Harry made to see him, listened to him, to remember him, and he said, I am one of the papes that proved the power to die. You know, yesterday I spoke about the tree, winter tree, in which we don't know trees. It would be hard to imagine leaves and fruit. But I'm also talking about not just eating fruit, but enjoying the shade.

[02:09]

Not relaxing. How can I? You know, how can you talk about relaxing on the boat? You can relax, sit by me and share. Relax. Well... There's no four of them. And the importance of what this relaxing we could also call fundamental mind. And I can't really, I can wander around My job, I guess, is to sit here and wander around in what you're thinking, what you're practicing.

[03:19]

But I can't wander around in what you're thinking and practicing unless you're in the room of your own practice. I'm using Dogen's language to tell me . Yeah, it's OK. It's possible hands and working on, but everyone's attention is practiced. I think you can, you know, it can be a lifetime image that you and I could build. your own zazen practice in the realm of the Buddha ancestors. And I couldn't, as I say, wander around in what you're thinking and practicing unless you also were already in the realm of the Buddha ancestors.

[04:27]

There's always a great way. Understand me. And if you don't know, I'm most kind of not. the practicing, or rather, you don't know, the room of the Buddha ancestors. It makes me think of Sophia. She doesn't really know she's in her mother's room. And she knows that when you take her away, she doesn't want to be separated from the mother right now. Uh-uh. When she's there, she bustles the back door from now on. Here's the person who will take care of her everywhere, all the time, picks her up, needs to be hungry. She's a nurse. Hasn't, like no one will ever be present for her again. Yes, she bustles.

[05:32]

Later, she looked back and said, there's no one ever for me like that. Then somehow everything you need is here. But then we bust it back. So we have the Book of Serenity. 100 complex koans. What it's about? It's about joy and shame underneath your mind. You know, there's various kinds of mythology that I don't know we can't carry into our culture. For example, I mentioned it when I was back in the practice period, actually, that typical mythology that the Okesa are protected by the placenta goddess.

[06:37]

That's quite far out. I mean, we want to be ordained. We'll be born again and give you a person. Bodhidharma sat for nine years. What did Bodhidharma wear? He wore the blood on his head. It was off some nuclear for him, all right? And he was just... He said, okay, thanks to you. You know, if you penetrate this image, the center is part of the embryo, not part of the mother.

[07:44]

The egg splits into two parts, one part is the center, one part is the embryo. And when the baby's born, the placenta is destroyed. But in this kind of mythoprotic, poetic way of looking at things, the placenta is the world. It's our other half in this poetic way So someone said to me, during the lecture, we spoke about looking at the tree, for example, seeing what's not there.

[08:54]

He said, you can't mean that you don't just see the other side of the tree. No, that's clear. You mean so too. at the other side of the trees. All you have to do is walk around the other side. So that's not, couldn't do what I mean. And I think it was a squirrel. And that's how I tried to watch a squirrel. It stayed on the other side of the tree. Every time we tell it. So even a squirrel knows the other side of the tree. I call it Schrodinger's squirrel, whether it's there or not. You circle the tree and the squirrel knows. Though I'm not talking about what a squirrel knows or what a squirrel knows. No, I'm not talking about the roots of the tree, though. No, that won't be true. I mean, I told you before. It's touched by seeing a design of an Australian aboriginal.

[10:00]

It's weird. This person described this design in a part. What is that? Oh, it's a tree seen from underground through the roof. Oh, you can't look at it, can you? Or American Indian design, which is motif. What's that? Oh, that's the shadow of the flower. Yeah, so I mean all those things, but I need something. You can't, what the way I said it was, I said, Let's notice what a bird sound would be. Come back to sound. Yeah, an important tool on the surface. You can't go around to the other side of the bird sound. You have to be a bird.

[11:04]

A bird, there may be a bird involved. You know, they found the compiler in the office, and finally was enlightened on the lines and so on. Little Jay, wouldn't you agree? A woman called to her mother in the garden by pretending to call to the maid. The maid's name was Jay. Little jade, little jade. She doesn't want little jade to come. In fact, she wants little jade to stay away. But she doesn't love her. How do you mean? Who could get on the other side of that boat? But it's not about what we could understand. It's about what we can't understand. But she tried to think about it.

