then practice, you want to simply lengthen your back from being strained. And it doesn't, not rigidly strained, but the best way to discover non-rigid strainedness is simply to lift up through your back. As much as possible, lift up through your back. You can do that over a very certain test. Well done. And that lifting should continue up through the back of your neck and continue as if you're being lifted from the back of your head. Now, if you use that posture and discover that posture, it kind of blocks you from chin thing down. Sometimes you put your chin back and then, and then put your head back and then try to bring your chin in while keeping this, while opening up this, lift it. And then your chin is kind of in like this and it actually stops thinking.

[01:06]

You're like this, you think. Bring your chin in, it actually stops. Cut way down now. I see it's cool. Lift that shit. I can tell you that. And then so you have this lifting feeling up through your back. And then your leg posture is really a matter of trying to make your posture stable. And now your legs are in this posture for two reasons. One is that it is the most stable way to sit. You don't use musculature to support yourself. But you can sit, which is quite a good meditation posture, because you can sit this way, which is the Japanese and Chinese Seizen posture. Now, the problem with this is you tend to slump.

[02:07]

You can't lock yourself in this position well. And also, your feet tend to be cold. And so one of the Aspects of this sitting posture, not only does it make you more stable, but you fold your heels together. Your consciousness and heat, that which makes the body alive, are very closely connected. So the more your body can be warm and warm itself, the more your consciousness can be stable. So you have, your main posture is a manner of, you know, of bringing your feet together and creating stability. The back posture is just lifting through your backbone and up to the back of your neck. Then you want a feeling of butter or ease melting down through you. Lifting through your back and a feeling of something spreading down through your hip joint.

[03:08]

Then when you do that, and each of these can be done separately, you establish the back one, you establish the feeling of relaxation, and then you can bring your mind to the breath. Generally, we also put our tongue at the root of our mouth because it also connects the channel and connects the older part of the brain makes the thinking part of the brain less active. For some reason, well, it inhibits saliva. But for some reason, meditation tends to activate the overgrown brain, which causes saliva to flow. But this kind of inhibits it to keep that connection. I mean, much of practice is a kind of acupuncture, a very small thing. It's like your tongue touching your mouth, your teeth being gently together, your shoulders being in line with your ears, and in line with your hips, your nose being in line with your navel.

[04:18]

So your posture gets more and more refined as you become more and more conscious within the posture. Zen practice has, in contrast to other schools of Buddhism, really emphasizes meditation as well. I mean, I think all Buddhism evolves from the yogic meditative state of time. However, as a practice, combining shamatha, vipassana, and many elements of Buddhism, through posture, essentially, So that's why Zen is so involved with the preciseness of your posture and the identity of mind-body postures. So your tongue is moved, your mouth and teeth are checked together. The back bone is lifted up all the way to the back of your head. There's a relaxed feeling coming down from your body. And now you bring your mind to your breath. But just count yours here.

[05:20]

That's generally custom. To ten, you start over here. There's a feeling of the breath being, making a big circle. You don't breathe with the upper part of your chest. but you breathe with your diaphragm, but in such a way that it feels like the breath is coming in from here, circling up. Imagine that circle. Now, breathing that way, discover that your breathing can be very, very stable and very, very slow. Your chest, if your breathing gets too slow, tends to stop when you concentrate, like a watchmaker stops his breath or her breath to do something very minute. So when we get concentrated on a very minute, we tend to block our breath.

[06:23]

Then that changes the brain chemistry. So what you want is to is to discover a way of breath that can get slower and slower to only two or three times a minute. And yet still go. And you can count your breath. You can count your exhales. You can count to 100 if you want, and so forth. But generally, counting exhales to 10 is what works best. And you can also follow your breath. Once you get the ability to stay with your breath, all of this will take a while. Stay with your breath, then you can begin to follow your breath throughout your body and explore your body with your breath like an empty wash. And the basic posture of Zen, in addition to the backbone, is an uncorrected statement. Because we want to allow this mystery, not you do it, but God does it to you.

