like, a- again, I want-- This is something I want in my life. Let's see if it exists. If it doesn't exist, then maybe that's something interesting to pursue. Um, but I know that the desire is there 'cause I have it. So in the seed phase, there's no deadlines. It's just a wide open part. And then the next phase is called the experimentation phase, where you, where you start experimenting to see what the seeds want to do. You're involved, but you're not really dictating the action. You're, you're setting the stage for something to happen, but it's not about you yet. It'd be like the equivalent of you'd plant the seed, you would water it, you would make sure it was in the sun, and you'd wait. Um, so you're involved, but y- you can't make it grow, you know? And then when it sprouts and it grows and/or if it turns into a plant, then you can look at the plant, it's like, "Okay, how does this plant... What's the potential of this plant?" And then y- and then that third phase is the crafting phase, where it's like, okay, I have this plant. Maybe I'm gonna trim it or maybe I'm gonna, uh, combine it with these other plants to make some- something else with it. Now it's like m- material that you have. And then finally is the, the completion or, or finishing phase, which is the final edit, g- getting to the version of it, the, the version of it that's the one that you can share with the world if, if that's something you're gonna do. And I've come to realize that by the time you're going into the completion phase, you can have a deadline, and it won't hurt the project. In fact, it might help the project, and I didn't know that before. So I've worked on projects that have gone longer than they necessarily needed to, and maybe not in the best interest of the project because I didn't know that. I didn't understand that, that, the timing of that because I, because I am so aware of the necessity in the experimental phase to not have a deadline that I assumed that that w- held through the whole project. It's not a clear phase one finishes and then you start phase two, phase two finishes and then you start phase three. You move back and forth between them. I'm collecting seeds all the time. I'm always in phase one. And then probably to some degree, there's always some version of experimentation going on. Maybe not now, but if something's on a list of things I want to look at, hopefully I'll get, get to the list and give them some experimentation and see what they can turn into. And then if they do turn into something, then they get to the crafting phase, where it's more, okay, now I have this thing. What do, what do I know about this kind of thing? What can I match this with? What can I use this for? How can I be involved as a craftsman? By the end of the crafting phase or deep into the crafting phase, y- you can start seeing the end. You know, you can start seeing an end, and then you can even dictate an end. But I recommend if you do, just dictate it for you, not for anyone else, because if something comes up where you learn-- I- if you, uh, set a deadline, public deadline, and then a new discovery happens along the way and you realize, "Oh, this could actually be much better than I thought, but I need more time," it's harder to do that if you set the deadline.

13. 22:31 – 23:36

    Self-Doubt as a Creative Tool

    1. AHAndrew Huberman22:31

       The chapter on self-doubt was really interesting to me. I'll read the first sentence of it, um, which is that, "Self-doubt lives in all of us."

    2. RRRick Rubin22:39

       Hmm.

    3. AHAndrew Huberman22:39

       "And while we may wish it was gone, it is there to serve us," uh, and it goes on to describe how to, um, dance with self-doubt. As one gets better at their craft, you can imagine self-doubt goes down. I think that's the perception of a lot of people, right? You get better at what you're doing, self-confidence goes up, self-doubt goes down. But I think you and I both know a number of people who are successful enough to know that oftentimes there's a mirror image to that where people feel pressure because they did it once, now they gotta do it again.

    4. RRRick Rubin23:07

       Self-doubt is a, it's like a, um... It's a check on yourself. It can either be really helpful or it can undermine you. So it's something we all have, and if we let it undermine us, then we don't make anything. That's not good. But when used as a, a balancing tool in our lives, it serves a great function. I think the, the phrase is in the book, you can doubt your way to a great work, you know, to a masterpiece.

14. 23:36 – 24:41

    Capturing Real Moments; Authenticity

    1. AHAndrew Huberman23:36

       Have you ever encountered music that really works well live but just does not work in a recording? You don't have to name names.

    2. RRRick Rubin23:42

       Yeah, I don't think so. I feel like m- maybe there are some artists who are great live who've never captured it well on record. The Grateful Dead's a good example of a band where I feel like their albums are not their strong point, but their, if you hear live recordings, they're really interesting and really different from each other, and that's kind of part of what makes the Grateful Dead interesting is their unpredictability. They're looking for something-

    3. AHAndrew Huberman24:08

       Mm-hmm

    4. RRRick Rubin24:08

       ... and sometimes they find it.

    5. AHAndrew Huberman24:10

       Mm-hmm.

    6. RRRick Rubin24:10

       And if you're there when they find it, it feels exciting. It's not just following a script. It's like something is really happening. It's a, it's a real moment. Something that I aim for in the studio Is to create real moments that when you hear them, they don't necessarily sound perfect, they sound like something that really happened, and in that moment, something happened, and it's a special moment. It's, it's really what... It's how jazz, jazz works as well.

15. 24:41 – 26:16

    Routines, Advice & Staying Open

    1. AHAndrew Huberman24:41

       The way you describe, um, experiences going by in time and, or, or things emerging in time and the creative process being a way of capturing those moments was beautifully captured in the, in the analogy you gave about a, a kind of a combe- a conveyor belt going by. I'll just read it. "To be beware of the assumption that the way you work is the best way simply because it's the way you've done it before." Maybe you could elaborate on this a little bit. I mean, we want to have s- uh, you know, mechanisms and routines we can trust.

    2. RRRick Rubin25:12

       Yeah.

    3. AHAndrew Huberman25:12

       But this is a, I think, an important warning.

