[It] is impossible for us to establish a living vital connection with the masses unless we will work for them, through them and in their midst, not as their patrons but as their servants.
In America, we hurry-which is well; but when the day's work is done, we go on thinking of losses and gains, we plan for the morrow, we even carry our business cares to bed with us...we burn up our energies with these excitements, and either die early or drop into a lean and mean old age at a time of life which they call a man's prime in Europe...What a robust people, what a nation of thinkers we might be, if we would only lay ourselves on the shelf occasionally and renew our edges!
Although profoundly "inconsequential," the Zen experience has consequences in the sense that it may be applied in any direction, to any conceivable human activity, and that wherever it is so applied it lends an unmistakable quality to the work.
This surface good-nature which captivates a new acquaintance and is no bar to treachery, which knows no scruple and is never at fault for an excuse, which makes an outcry at the wound which it condones, is one of the most distinctive features of the journalist. This camaraderie (the word is a stroke of genius) corrodes the noblest minds; it eats into their pride like rust, kills the germ of great deeds, and lends a sanction to moral cowardice.
You are right in demanding that an artist approach his work consciously, but you are confusing two concepts: the solution of a problem and the correct formulation of a problem. Only the second is required of the artist.