[07:28]

So you don't correct yourself with the faith in a kind of own organized process. You don't get content, but feel it with your mind. Trust it now. This uncorrected state of mind opened the gates to associative memory. So many things would start coming up. Music, all kinds of stuff. What your grandmother did. Things she didn't know you had done. Remember to make those connections. There's a whole non-conscious storage. It's not unconscious related to conscious, but non-conscious not even related to conscious. That process of flow usually takes around 10 years.

[08:29]

It's a process of re-contextualizing yourself. Re-storing yourself. Telling your re-parenting yourself. Telling your story to yourself again. You're aware of many aspects of yourself. This posture of uncorrected mind. It's very important that you allow these distracted thoughts, because they're not distracted thoughts of the usual mind. They're distracted thoughts of thought. But they're just not thought. Get back on, bring up your backbone. Relax, even coming down on your body. Counting, paying attention to your breath. Practicing correctness. Well, is there anything you'd like me to bring up?

[09:47]

Yes. Well, I'm not a scholar of that. I mean, well, I did study medieval history. I'm not a scholar of that. My impression is, so looking at the But also I, in some ways, quoting Ivan Illich, who's a friend of mine, and he feels that the, with it going down years of 12th century, we feel one of the Markers is the Christ with bright eyes, an icon, and the dead corpse on the cross.

[10:58]

That's a shift to a less light time that represents a shift. But anyway, that could be another opportunity. Yes. Can you hear what he said? He said he asked me to speak about it. You're getting comfortable back there. If I give you design instruction, the person to do is find a chair and tell us. No more design instruction. Uncorrected one. Well, let me answer, respond to several questions at once.

[12:12]

You had a question. My first question You have a certain idealization of, like, I was, like, a girl who died at a different time. I'm going to say, um, I read this letter, really quickly. Idealization of what you, what you're capable of, you need to find a version. You need to find, like, find, you need to have, like, kind of, live up to those standards that I, like, did before. Yeah. Do you hear what he said? He said, I can be short unless you want to say it. I think we can say Zazen puts in front of us such an ideal practice and try to live up to it.

[13:17]

And both that attempt to live up to it and your Lack of success with both may be detrimental. And more or less, is that what you said? Yeah. Want to add something? Well, just how you work with that. Yeah. And there were a couple, after the instruction, there were a couple questions that picked me up. Um, I was previously detained, uh, for a shot of drugs. Then I just, uh, everybody, uh, it was decent. I, uh, you know, I kind of regret it. It was decent. Just the best intention on it. You know, I just let it, let me roll with it. I was shot with it. I also, uh, you know, put them, you know, that, um, that you're already getting one. They used to stick with that, all the different techniques, different times.

[14:18]

When someone else had a question about hands, what was your question? Is it in the same day? Well, I don't know. It's a question of how would you comment on how to use practice to establish this kind of hand. I like that phrase. In Germany, people have a real problem with giggling. More than in America. If it's a sheen and needle starts, the sheen is just about over. OK. I'm not going to be able to remember all these. I know it's in the same artery.

[15:22]

No. Why are the martial arts had such a dimension? You can't go to a martial arts administration and look through their book and they look down. I'm writing a book called Zen and the Art of Machine Gunning. Okay, let me try to respond. One about the hands, I don't know who asked that question, but we generally put our hands together in Zen practice, and you can't sit this way or

[16:31]

The problem with sitting this way, from the point of view of Zen, is that you have to either lean forward a bit or put your hands back here. Because as much as possible, you want your arms to go down the side of your body. But in general, in Zen practice, we sit with our hands together. And as I said earlier, the statues usually have the right hand up top. Our practice, our lineage, it's usually the left hand on top, but more less active side on top. But you can sit this way, too. You put your right thumb in the left palm. That's good. It's cold. But it's also, you concentrate. And you can sit this way or this. And one thing a lot of Westerners do is they sit like this. And that's okay, but whenever I see it, I know they have a Japanese teacher.