[12:06]

Oh, how could I know? You've got to learn how to stick with the prior condition, the prior analogy. Think of all the senses in the way you don't. You only hear that part of your sound if you hear it. And you only hear that part of it. See that part of it truly. I see. I don't know if I'd read about how you could get there if I could. And someone mentioned to me, yeah, that we see the only good blue tone looking at the sky. But the blue tone is the fact that we see, and it's a wonderful blue tone. Blue sky, nothing but blue sky. One of my favorite songs.

[13:07]

From now on. You know, in Mara, I spoke about Mara. Mara, in a positive sense, tries to draw us back into the temporary world. It's a beautiful world, the blue sky world. Forget about the stars that are there and you can't see them. Forget about the one thousand moon. The blue sky going up. But when you put us, you know, you say, oh, no, blue sky, I like blue sky. But I also know the night sky might be a little bit. So now if you're practicing, maybe you'll perhaps have some sense of stages.

[14:27]

And again, I spoke about this. Practice behavior. And that stage is in the sense of a step ladder, something like more like . And maybe you're going for a hike up here, and Peter could say, well, you go a wider ways, up at Green Arrow, and then there's much bigger trees. Then there's no trail after a while, and maybe you have to look for animal trails, and maybe listen to the gold. Maybe there's some way of, you know, picking out a trip. You know, that's not really stages. the experience of Peter walking up there. When you get up there, you don't feel completely lost. So these don't feel completely lost stages.

[15:30]

But I'm trying to teach you no big deal of Buddhism. No big deal of Buddhism, which is not completely lost. First, you know, it's good to develop first and then practice it. If you're doing that, that's quite a bit. You kind of bring yourself back to it. You know, you create something right to cue yourself. Ah, you know, practice mindfulness and large or homeopathic, as I said, basically. and your activity and your breath. Then you want to daily practice, several times a week practice, if possible. At least be inside the door of practice and let the non,

[16:45]

the non-puny, deep-sleep money that we already know, but not capture, begin to kind of permeate our daily life, shift our mind. Something like that starts surfacing in you. It doesn't surface so much through mind. Purpose, you don't do a lot. You do something. Purple, seven, eight. You're stuck inside something that kind of sinks like sometimes disappear on the ground. And you want to bring some ,, some teaching, some ,, bring some praise into effect. I have to just treat everything like they're on my side. But just now, God's already here.

[18:04]

There's something aggressive about saying here, but already here. I don't know why. I'm already standing here. I'm already You're already connected. You don't have to make connections. You're already connected. The mind that sees you separated with this? Yeah, that's it. Already connected. Different mind. It's not just a different idea. Different mind that can let you relax and feel. I mean, there's parents of enlightenment that are already here. You don't need any consult. Don't go through enlightenment. Start with a pill. Enlightenment pill. With it. In the mind. In the mind, see the disability. It's again, something like homeopathy.

[19:06]

Little tiny glories like that. You can poke them. In the mind, they're all over here. So this, you know, missing part, the sense of the ally, you know, and one of the first things that happens in this practice Is your first year or two? I always say the first couple of years. What that means is not a few months usually, not five years. I don't know. A couple of years. When you practice.

[20:08]

All kinds of stuff starts coming up. But again, let's go back to the image that unconscious is related to conscious. Karma is about conscious act. Most of your memory comes up in your consciousness. In this environment, you're not exactly conscious. If I hope you're not conscious, some people can't really be conscious of it. They kind of think you did it instead of . We kind of forget about that. And the . God, as I say, the stage of your life widened, the stage of your conscious life widened, your conventional life widened.

[21:17]

It's still in the realm of me consciousness, but it's a wider me consciousness. And things you provide about a kind of sadness, often a kind of sadness for a person, for at least a long day or half a day more in the session. Sadness grows slowly. But these things are not coming up in consciousness. They're coming in. It doesn't matter. It's a samadhi of the mind tasting the samadhi, the taste of samadhi. And they're restored. You become familiar with yourself. It's a kind of re-briefing, you know, the central process of it. You become familiar with yourself.