    4. RRRick Rubin25:16

       Yeah. When something works, it's easy to be fooled into believing that's the way to do it or that's the right way. It's just a way, and it's just a way that happened to work that time. This plays into when you get advice from people who have more experience than you. The advice that they're giving you is not based on your life or your experience. It's based on their life and their experience that have very different data points than yours. So maybe they're giving you good advice, but maybe they're giving you good advice for them and not giving you good advice for you. I think it's hard enough to even figure out what's right for ourselves, and if we do somehow crack the code of what's right for us, be happy we have it, and then still know, I wonder if that's the only way. Maybe there's an even better way that we're not considering.

16. 26:16 – 29:15

    Look for Clues; Belief & Attention

    1. AHAndrew Huberman26:16

       I forget the exact title of the chapter, but, um, there's a chapter about being on the lookout for clues.

    2. RRRick Rubin26:23

       Yeah.

    3. AHAndrew Huberman26:24

       Do you think there are clues in, in every- everywhere?

    4. RRRick Rubin26:27

       Yes. [laughs] I think there are clues everywhere, for if we pay attention, we'll hear a phrase, it'll trigger a, a thought. We'll see something unexpected. Um, and the, uh, i- if someone recommends something to you, maybe it's a coincidence. If three people recommend the same thing to you, maybe it's not. I do believe the universe is on the side of creativity, and the universe is supporting things to happen, and they can happen through you, or they could happen through someone else. So if you're paying attention, maybe it'll happen through you. The belief part of it is a huge part of the conversation about everything. You know, what we believe has power. If we believe we can make something great, the chances of us making something great are better than if we don't believe we can. So, uh, I, I would say any ability to harness your belief on your behalf is a really healthy thing to do.

    5. AHAndrew Huberman27:34

       One thing that you make very clear is that while our own abilities may come into question from time to time, you absolutely believe that the elements from which to create are out there.

    6. RRRick Rubin27:49

       Absolutely. All, all the elements are a- are, are here. Everything is here. We get to pick and choose. We get to... The conveyor belt's going by with little gifts. First, we have to notice [laughs] there's a conveyor belt. Then we notice the gifts, and then that's the starting point. And then we may even feel, uh, uh, empowered enough to grab one of the gifts and open it up and see what's inside, and then maybe that's the start of something really beautiful. Everything that I make or have made has always been based on something that I see or hear that allows me to see something that I didn't see before.

    7. AHAndrew Huberman28:32

       So I was gonna ask you whether or not it's important to be happy in order to create, but certainly a lot of people that were unhappy were still able to create. But the more I listen to you, it seems that it's really about an ability to pay attention.

    8. RRRick Rubin28:47

       Yes.

    9. AHAndrew Huberman28:48

       So if I'm unhappy or if I'm happy may not be as relevant as whether or not I'm able to stay undistracted.

    10. RRRick Rubin28:56

        Yes. I would say being able to stay present in the work is probably the most im- most important part of it, and how you feel is less of an issue unless how you feel gets in the way of you feeling how the work makes you feel.

17. 29:15 – 31:13

    Meditation: Mantra, Breath & Awareness

    1. AHAndrew Huberman29:15

       I do wanna ask you about one other aspect of process, which is meditation. How would you define meditation?

    2. RRRick Rubin29:22

       Well, there's different, there are different types of meditation. Usually, we either are engaging in a mantra, which would be a version of a, almost like a creating a trance for ourselves, not unlike listening to something when we go to sleep that would distract our conscious mind from participating. We would be overriding our, uh, the, the talking mind with just a sound that we're generating or a word or a phrase, series of phrases. Or it could be focused on the breath, but the purpose of being focused on the breath is to not hear the self-talk that we normally have. It's a single-pointed focus exercise in those that I described. The other version is an awareness meditation where you're closing your eyes and you're being with whatever is. There's no story, there's no this means this, none of those things. Just like an inventory almost of everything that comes up when it comes up, and you do that for a period of time. But in, in all of those cases, in, in the example of doing the awareness meditation or doing a mantra meditation or focusing on the breath, in none of them am I thinking, in none of them am I concentrating on... I, I'm o- I'm, I'm being aware of the, of sense perceptions in the awareness one, or in the other meditations, I'm doing a practice so that I'm not aware of thinking about anything else. And there's also something called the, um,

18. 31:13 – 32:26

    Monroe Institute Surgical Support Series

    1. RRRick Rubin31:13

       the surgical series from the Monroe Institute, which I used when I had a surgery. You listen to this recording, and it both allows your body to heal much faster and removes some of the trauma that goes on when, you know, getting cut open, it's traumatic. But just through listening to certain things, you can, um, can have a really powerful effect, heal much faster. I remember I was about to be put under for a surgery, and my eyes were closed, and I wasn't communicating with anyone there because I was going inside. And, um, and my wife was with me, and they came in, and they said, "Oh, um, so they already gave Rick, Rick the sedative because he's ready to wheel in." She's like, "You didn't give him anything." He's like, "But look at his numbers." Like, like, yeah.

    2. AHAndrew Huberman32:06

       I love it. I love that you're so willing to share what you do and your process, and I just wanna thank you for being such an incredible portal and also for being an amazing friend.

    3. RRRick Rubin32:17

       Thank you. I love you. I'm so happy to be here with you, and anytime I get to see you, it's a good day.

    4. AHAndrew Huberman32:22

       Likewise. [upbeat music]

Episode duration: 32:27