[17:34]

You understand why? Because Japanese have long muscles and short arms. And you don't see it from Chinese-Korean teachers so much, this posture. Their arms don't reach to there. But there are some advantages to sitting there. You don't want to have noise of the eyes. You don't want to have waking mind. You don't want to have sleeping mind. And your eyes physiologically trigger waking mind, and it's supposed to trigger sleeping mind. So you want something in between. The main point is something in between. Generally, the instruction is to keep your eyes slightly open so you get enough light. There's some cleaning up light as above your height in the trunk.

[18:40]

But I think it's okay to sit with your eyes closed, too. But if you sit with your eyes closed, they should be very lightly closed. There should be a feeling of light coming through the eyelids. It's not kind of closed, which makes you dark. That's my opinion. Now, shamatha practice and vipassana practice are joined at one practice set. But then, certainly, among my own schools, I emphasize it. I'm not unlike Theravada in my practice, sitting. And as for the sense of an ideal, how to live up to the possibility to practice.

[19:43]

I think we don't want to forget the idea. However, it always has to be based on accepting yourself as you are. So the basic motion, direction, practice is just as it is. Not just as it could be, just as it is. And it's only through really coming to just as is. Enlightenment, you know, just have to come to some kind of okayness. And if you keep doing that, that gives you a basis for groundless that allows you to imagine ideal states of being, but this direction toward acceptance.

[20:45]

And I think the trick for beginners is, I would say, that it mostly should be an effort to accept yourself as you are, to know yourself. The sense of transforming yourself Enacting ideal states of being has to be approached, I think, with some caution. And after your practice is quite settled. What was your question? About using practice to induce discontinuity. Yeah, you want to practice discontinuity. But not in the sense you meant. But generally, we're always trying to establish continuity. It's good to establish discontinuity. So I look at you, and that's one state of mind. I look at you, and that's a state of mind.

[21:50]

But in other words, how do you interrupt trains of thought or habits or change that? Well, the main way is to change your sense of continuity. to another place. As I said, the three main are the breath, the beginners of breath, body, phenomenon. If you do that, it creates, in other words, you substitute one continuity for the other. And that allows you then to not have the investment, the psychological investment and fearful investment, in maintaining the continuity where one happens, And you can also practice five stanzas and so forth. This is trying to create a lifeboat or inner tubes. You can work on the schooner itself. But anyway, that's the... And yours?

[22:59]

Oh, yeah. It's a... a questionable relationship. But you could easily have, and you do have, a number of successful film stars and business people who actually practice it for somewhat similar reasons to martial arts. Because it does, I mean, one of the best stock pickers of the century was a person who could, as he described to me, clear his mind completely and allow one thing at a time and then examine it from all sides. But he's using a kind of Zen trait to improve his productivity.

[24:01]

And Japanese culture, one side of Japanese culture, is very goal-oriented. Zen is used to further goals. But that's just using Zen as a craft. As this program, it seems that there's Well, this is quite a complicated question. In Buddhism as a whole, Buddhism as a whole does not justify skills which lead to perhaps killing someone.

[25:09]

So it's an adaptation of the craft of practice to goals which are not strictly speaking that way. You could gloss it over into all kinds of other things. But strictly speaking, I would say that way. However, throughout Japan, and it's not just martial arts, there is the craft which doesn't have a quality of meditative concentration in it, which isn't whether you're a maker of bamboo spoons for tea ceremony. If you discuss with that person the state of mind when they make the best sandwich food, not so different than the discussion of the state of mind where you've opened your sword the most likely. But I think that this, one of the points at which it is similar is this effort to reach a critical point, a state of mind which can stay a critical point.

[26:20]

That's very similar with both Zen and martial arts. But whether, you know, the martial arts or Tai Chi or Aikido or whatever, you reach the same point in Zen, I would say no. But it might be simple. But again, in the same lineage, two disciples of the same teacher practicing differently will come to a different realization. But it's quite a controversy. There's actually an article, current, magazine about this question of martial arts. The machine gunning comment comes from Dr. , who wrote all those books on Buddhism.