[22:20]

And in actual fact, you know, I'm pretty sure my experience, Lisa and I, These experiences that you go through, all the memory, it comes up. First of all, they're not sitting under the shade of this tree. You're in the midst of all kinds of incomplete stuff, things you'd like to complete. Sometimes that's the mind that's already some deepened trust. And things are restored to memory in the middle. What you're doing is laying the foundation, you could say, of your laya-vijñāna, or opening yourself in your laya-vijñāna. And the difference, and I'll point out to a couple of people, the difference between the laya-vijñāna and the unconscious. One is unconsciously, unconsciously.

[23:23]

Kind of a function. Consciousness, what's been conscious, you're not allowing the consciousness to be conscious. It's everything you've ever experienced, known, touched. It's the entirety of your world. You have a ground to hold all that which has been experienced. Much of it never touched me. Much of it came through this gap where we can't really know what our senses, that vast consciousness. And somehow when we restore unconsciousness, Restore memory from the open, the joy, things that you were feeling non-consciously, whatever were conscious, you didn't feel regret.

[24:38]

So that's like a kind of difference, the concept of non-consciousness, non-consciousness, non-non-consciousness with a lot of Vajrayana. In the Laya Vajrayana Sutta, I talked about Vajrayana practice You know, one has to at the time. There's a quality of mind that goes along with each sense. It's not, you don't just feel. You feel with your own mind, not just the organ of the spirit. It's the feel, the ayatana of the object perception, and mind itself, you need a mind of quality of mind. Mind of a kind of mind that accompanies each sense.

[25:46]

Well, the more that mind is present with kind It's around the editor now, the mind of the reality drama. And now we're talking real, and you can't reflect it and study it, but you are practicing it. How we enter the depth of ourselves and immediacy The idea of life is known as a function. is that it is possible to function in the world not through consciousness and unconsciousness.

[27:04]

It's something like unconsciousness, et cetera. Not through unconsciousness and consciousness, but through the entirety of our experience all at once. And all at onceness of our experience can be present. We can feel it. immense familiarity with this other half of us, the . When the editing . Yeah, . So that what you're doing when you When all this stuff comes up, one very simple, the ability that's simple, but look carefully, let's see. So this is my advice. Don't invite your thoughts to tea. If you're able to not invite your thoughts to tea, it means your mind, thoughts are not the whole of your mind.

[28:18]

practice is to shift from identifying the thoughts to the mind, which doesn't have to invite the thoughts to be. And the mind, which is being open-ended without some kind of future or self-important or self-referential thinking limiting what appears. When you're sitting with that woman, you kind of drop self-referentiality, self-importance. You cannot drop a lot of self-importance. Why am I important? Shit, I'm not important, is he? Horrible. How do you feel about that? They're important. They're important. Already, you're in the Buddha ancestor's room. You kind of get shoved in there against your will. Less self-importance, less self-referencing, not inviting your past to tea.

[29:28]

The stars are out of the gate. What you're doing in that process, when formulating your self-realization, Reparenting the self. Restoring the experience in some kind of way that feels present and more complete. That's including a background mind. That's the second stage of that. Develop a background mind that's... Yeah, both of those. You have nothing wrong with that, the one you're not building. In the midst of doing this, you build the one you're not building, that background. Now, that background mind becomes an all, we could say, foreground mind. It becomes an all-ground mind, in the same, these are the same words. The background mind is part of the second stage of that.

[30:39]

mindfulness, working with the teaching, dancing, we begin to feel the presence of a stable, moving toward, into, to, and both, and now the present. Now, . That's not . It's not . It's here. You already know. really stabilizing, really shifting how you function with this as your initial mind. The more you settle in this background, and you know this background, and you're involved with it, then you can begin also to study in the edge of your mind, seeing how structured your mind is. And also, then you can really begin to explore some depth in teaching.

