Wasn't that a wonderful thunderstorm yesterday? Now to get my... to get a down under language I have to get myself down under language. And in order to be understood, I have to get you down under language. Now, what the heck do I mean by down under language? Of course, there's no such place as down under language.

[01:10]

As if there was a place, the same place under everything. So to get down under German and English, To get down under Jewish. No, Jewish. Anyway, it is necessarily different than getting down under Japanese. But the point here, the significant point here, is one, is there's no truth, there's no absolute down under.

[02:14]

But there is the truth from the point of view of Buddhists, world view at least, that everything is margined through the worldview of interdependence. I said, Siegfried, while we were away, that in order to get down under language, I have to get myself down under language and to be understood with you by you I have to get you down under language and um

[03:17]

And as I said, there's no such place as down under language that's universally under every language. Such a view requires a different kind of worldview than independence. But what I could say is that by getting down under language. I mean, we're working the margins of language. No, if this isn't crystal clear, it's not intended to be crystal clear. All right. Someone told me to look into Wilhelm Heinrich von Kleist. Who told me that?

[04:55]

You did. Oh, this is good. So the little I know about him, he talks about something like the production of thoughts in the midst of speaking. And he speaks as if letting the soul somehow speak through you, speak through your language. And maybe he's saying something that's similar to what constellation therapists would like to have happen in the constellation. And maybe, you know, this is the 1800s, you know, 1770s or something.

[06:05]

And this was a very creative time in Germany. culture, language, for sure. And again, it seems to me to be a time in which the German language and a national identity was coming together. Which again, I can say what it means to me to say working the margins. The margins of language, the margins of identity. Die Ränder der Sprache, die Ränder der Identität. And I think I feel like today I'm going to be using the concept of identity

[07:13]

edges and margins in what I'm talking about. Okay, so it does seem to me again, and who I know about Heinrich von Kleist, is that he was, he had to... Perhaps his insight was much the same as I'm trying to speak to. But he had to speak unavoidably within the concepts of his time, Christianity and so forth. But the concept in Chinese and Japanese Buddhism of the Wado is a similar attempt to get down under language.

[08:22]

Or to work the margins of language. Meaning that good language tends to fix our world. Fix it, but not necessarily repair it. And so to not only look at your world in a fresh way, And to discover yourself in a fresh way. You have to find a way to get, as Merleau-Ponty says, reverse the direction of consciousness. As I repeatedly say, the job of consciousness is to make the world predictable.

[09:52]

And one of the ways it does that is it uses the confirms the patterns of language as reality. So if you have the courage of the adventurer the courage of the explorer to take the chance that you may find things you don't like You need to find a way to explore the gaps between the patterns. So again, the hua dou is the concept of

[10:54]

Again, the wado is a concept that you can somehow get at least to the source of words, experiential source of words in your own experience. So to return words experientially to their source within you. No, I don't know that. In a complete sense, there is such a good definition. The directionality of the definition, I think you can understand. Okay. And one aspect, what I'm trying to do here is continue what I spoke about yesterday in languages. Continue and make it more, I hope, relevant.

[12:28]

So as I said, when I speak, when anyone speaks, speech is space. I'm speaking into space right now. I'm speaking into the space of your listening. Like that. And although Even if we assume that the totality of what I'm saying, if there could be such a thing, is being received by you, and you're opening yourself

[13:34]

to the reception of what I'm saying. You're completely receiving, let's imagine, what I'm saying. Still, you keep something in reserve. We can even say, what you keep in reserve are secrets. If they're not specific secrets, they're secretive, in the sense you're secreting them away somewhere. So it's not only that you keep something in reserve in a kind of defensive way because you want to have some resources independent of what I'm saying.

[14:55]

But there are not only things you're keeping in reserve in contrast to what I'm saying. Those things you're keeping in reserve from yourself or secret from yourself. How can we fully speak our mind? Again, we can't, of course, fully speak our mind. But we can move in that direction. Okay. All right. So if I imagine... So I'm... What I'm doing here is imagining the constellation therapist is functioning... We have to have something to talk about, so I say constellation therapist.

[16:12]

Go ahead. Constellation therapist means Bodhisattva. Bodhisattva means each human being. So I'm speaking to the contemplation therapist as if he or she were Bodhisattva. So the Bodhisattva's impulse is to join each other in being. I mean, the basic bodhisattva power to save all sentient beings is really kind of nuts.

[17:14]

Charlotte mentioned him before, but his son Dorsey, Tony Dorsey, who, not the musician, who is written about in the book Streets of Him, He was my disciple. And when he was the head monk at Tassajara, everyone, part of the process of being head monk is at the end of 90 days, the 65 or so people each ask you a question. And someone came up and said, Issan, why do we save all sentient beings? And his son said, Well, we save you for later.

[18:35]

Perfectly good. Good answer. So the basic impulse is just to join each, not every or all, but each human thing. And to be simultaneously be forming with one. Forming mind, body and phenomena with every thought, act and action. Okay, so the the motivation or impulse to join each person you encounter.