[27:21]

He used to ridicule Japanese producers by calling it the art of machine gunning. Is that all the questions? Yes. Oh, yeah, I didn't correct you. Sorry. I didn't correct myself sufficiently. Do you talk about bowing? Bowing? Not until you get out of that chair. No, just teach me. You mean this bow or bowing as a practice? I guess both. I don't know what it is. But this is just a greeting, putting your hands together, which is a little different than this greeting. They say this greeting comes from putting your hand forward to show there's no weapon in it. But bowing is a practice, you know, something Cresto will show.

[28:26]

Is that part of Zen? Oh, absolutely. I mean, yes. Uncorrected mind. It's related to the sense of accepting yourself. So you just keep accepting what's there. But of course, uncorrected mind, if you sit down, that's correcting yourself. If you have an idea of uncorrected mind, that's correcting yourself. There's no escape from an idea of correction. However, you can have within that an attitude of non-correction. Or within correction, you get a bigger attitude of non-correction. In other words, sometimes you correct yourself and you straighten your back. But overall, you keep letting go into non-correction. And that non-correction opens up the possibilities of unfabricated mind and . Yes.

[29:32]

I talked earlier about various practices. And it's your opinion. You didn't touch on it very much. But your opinion as far as doing, say, three different practices. Oh, yes. I think it's necessary to have a home-based practice. But I think it's, from my point of view, it's OK to do anything you want. My view is that if you like it, it's Buddhism. So I try to discover the Buddhism in the practice. But you need some home-based practice. As you need a home-based teacher, you can have various teachers. But generally, you need one teacher that you feel most at home with. It might even be something no longer living. But your other teachers fold out of that relationship.

[30:38]

And your other practices need to fold out of and fold into your home-based practices. And I think in the West, we especially need to be open to whatever practice. No reason the schools should be divided the way they are in Asia, in the United States. So should we go back to the inventory? OK, so we're here. We're trying to look at practice from the most practical sense of it, that you sit down and just discover what form is here, what form that form takes, so forth. You look to some extent at mind, thought, and time, change, so forth.

[31:48]

We look at the relationship to other people in terms of separation and connectedness and continuity. And most of the functions of self are about other people. How you relate to other people, that you see yourself as separate, together. And I would suggest in that way, and again, is that you just Spend the day, and really spend the day, 24 hours, on your separate, really feeling your separate, just noticing your separate, just noticing your separate from the sidewalk, from the trees, from other people. Then spend another 24 hours noticing. As a kind of discipline, it's like when you read, it's good not to skip over words. If you usually skip over those, it's hard to understand. It's to just

[32:51]

Take 24 hours and no disconnect. You should feel connected or disconnected. And disconnected is different than separate. Feeling separate is one thing. Disconnected is where the possibility of connection is not felt or interrupted. And then spend another 24 hours on continuity, how you experience your continuity. And I think it's useful when you're just talking with somebody, say, or listening to someone, Notice what attitude of mind in your mind affects how you're standing in front of that person, listening to that person.

[33:59]

In other words, are you open or closed? Are you thinking about them? Are you wishing they'd stop talking soon? I mean, notice the various things and see if you can have no attitude at all. And then try and notice where you are locating yourself in your body while you're standing and listening to this person. Are you up here? Is it kind of dark down here? Or can you listen to the person from your heart side? Any other chakras are basically places where you can locate yourself. So you can, standing in a situation with someone, see if you can move your listening or apprehension. I like the word apprehension. It has both a fearful quality and a understanding quality. If you can move your apprehension to another point in life.

[35:03]

That kind of study of the self, instead of apprehension, So that's connectedness. Now, one we didn't speak about is the sensei world, the world of the senses. And very immediately, if you think about that, what categories of form appear to you through your senses, you're very immediately in the vision which are the practice of separating out each sense field and knowing, and we did talk about the meeting of the three, and knowing each sense field separately and then together with others in various combinations altogether. And again, this is good to practice on walks.