[31:54]

That's all. And I think that will help people, essentially, really, to practice this way. And teach it, that's the practice center of our book. And have some sangha. The whole world becomes your sun. You know, it's hard. We're not used to something. Most of us have grown. Most people on the planet grew up in some sort of tribal or village life where you're permeated by other people as you grow up. So he is permeated by another. And then You live in a village and you come here with other people, but now we've got to live that way. And when you come into a sangha, it's kind of like, you have to come here with other people. You are other people.

[33:00]

Can you have a single thought between some relationship with other people? Language itself is other people. So this Relationship to other people is relationship to sound, relationship to all the, I mean, all these thoughts that come up in the first, I'm saying, two years of practice. Seal of love. There are a few things that are just connected with you, but there are other people, too. So what I'm doing out here and why I just . And then developing a background mind.

[34:03]

Then being able to see into the structure of our own mind and moves. And work more fully with the teacher. All of that leads up to what I'm talking about. Basically, this whole practice of how to break the tap. Come out of the dharma social. No, I call it not the universe. It's a sheep. Still, when you talk about it, you do it. You talk about Marx, you talk about the sheep. Back to that. It's none of the tools, dharmic tools. ally, mystery, seeing the world as open and unpredictable. He had the mind of, oh, good.

[35:14]

This is the conversation. May the true man come and pray. Thank you.

[36:24]

Thank you. [...] I ain't got nothing to quit. Amen.

[47:22]

Amen. Amen. I am not so wrong. I am not so bad as to penetrate and protect our war. [...] I don't know why I'm talking about details so much. Maybe because we were speaking about something like, so to speak, brush stroke.

[48:53]

I remember a friend of mine, a painter, pointed out to me once. Usually, he said, a good painter, you look carefully, everything is painted with the same brush stroke. No matter what you paint, you use the same brush. A less good or amateur painter changes the kind of brush stroke that they can have. Generally, I don't study that. I see them in reproduction. Mostly, you can't see brush stroke. When I have tried to follow up on the observation, I think it's so far it's been true. It's almost like there's a brush stroke in my life. a rhythm of brush stroke that underlies all the others. So let's assume something like that's the case. I'm trying to talk about dharma mind or brush stroke mind, and to get us into practice in a certain way.

[50:04]

And yet, you know, I know our school, our lineage school, more than our lineage, is criticized for being too concerned with meticulous details. As a westerner, look at these two Chinese, or five or six Chinese schools, they're all involved in level detail. a different style of detail, but still detail. I mean, look, this is the culture that discovered Acapulco. Just the way we put a needle in the needle, you know? I think the earrings are the effects of Acapulco. Anyway, all this tribal behavior now they were given

[51:05]

I always wonder how they get through the metal tech. Therefore, they have to undress. So I'm trying to bring to life this sense of Acting out of dharmic love. One, finding English words, if I, I mean, I'm taking this from my own practice, but, you know, if I try to look at it in the context of our tradition, I find myself most clearly referenced and initiated, as I said the other day, and did not back in the 50s. And in general, early yoga child. And then early yoga child. It's practice.

[52:11]

And it's concept. So I will go back with some meditation and shine back into more deep. I'm trying to use English words, you know, object of mind. And when I shifted the other day, you thought we were all mind objects, not an object of mind. But, you know, I'm just trying to find some way to think about how we bring attention, what awareness, what observation to our Actual existence, how would we actually live? You know, we're looking at the details, the brush strokes, how would we actually live? Painting our own world. Painting the present.

[53:15]

The present doesn't exist. But I always say, how long is 12 o'clock? Millions of a second to 12? Millions of a second after 12? There's no 12. How do you get hold of the present? Well, we paint it. And we walk into the painting. Wet paint is very impressive. So I'm trying to give you the feeling for the pause or posture of something like that. For example, let me just try something. Well, let me first say I've been commenting on some of you in your thumbs and all. You'll notice, how many of you? Quite a few of you. I think you'll notice that it's different to give up. Quite a few of you bow like this.

[54:16]

A lot of you sit with your head to one side. A few of you sit with your head to the other. You can move into these habits. You'll find it's a big change. And there's a difference when you sit like this and when you sit like this. I find I can't sit like this in normal because then I can't listen to you. If I'm sitting like this, I don't care what you do. And it really immediately puts me inside of that, oh, what a blurry personality. Oh, are you still there? I've fallen asleep in dogs and puppies. They think it's somebody. Not sleeping enough to happen.

