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A few weeks ago, I stood in a sea of people at a Devo and B-52’s concert, feeling like I’d been transported back to the 1980s. I could see the waves of color from the stage lights, neon, and pulsing. It struck me that this, too, was a kind of art practice—a reminder that movement, rhythm, and attention are inseparable. Sometimes I meditate, and sometimes I find music has similar effects. The musical energy that others might find chaotic calms me. What some might label “angry” or “loud” music—whatever that means—has always soothed my Aspie brain. No, I’m not suggesting that Devo or the B-52’s fit those categories. 025 Mini #7, 2.5 x 3.5 in., ink on paper That concert reminded me how fully the sensory world animates everything I do. The driving beat, the lights, the crowd—it all felt like a visual composition in motion. When I draw, I’m doing something similar: tracing the rhythm of sound and motion until the lines on the page start to breathe. There’s no boundary between listening, seeing, and creating. Presence isn’t achieved by blocking out the world, but by stepping fully into it.This, for me, is the foundation of Art as Spiritual Practice. It isn’t about ritual, belief, or meditation in the conventional sense. It’s about attention—fierce, sustained attention—to the moment as it unfolds through color, sound, line, and touch. Making art slows perception. It opens a space between thought and movement where something larger than language happens.  2025 Mini #11, 2.5 x 3.5 in., ink on paper I don’t pretend to know what to call that something. Some might call it spiritual, while others might use the language of psychology, neurobiology, philosophy, or anthropology. To me, those vantage points all circle the same experience: the shift from distraction to presence, from noise to stillness. It doesn’t matter whether the source is a rock concert, a blank sheet of paper, or a kitchen sink filled with dishes. Each offers a chance to inhabit awareness more fully.The term “spiritual” itself is hotly contested—too elastic for some, too personal for others. Scholars of religion debate whether its very malleability renders it useless for any serious analysis. I tend to think of it as a working placeholder, a word that gestures toward the transformative quality of human experience when we’re paying close attention. Yes, this is among the varied and problematic definitions of spirituality, and I’m fine with that. I’ve moved toward immersing myself in the experience of art-making and away from debates over how to classify these experiences. Of course, that’s a perk of “retirement,” I suppose. I no longer need to engage in those debates, important though they may be.  2025 Mini #8, 2.5 x 3.5 in., ink on paper That’s the spirit behind my forthcoming course, also called Art as Spiritual Practice. It’s designed primarily for non-artists, hobbyists, and anyone who feels the urge to express themselves creatively but doesn’t know where to start. You don’t need to identify as “spiritual,” and you certainly don’t need to believe in anything otherworldly. You just need curiosity—and a willingness to stay with your own process long enough to notice what shifts.Alongside the course, I’m also beginning to share my own sketchbook practice more publicly. The series of small 2½ × 3½-in. ink drawings I’ve been making—each one a study in rhythm, attention, and constraint—will soon appear in a monthly format for those who want to follow the work as it unfolds. 2025 Mini #12, 2.5 x 3.5 in., ink on paper The course mixes practical exercises with reflection. We’ll explore how a daily sketchbook habit can become a form of grounding, how color and rhythm shape mood, and how repetition itself—the steady return to the page—creates meaning over time. Participants will also wrestle with questions that don’t have easy answers: What does it mean to call something spiritual? Who gets to decide who is or is not an artist? What happens when we replace the pursuit of perfection with the practice of presence?In that sense, the course isn’t just about making art; it’s about re-learning how to be with ourselves. Each drawing, each attempt, becomes a mirror for how we approach uncertainty, judgment, and even joy. There’s a moment—whether I’m drawing, cooking, or listening to Devo—when the line between effort and ease dissolves. That’s where transformation begins.I’ve spent much of my life teaching students to look closely, to question assumptions, to sit with ambiguity. I’m still doing that, but now the classroom is my desk, the lesson plan is a page of ink lines, and the students are anyone willing to pick up a pen and see what happens.Presence, not product, is the point. Art becomes the way we practice paying attention. And when we do, even the loudest music becomes a form of stillness.