[36:06]

Take a walk and work on half an hour at one sense, just durings. and then walk just smelling the pad or a sidewalk. I mean, I can smell this thing. And this smells different than it does. And you know how you can smell silverware, cheap silverware. I mean, it's totally amazing that you can sell molecules coming off of meth. There can't be too many of them. I mean, the thing doesn't shrink very fast. So I mean, we are immensely sensitive critters. Did any of you read the Psychology Today issue of maybe the last month about smell? Well, what could I tell you? You know, they've discovered that, I believe this is true, this is what the article says too, that you can smell

[37:08]

other people's DNA. And one of my entries to practice was smell. Because when I was, I don't know, an old teenager, around 8, 9, 10, 11, 12, somewhere, I noticed I was getting information about things, and I couldn't figure out how. And being from a scientific family, I assumed it had to be my senses. Now it might have some wider sense of the science. But anyway, at that time, I thought it had to be senses. And I began to notice that I would get this information if I was within an arm's length or so of a person. I thought too much farther away. So I figured out it had to be smell. but that I was not able to notice it except by receiving the message but not trying to understand how I received the message.

[38:20]

So I noticed I was getting this, it was one of the first ways that it was really clear to me that the world was not as it was being described to me by my parents' teachers. So I, just because I noticed I was getting this information, which no one admitted to, wasn't a conversation. And you couldn't, you know, so I thought, hey, this is not the world everybody's telling me exists. So it was one of the ways I started being interested in practice. But anyway, what they've discovered is that mice, dogs, and cats, and all of them, are smelling each other. We've seen such things. But they're telling us. And they notice that the mice choose, I guess, according to smell. And the smell correlates with the more different the DNA is and the more different the immune system is, the more they're attracted. So you tend to make with, animals tend to make with immune systems at DNA level which differ most from their own.

[39:32]

And so then they began to think, well, human beings don't have this old factory. They thought that they always would be old. If you ever had it, it's all in disuse. But then they discovered that the lab assistants, particularly women, could tell the difference between the mice themselves. They didn't have to be a mouse. This mouse is, you know, and that mouse was that one. Yeah, I'm sure. Then the mice did whatever the mice did. So then they did a whole bunch of tests. They got a bunch of college students to not wear deodorant or perfume or aftershave or something. And then they took all these t-shirts for it for several days. And they said, . And I know it was . They'd come everywhere, blow it out. And if that person smells like your father or your woman, if the person smells like your father or your brother, you don't want somebody who smells different than your father. You want a different pattern. Well, anyway, what's interesting about this and strikes me as funny is that where we are the smelliest is our hands and ears.

[40:45]

If you live in Europe, everybody's wearing those. But actually, you're smelling near the dust. And you disguise it as a kiss. Disguise it as an air kiss. You disguise it as something more sexual. But it's really not sexual. It's about choosing a mate. So we're exhibiting this same animal behavior that mice and dogs exhibit, except we choose a different location, a sniff. So anyway, we're amazingly sensitive. nasally, amazingly sensitive, and that they can smell metal and DNA. So, you know, and this is a very, all of our senses in the West are very underused, except eye consciousness.

[41:51]

And all of our senses tend to be covered. we're subjugated to the I consciousness. And the I consciousness is very connected to conceptual consciousness. So we lose the subtlety of a completely different way to differentiate world. Now, when I did the seminar at Boulder a while ago, did I talk about that? There's a whole colon about this, which asks, one of the lines in it is to asked you to, well, this leads me into the next inventory, so that's fine.

[42:59]

We asked you to hold to the mind before thought arises. Now, if we hadn't had this morning together, you probably couldn't understand that even as a possibility, because people could hold to the mind before thought arises for difficulty to hold to the mind of thought. But now that you see that it's possible to have different continuums of mind, and even a non-objective mind, I think you can imagine it's possible to hold to the mind before thought arises. Look and then let go. You will see non-seeing. I'll show you . And it also says, in the eyes it's called seeing. In the ears it's called hearing. What is it called in the eyebrows?