[55:17]

But I find, you know, if I want to pay attention, I have to actually put some pressure here, right? Sit in a relaxed posture first, and then actually as we I find that I just watch what I do. I don't do it. I'm not thinking this. I'm doing it. I find I push my thumbs together or something like that. Depending on what you're speaking about, what kind of attention I need to pay attention to. I find my hands actually, just as I'm speaking, my hands do. When I pay attention, my hands do certain things to help me pay attention. My hands are not mindless. You know, the big difference between humans and dolphins, we've got hands. But they have a different kind of brain, different kind of awareness that the gunner has. So let's take somebody's coming to pick up the soft girl.

[56:26]

Dimash. It's very common and very compassionate of you to, you know, move the tray toward where the salt goes. Among Dimashos here, you put the tray over there. Or whatever. It's wrong. From the point of view of what we're doing, it's wrong. It's nice of you to do it, you know, but the sense of it and something is you who are picking up this gamache, or whatever you think, take a posture. Your posture is to hold the trail. That's all. If you come up, you hold the trail. If it's two people, you hold the trail in the middle. It's my posture to bring the salt to you. Come up. So, I want you to be real predictable.

[57:28]

Don't go moving the tray around. I lose the target. It's a moving target. I want a steady target. So you come up and you just assume the target. You assume the posture. And you pause in that posture. When you get in the habit with this kind of dharma pause, dharmic pause, posture pause, it's like an antenna for Big Mac. Somehow background, their stable mind surfaces. Now this is expressed lots of ways. The backbone is a kind of mind. The stick. Excuse me. You can ask me. I didn't ask him particularly. I don't know if he's teaching. Because he, I watched very carefully. what he did with the TC staff while he lectured in the early 60s.

[58:31]

You see, I would watch him. We had chairs. Public lectures. And sometimes it would be like this, but when he'd start talking, like I moved my thumbs, he would do various things with us. While he was talking, this was another kind of lecture for me. And I'd watch how he handled his staff. But this is, you know, supposedly the background, this is a back scratcher, just like the whiskers of fly swatter, they didn't have air conditioning, insect destroyers, so they had to whisk them out like a horse. The famous heights, South China, sweating temperature and everything. Yeah, I'm talking about the end of the day when you're risking your thighs all the time. This is the dharma when you're risking your thighs.

[59:31]

This one was a back scratcher, high energy. And you'd be tired. But it also represents the background, as it were. And if you're going to take a beautiful piece of wood show the human intervention while it's still not . So I don't want to make a thing like in service. But I use this in service usually. There's a certain way to do it. But when I'm sitting, during service, the chain's going. One way is to hold it very loosely. and keep it completely upright, mostly without moving, while you're chanting. The idea is that I might be chanting and moving, but this stays upright.

[60:35]

This is a backbone. It represents a kind of antenna, in the sense that the backbone, the relaxed backbone, aware, not rigid, communicates big mind in situations when you're with people. It's just basic yoga practice. The body is understood as the main community. So the person Picking up the ganashio, comes up and say, assume a posture of holding the tray. What for? What do you do next? So now, do I have one posture? No. Getting the salt.

[61:37]

You just put that here. And I don't want my sleeves to knock it over. So I have to get it. So I turn. And for me, that's one movement. That's one posture. And I actually pause in there. Then I bring it forward, feel like I'm moving it through a kind of water around my body, a kind of work field. I bring it to the front, and then I bring it into my body and hold it for a moment and pause. It's another posture. I don't just go like that. I mean, you can do that if you want. I mean, I don't know. This is all crazy. You won't act like a crazy person like me if you want. You can act like another kind of crazy person who just puts it down. So I bring it here, stop for a moment, and I even feel like the medicine container, the medicine bowl, the medicine bowl is holding.