a·syn·chron·ous·definition: “not existing or happening at the same time” I recently surprised a professor friend with the “news” that I taught almost exclusively in an asynchronous format and have been doing so for the past dozen years. A colleague on staff at my school recently said about this format: “Don’t you just set up the class and they are left to learn on their own?” Another professor in my field when responding to my comment in a writing workshop that I do a lot of my writing in comments on Canvas posts said: “Isn’t that mostly cut-and-paste?” I have been surprised to realize that many people in my inner circle don’t think of asynchronous online teaching as real teaching work. I beg to differ.Recently, I found myself in the worst of it. I was writing discussion prompts for week six while responding to late posts from students meant for week one while two-thirds of my students were talking with each other somewhere in week three. Others had turned in an assignment not due for two more weeks. All this teaching in multiple weeks in my course in one two-hour block while sitting at my kid’s desk on my laptop. He left for college a few weeks ago. We are all in different times, different places, but somehow still connected.Asynchronous teaching is the stuff of sci-fi and fantasy. I engage in time travel on the daily. If only I was a Time Lord with a Tardis to travel in! Or Hermione Grainger with a magical Time Turner on a necklace so I could stop the other times to focus on the one in which I found myself. Instead, I just have a learning management system, where I click to the next item in Speed Grader and jump ahead or behind a couple of weeks to material that has since slipped from my leaky brain. I try to remember what the student would and wouldn’t have encountered at that point in the class as I respond to their work.This morning, I found myself lying in bed and thinking about the clunkiness of the word asynchronous. What would be the word for being in a different place than your learners? A-syn-loc-ous? Oh, yeah. We just call that “distance learning.” Easy peasy. Everyone does that. But when we are in different times, we have a word that specifically marks the absence of togetherness: asynchronous. Out of time with one another.In fact, this is not a new reality. John Dewey called it the greatest pedagogical fallacy, the assumption that students are learning what we are teaching when we are teaching it. I can remember sitting in the now-demolished stadium-seating lecture hall in seminary and watching some of the great professors of my era lecturing. Sitting near the back, I would amuse myself by watching my classmates reach the point when they gave up taking notes, hopelessly lost in the verbiage of our professors. A few at a time, their pens would go down in defeat, and they would sit back in the wooden theater chairs and stare blankly at the speaker, folding their arms defensively. Nowadays, they would pick up their phones or click over to another tab on their computers to check the news, less obvious means of abandoning the effort to follow along. Where the students were, in time, was some light years away from where the professor was teaching. They remained closer to the energetic start of the universe that the professor was now hurtling along the furthest edges of. Teaching involves many moments like these. Planning a syllabus and having to post it a month before the class starts, or having to propose it to a committee a year in advance. In either case, never having met the learners before devising a plan for their learning. Teaching students who have just been exposed to the material alongside those who have wrestled with it for a term or even for years. Teaching people ruminating on yesterday’s political assassination about something that happened a thousand years ago. Sometimes it feels like a miracle when we end up in the same time with the same focus.All of this jumping to the location of students in time and space takes an enormous amount of imagination, energy, and nimbleness, whether online or working in person. But sure, why wouldn’t you put twenty-five or thirty-five students in my asynchronous class, since all I do is post the information and they learn it on their own in their own time? Turns out, asynchronous teaching makes me into an unwilling time lord without a sonic screwdriver in sight. But it also illuminates what Dewey named so long ago: meeting students where they are is no easy challenge, no matter the teaching modality. Teaching online and asynchronously just places this experience in vivid contrast so we recognize it more quickly and are forced to bear the weight of its reality. 

A student in my intro Religions of the World class recently asked—well, more like desperately pleaded—to be able to use a 3x5 notecard on the final exam. I said “maybe,” but it was the kind of “maybe” that parents say when they want to get kids off their back and hope the kids forget about it later. I was, to put it mildly, pretty resistant to the idea. I worried it would mean that students wouldn’t study as hard, offloading what should be stored in their brains onto a piece of paper that would just be discarded. Isn’t notecard usage basically just a professor-sanctioned form of cheating–or, at least, a professor-sanctioned form of “don’t worry about learning anything”? Are students just trying to find any and all shortcuts to the actual difficult labor of learning? What is this world coming to?? (I’ve officially turned old and “kids-these-days”-y.)But I had promised to consider her request and I didn’t really want to be the person who my daughter always accuses me of being—the person whose “maybe” really just always means “no.”One morning, after waking up at 3:20am and not being able to fall back asleep (WHY), I decided to actually look up research on notecard usage. Why I didn’t think to do this before forming my opinion about the usage of notecards is beyond me. As you might expect, if you’re familiar with research on education and pedagogy, research is mixed.Some studies have shown that students using notecards outperform peers who don’t. But even studies in which performance isn’t obviously better do show that the use of notecards can alleviate student anxiety and may reduce the temptation to cheat. For me, the bit about alleviating stress was actually the most important. I’m trying to instill in students a love, maybe even an appreciation, of the subject matter–not permanently repel them from the study of religion. Anxiety was certainly what was leading my student to make the request in the first place. She was overwhelmed by the amount of material in a 101 survey course and not at all feeling confident about her ability to do well on the final exam. If I could help ease her mind a bit, why not?But also: the articles I reviewed brought up a good point, which is that the creation of the notecards is itself a form of studying or a good study habit. That is, students have to gather, review, and synthesize a bunch of different information to discern what ultimately goes into the notecard. That the actual making of the notecard helps them to learn the material. Okay, sold.So, I went in the next day and told my students they could use notecards for the final exam. We’ll see how it goes.