[44:03]

But then it says, nose has its own realm, eyes has its own realm, and so forth. And when you begin to study the sensei world, What's interesting is your nose is here, but it's telling you something very different about the world than your eye. And if you were blind, for instance, and you could only smell in the ear, you could not construe from the information your senses give you, your ear and nose and physical body gave you, is that you could not constrain what the world looked like. You see that? Not see that, see how language makes me say, do you see it? Do you hear that? You see? You can say see for all the perception, but you can't say hear for all the perception. Do you touch that? So, and if you could only see, and you couldn't hear, there's no way I could imagine what that is.

[45:13]

If everyone in the world were deaf, if one person could hear, he could tell you, hey, something's wrong. OK. If you really see that, what makes you think your five or six senses are showing you the word? They are so convinced that sound, smell, taste, perception, give us, are all put together by our brain in a very convincing picture of completeness. But maybe we're only seeing a small portion, or a portion. Because if you only had four of the senses, you couldn't imagine the other. So if you only have five of them, or six of them, what if there's a seventh? We do not have the possibility of imagining it. And as I said earlier, what's going on in this room right now that you don't have the sensory apparatus for?

[46:21]

How do you see television stations, cellular phone calls, radio stations, I mean, there's an immense web of popular songs. Though sometimes you might have the experience of, like, hearing a song in your head and turning the radio on right there. So we don't know exactly. We'll just pick it up to some extent. But we don't have the chips for it. So... I can't, could only, this example of radio, television, and telephone, I can only use in the last 50 years or so. Before, 50 years ago, I couldn't even give you this example. And if I told somebody, there's 200 television channels in this room waiting to be picked up.

[47:26]

I mean, you know what they say. So how do we know what's going on? The whole point of this poem is, and this sense of now mystery, is yes, each sense can be developed, independent, and is its own field of awareness. And each sense interpenetrates with other senses and interpenetrates with other people's senses. And yet, this itself, we know almost for certain only a portion of the world that we are living in, not just a portion of the world that because we can't sense it, it doesn't exist for us. No, it exists for us. It's just that we don't have the sensory apparatus to know how it exists. So the seventh or one of these categories, the sixth category, is mystery. Being open to this mystery. be open to what we cannot understand because it is not in the realm of understanding.

[48:33]

To understand or comprehend, comprehend means to grasp. We cannot either stand under it or grasp it. Nothing too obscure. So practice means to open yourself also to what cannot be understood accounted for, grasped. But now you see that these Zen phrases, like, what is it called in the eyes? It's called seeing. What's it called in the ears? It's called hearing. What's it called in the eyebrows? Aren't just kind of nonsense rhythms. What's it called in the eyebrows? And so, again, you're practicing with this category, just inventory of the senses.

[49:56]

You have to include sixth sense or something beyond the senses. You also have to see that it's different when you perceive things as if they were outside, and when you perceive things as always pointing to mind. I'm always pointing to your own mirror, so that when I see you, I'm seeing myself see you. That's a very different feeling than when I just see you. When I see myself seeing you, I can see that I am constructing this image. And I see you participating in that concept. So things become very precise. So anyway, there was a little story I was starting to tell. Jokey story. I'll tell it. A mouse says, I speak and smile and say, what the heck are yous doing above me, nose?

[51:02]

The nose says. The most honored one always occupies the central position. But we don't understand. I don't understand why eyes are above me. And I said, well, I shine. I reflect, see, so forth. What I don't understand is why the eyebrows are above me. And the eyebrows say, we are worthless. Worthless. Harriet preachers, but how do you think you'd look if you were below your eyes? This is in the koan, you'd think, what? But it's just a little jokey kind of story to make you recognize how different each of these realms are.

