 Another area where ignorance of Japanese holographic thinking has led to Western misinterpretation is in the so-called aesthetic of minimalism. Once we are attuned to the holographic paradigm it becomes clear that Japanese minimalism is not about eliminating the extraneous or omitting the unnecessary, but rather (as in the case of the forensic scientist) about focusing on the particular as revealing the whole from which it was taken. If we recall that the Japanese work of art is the creative presentation of the kokoro (the total interactive field that generates the artist, medium, and audience as a single event) then what is normally considered in the West to be the work of art is that precise point in the kokoro through which we can experience the configuration of the whole of the kokoro. Japanese minimalism does not exclude or eliminate; by focusing on the particular it enables us to attend to the whole aesthetic event that produces it and of which it is a part. To the discerning reader, the haiku with its meager seventeen syllables omits nothing; rather, it is holographic of the whole.