[62:47]

And then there's a release of both. So also the four marks are here. You know, I've been talking about the four marks. Something appears or arises, has a certain duration. It's all, and you let go. It's building a new mark. So if you're kind of picking it up, when we're here, that's a new duration, and each time appears, the posture appears. And there's a pause and a posture. Now, if you get used to this kind of pause, now I spoke about pausing lots of times. And here I'm trying to approach it again. You can get a feeling for it. We're not just talking about monastic pause. We're talking about . The more you feel this posture or pose or composure, I actually don't like the word composure because it's usually used to, he or she's very composed.

[64:07]

It means they're forced to kind of quiet attitude on themselves. They can really pick up slightly, more than slightly, dealing with something false. But the word is actually basically composed. A Dharma practitioner always feels the whole. It's interesting to watch a no-play, no-feeling. It's very much connected with Zen practice. In fact, some roshis actually study The walking and movement taught them in no place. But if you took a photograph at any point, every photograph you took of the actress would be composed. There's no moment that doesn't make a good photo.

[65:09]

Now, all of this is a feeling of closure, completeness, and whatever part of it. This comes from basic sense of every movement is actually a posture, a series of postures, not just a movement. Almost like a moving film is a series of stills running fast. A series of stills running fast. But there's a stillness in it. If you get in the habit of this sense of a pause and a posture, actually you are physically manifesting background mind, or big mind, or Buddha mind, or imperturbable mind. It's like a surface is imperturbable mind, movement, direction, or imperturbable mind.

[66:18]

surfacing with you every time you have this kind of pause in the stillness in the middle of that, the one who's not busy with you. So such small things like this, you know, how we serve in the, I mean, how we serve this This isn't just about meeting this old boy. It's about the . Again, we're not just trying to get food in people's mouths. This is a basic teaching process. And that's why I pay attention to how you're serving, how you pick up food. Take the water, you know, dishwater.

[67:21]

We drink the dishwater because we don't want to separate ourselves from something like that contaminant. We take the bowl and we touch it to the thing we're pouring the dishwater into it. We touch it. It's another way of saying I'm not making distinction between bad and good. Drinking the dishwater and I'm touching where I drink. Some of you try to touch the bowl when you don't drink. No, you touch the lip where you drink, to the side. Think about half or some portion. Let's come straight over here. Interpenetrating. These little details in our sermon actually come out of the sutta, the basic teachings. Thoughts and things ask you to allow big mind to surface with you.

[68:34]

It's also kind of an antenna picking up a community, big mind, a world view, a Buddhist view in the world. Because you, you're doing things, but somebody else feels the silence when you're back there. We're Pluto antennas. Now, we do the service in the morning. Now, let me bring in another word. I'm going to try to verify the object of mind. Mind, object. Now, let's try object of observation. Maybe we should say object of awareness or object of attention. But attention, yeah, attention is good.

[69:38]

Intention is better. But attention has the feeling of going out. We don't want to go out toward objects. If you go out toward objects, you lose the basic integrity of your mind to you. You want the objects to come to you. Now another kind of example. I don't know, I don't look around. But if I do look, look with my whole body and not the body. We rarely look with our eyes. You have to sit and look. But generally, you look with your head. It's something different.

[70:41]

When you just look with your eyes, you kind of mind, thinking mind, you look with your head, somehow your body is more settled than the mind attached to the eye. If I want to look over there, I turn my head. Look over here. I don't turn my eyes. That's basic yoga style. Most people wouldn't be taught it. But it is taught. Again, doing things with two hands. Your back bone is involved in your deep breathing. Your body's involved. Your mind's involved in deep breathing. Your body's involved. and moving mind and body together. So when you turn like this, and you're having, but the object more comes to you.

[71:44]

And you just turn your eyes, you go out towards love. These little differences make a big energetic difference. Like the way you do it, the way your mental continuum is established, over a year. Now, you don't have to remember all the stuff that you need to feel for what I'm talking about. No, I've never clearly spoken about this. Why? Because I'm blaming you. You must guess that you can get it. Somehow you've got to deal with it. I think you do. Okay, so we chant in the morning. We offer the merit of this chanting to the bhikkhas, to all bhikkhus, to the ancestors, to the bhikkhus.