[52:04]

They are exhibited on our beds. So you want to not just smell the bad, you also want to taste that you're, taste also is very, very, very sensitive. Taste each other, we swallow to clear our mind. If you're anxious, your mouth gets dry. So taste is one of the main ways we actually establish our state of mind. That's why people, I think the deepest reason why people smoke, have popped up. So we've done most of the seven categories that I suggested. We talked about mystery now. Mystery also includes this sense of unique and inner and non-revealable. It also includes knowing things in there all at once.

[53:07]

In other words, I can know this separately, but I can also know this rule in its all-at-oneness. And maybe the cosmos is all-at-oneness because I am and this is macrocosm, microcosm relationship. So being open to knowing everything in its all-at-oneness is also part of this realm. It's a victory of this, what that be about. And the last one, it was teaching. We can talk some about teaching, because everything we're doing is teaching. And then I said you can look at teaching, whether you're open to it, whether you can hear teaching, whether you have the patience to hear and have the ability to act on it, on how you let teaching mature in you and how you let the teaching evolve in you.

[54:11]

So this is this inventory I want to say. If you just start, not even just say, what's here? There's some kind of form. What form does this form? What form does this form take? How can we begin to form it? And then you look to the body, the posture of the body, the mind, posture of the mind, the views, the mixing of the different. Breath. Attitude. Relationships to others. Your sensory, sensorial world. that which can't be accounted for, and how you practice your teaching.

[55:16]

And the basic idea of practice is to hold in view, hold the teaching in view. Say that you want to work with, notice that the difference I don't just see you, but I see myself seeing you. The more I do that energetically, the more I do it. And you can work on that, perhaps, with a sense of working inwardly. In other words, we tend to see things outward. So even driving a car, if you're driving a car, the car in front of you, you certainly want to know there's a car in front of you and it's not just a figment, only mine. But if you see the car as on a screen of your mind and you work inwardly, you keep having a feeling of working inwardly or inwardly, use a word like inward.

[56:24]

My experience driving, and I drive a bit, is I find myself much more responsive to what that driver is thinking and feeling as he's driving the car, in the sense of anticipating whether he's gonna turn or not turn. But that comes from a kind of power of seeing that I'm seeing the cars. If I externalize it, that car's out there, I'm losing energy all the time. You're leaking constantly. One of the differences is when you see that you're seeing, your own seeing or hearing your own hearing, you begin to accumulate power. And this is related to martial arts. Anybody want to bring up anything?

[57:41]

I think that's enough of this. I don't understand what you were just talking about. Is it a matter of actually visualizing yourself? I mean, you say you have network, but when I think of seeing myself, seeing someone, I don't know how to do that other than to imagine myself. Like, up there somewhere, watching people talk with these, you know. I don't know how to, what do you mean, like, it seems like the more I hear things, the more I don't see them. Well, I don't know exactly what you mean. I don't know. These things are difficult to imagine doing because they don't fall into categories we're used to thinking. So I like that you're curious or have an interest in people.

[58:43]

And if I were you, when I've been in your situation, still having some great success, I would you to that either. and see how that feeling can, in other words, you have some intrigue, what is this? So you stay in kind of what is this kind of mind? And you let that, what is this important? Because you have to, You really have to discover, once you hear a teaching, the territories or the gate that allow you to enter the teaching and the territory that allows you to enact the teaching kind of have to be generated or discovered. But one of the secrets of practice is to start where you are.

[59:46]

So just the feeling you have now, you honor that or trust that feeling. And stay with it. In other words, I've created a situation where you're interested, but you don't understand that spirit. That make sense? You stay with that interest, and you stay with the not understanding, and then see what happens. And you hold that in view in your daily life, your activity, if you're driving a car. And the holding it in view allows it to unravel open up. That is it? The word inward doesn't work? Can you try something else? Yep. It's all new. It's not happening. I've been doing this for a while.

[60:47]

That's not. I'm a student. It's not happening. Why don't you say it louder?

[61:12]

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