[73:02]

Thank you. My treat. Okay. Let's use some different language for that. We offer the merit of this chanting to these objects of observation. Let's think of it that way. I'm trying to make it more mechanical. Get something. We offer the merit of this chant to these objects of observation, the Vipassana, the ancient Vipassana Buddhas. The Vipassana Buddha, when I say that, this is the Buddha, the first of the Buddhas before Buddha. What does it mean? It means some primordial Buddha, or Buddhism not as a teaching of the historical Buddha, But Buddhism has something fundamental, right?

[74:05]

Science would say that much of science is not culture. Whether you're Chinese or African, what you're doing in America, basic science is the same. Some people disagree with that. that there's a Western science, an imperial Western science. So from that, that's me. But still, there's something basic about science. In that sense, the Vipassana Buddha represents there's something basic about Buddhism that goes back to our hairy ancestors. And as soon as there's some kind of intelligent serving So I feel something primordial. So for me, that becomes an object of attention for a moment during the service. So sometimes I might feel it during the day. So when we offer the merit to, we're saying, take this as an object of attention.

[75:13]

The object, we crush it. Sense it. And then I don't feel it in the past. I feel it right now. I'm also speaking to some kind of fundamental dharmic science. Isn't the school of Buddhism or Ailin something primordial? That's what I feel about. So it is an object of attention. All Buddha's Buddha ancestors. To me, that immediately, for now and recently, is the room of the Buddha ancestors and meditation. And I say, all Buddha and Buddha ancestors, I feel each of them. That's my object of attention. And we say, see, in university, you tend to, oh, that's my teacher and the other teacher. That's easy for me. Hold in mind, as an object of attention,

[76:21]

Then you say the Maitreya Buddha. When I say that, I mean you. You're the basis of the Maitreya Buddha. The future Buddha is you. Because you're a direction toward the Buddha. The center is the direction toward the Buddha. So many of you have been practicing various kinds of Buddhism. It's a direction toward the Buddha. In a society, he is Buddha. It functions, begins to function in a Buddha-like way. So now we're talking about Buddha qualities and Buddha functions. Buddha would be just a person. The qualities of a Buddha, the functioning of a Buddha. So I see all of you actually presenting the direction of a Buddha. And when I see various kinds of Buddhist ideas, when I was in the 60s, I said to my family, There's going to be a few people who practice it.

[77:24]

There's going to be a lot of people who have a general well-being practice that kind of helps. But probably the most important is the Buddhist ideas are going to get underneath the skin of our society, into our converse and into our commerce. So there's a kind of a movement, a secret stream, not so secret now, slavery. Yeah, I like this thing. I've been on practice either, but that's it. Slavery, I mean, slavery. This extreme direction in our society, whether it can save us from destroying ourselves or whether anything can save us, I don't know. I'm very pessimistic. You're a scientist, right? You're a climber.

[78:33]

Anyway, hey, let's get, the best I know is the Buddhist. Let's get it out there. Yeah. And I want to get it out there by practicing, not writing about it. So when I say an object of attention, object of observation, now we ought to merit this champion through the following objects of observation. My favorite. I mean, you have the ground, the basis for my favorite work. You are making, we, you are making it possible I'll give it to you. I don't care whether it's true or not.

[79:33]

For me, it's a fact. I'm living as if it were a fact. So there can be lots of objects of observation. You can make a chart. For example, in this nanopractice, You can, OK. There's objects of mind. We've got the idea that everything's an object of mind. You're objective. You hear a verb, you hear only what you hear of the verb. So once we've really grasped that all objects All objects of perception and conception are mental objects, mind objects. Wider word, mind objects.

[80:34]

If we grasp that, as some of you have pointed out, the world then becomes very fluid. It's not attached to the object. It's attached to your mind. And your mind is fluid. So you work from the tennis and shift around. It's scary. It's happened to me and some of you. But eventually, you find a way to stabilize it, partly in your own background. This antenna and tube of mind. Rather than thinking it's real out there, find what's real in you or something. Once you get in the habit of objects of mind, of course this is transforming your mental continuum. Once you get in the habit, you internalize that every perception and conception is a mind object.

[81:49]

I'm using a little loosely now. You actually transform your mental continuum into a Buddha mental continuum, which recognizing, then come. Then come internalizing realization. You transform your mental continuum, you transform mental. Okay. Once you recognize that everything is an object of mind, a mind object, then you recognize you have a choice what your mind-object is. What are you going to choose as a mind-object? Well, there's, you know, about this. Let's just take seeing, . The usual way to see, like this, is let's take a tree. You see, you go back and forth between the field of the tree and the detail of the tree.

[83:01]

And you let your body, you kind of feel the proprioceptive field, body field. And you feel the tree, the space of the tree, not just the, you know, not your thought. You don't create a generic name for the tree. You've got the five dhanas. You don't get a name for the tree, or you hold back from knowing the tree. You just feel the field of the tree, and then a detail, and the field, and then a detail. It's a kind of practice in sin. You can make that choice. If you practice that for some days, like right now, if I'm talking, I can feel the field of all of you at once, or I can Feel Craig, particularly. So instead of thinking, I feel a particular person, and then I feel the field of view.

[84:06]

That influences the kind of lecture I do. And the reason we have this thing on the back of a rock suit, the so-called pine needle stitch, or inside it's a circle, is this is part of this antenna. And that little pine needle stitch is much more of a galactic star hat, recognizing a kind of cosmic dimension to the bow. Now, you wrote this down in a book. It's silly, but we can talk about it. You can choose what your object of attention or object of awareness or object of observation

[85:20]

For instance, we also chant, we hold in mind all women and men who've realized the teaching. Now, we put that phrase in there. I like it. Sometimes I think maybe it should be all women and men who practice the word, who realize the word. Maybe that feels better. So the way we decide, the way I decide what goes in there, echoes, those are called echoes, E-K-O, not E-C-H-O, E-C-H-O. But which can I best hold in mind as an object of observation during the day? So when it says in the morning echo, we hold in mind women and men. who practice the way or realize the way, it means, hey, take that as an object of observation for a day or so.

[86:25]

Hold in mind in yourself all the meaning. Hey, that's a very beneficial object of mind, object of observation. It affects your mental continuum, your mind continuum. Then I decide, yeah, well, actually, I feel better holding in mind, holding an observation. All women and men, we practice the word. Well, maybe I thought we should change this. But I don't think the change. I feel the change by holding this as an object of observation. Now, you can practice this way with a teaching, too. One of the truth is the path. To hold in mind the sky, because that's the basic. To hold in mind means to make the sky as an object of observation. And that's how you realize the sky. You don't think about it, you hold it in mind.

[87:27]

And if you're practicing, what is the line? Sinking, you hold the forethought alive. hold to the moment before thought arises, and then, then cease seeing non-seeing. Something we can do. And that's from the, show you what we mean by that. Hold to the moment before thought arises, and look into it, and then see nonsense. Now, if you want to practice this, you don't go on to the second two parts of the sentence until you've actually experienced holding to the moment before .

[88:44]

If you try to go on to the rest of the sentence, you're just No, you don't, you say, there's a kind of discipline. Won't go on for the rest of the assembly until I realize, holding to the moment before thought arises. Hey, then the second part of the assembly starts to make sense. There's a kind of, there's a discipline, serious discipline here in practice. Holding to the moment before thought arises. Thought means any mental form. So that can be something like that. It could be your object of attention, object of observation, object of awareness, which is better to say. In English, it makes a little difference. If you're an English speaker, it may not make much difference. Holding a teaching in mind, holding a teaching as mind. And you can hold the parameters.

[89:54]

given, received, patient. Or you can just take a good quality, a good quality of another person. Every one of you has some good quality. So if I really want to practice compassion, in each of you, I see the good quality you have, and I hold that in mind. That's my object of observation. Whenever I think of you, I think of your good quality. If I think of your faults, I think of that secondarily. Hold in mind for each of you those aspects of qualities I see that are critical. That's my object of affirmation. That then affects my mental continuum and my mental continuum with you. So we have a choice about what our objects of observation are going to be, what our mental continuum is going to be, I will be true to the moon. .

[91:02]

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