[20:10]

Yeah, it's one of the ways that's expressed. Or actuated, if you have that word in German. Or in that moment. Is that you create a common space. And you try to create a common space outside of language. outside of consciousness. So you kind of may try to engage consciousness a little bit while you're doing something outside of consciousness. And one way of doing that is to use language in a way that

[21:10]

that is both functioning within consciousness and functioning within awareness simultaneously. So we've already spoken about in past meetings together And I think Ulrike, when she kind of reviewed the lesson, liked the way I spoke about the body and hands and so forth. And so... One of the things I've noticed about constellation therapy is the way in which you establish the constellation. physically the way it stands, has a feeling like the way you do things in a Zen meditation hall.

[22:36]

It is interesting how different How different a small change in view, extrapolated within a culture over centuries, becomes? Es ist interessant, es ist... Put the verb at the end. How different, how much a small difference... Wie ein kleiner Unterschied... like emphasizing connectedness instead of separation. When extrapolated over centuries through millions of people, becomes very different. And I often find it useful to use the example of a Japanese house.

[23:43]

Again, let me just, one of the most common is, people ask when you're in Japan, I said, why don't you heat the house? It's cold in Japan. People look at you with some kind of traditional, a house isn't cold. It's your body that's cold. Well, you hear it that way, it's totally obvious, you wonder. So they have heaters under the tables, they have heaters you stick inside your clothes and so forth.

[24:46]

How do you sit on the floor? You can sit on the air, but you're quite cozy because your feet are warm enough. And when you walk outside, walking out, and walking into another kind of in-bucket use. In Germany, there is another kind of outside. That, too, has several gradations of the second in outside. So, outside. But when you step into an abandonment, [...] abandonment. You put your shoes down.

[25:59]

Come. So that when people say that when you say it into them. A physical reminder of the statement. The cut. Leave it. Leave it. Dispersion. And this is a memory, an erotic, semiotic, erotic, autochthonous representation of a specific [...] representation You're arriving but going to leave. In Japan, when you do leave, you say, I'm coming to stand. So, but what's interesting about if you watch a person's accomplishment of getting from his spouse,

[27:17]

When you're in the office, there should be some change. Some people come into the house. You turn around so that you stand in front of the TV. Then you stand in front of the TV. Then you stand in front of the TV. You stand in front of the TV. Then you stand in front of the TV. With the feeling you don't know what we're into now. And you usually start with a kind of breath. and then you turn around and then turn around now teenage boys they just kick their shoes off and jump into the room and leave the knife

[28:41]

Let's say they're not yet constant. Let's say they're . So if they don't break the fort, they're not yet what they're from. What's the question? What's the question? They Thank you.

[29:55]

Why I talk at this point is because I've been trained to not act out. [...] You take away the making it your own by discovering it by just looking. That's all. But things are discovered by looking. No, you're talking about the agriculture. And I'm speaking and I'm here on the margins.

[30:57]

And I like it because we are on the edge of nature. Most of the things are, many of them are, uh, [...] uh. Family. But although I consider each of you, but although I can talk to you, unfortunately, take me if, uh, living people, Oh, really? Uh, mister, when you see a really unworthy person that you feel unworthy of, then you feel connected to them.

[32:02]

Uh, do you, uh, or do you, uh, do you feel that when you step into a house, you have to step completely backwards? Uh, uh, [...] The Tumor Concern Leading the Ceremonie Leading the Ceremonie Dad, you have to demonstrate. There's nothing to demonstrate.

[33:03]

So I'm going to demonstrate absolutely nonsense. I'll say Andy. Uh... Christine is the Buddha. Why is that? He is the Buddha. Can you see? You agree? No. I'm so grand. She is. I'm so great. And I don't walk across the line. So I have to the side. I have to the side. So you move to the side. So you move to the side. And then it is 50 years like I have. And then it is 50 years like I have.

[34:04]

And then it is 50 years like I have. [...] Dein Körper sollte innehalten. Jeder sollte sich denken, was zum Teufel sollte sein. And really see when something happens. Really see. Because most people really see. You try to tell them, really. And then you just start. Denn die meisten Leute, wenn ich ihnen das gesagt habe, weil sie gehen dann einfach weg. You don't know what this is. You don't so know what's next. You don't know what it is. I don't want it to come from her.

[35:06]

The body knows where it's going. The body knows. Der Körper weiß wohin er geht, er hat das hunderte Male gemacht, but er hat was wunderschönes. It's this patient door to space. A door to space is a door to space. There's no rush to do anything. There's no rush to do anything. And then there's another star. And then there's another star. Oh, surprised. In front of me. Surprised. Passed. Passed. Passed. The yogic presence comes out as a little thing like a

[36:14]

At each moment, you do something inevitably or mentally. So, what next makes... So, I feel... I don't like that. And when, when, when you start fist-flation. Yeah. Yeah, so you go to the feet. No, on and out. Out and out. Tree out. Out and out. So, let's do that. I don't say the word. I don't say the word. I don't say the word. Okay. visualization of man and whether the attentional space, the body being the attentional space is that attentional space are more

[37:42]

a more articulated assertion on the points of escalators. It's so hard to see the difference. First, I can't see it. It's not easy for me. It's also not easy to get some cats home. Now here's the sentence. So what is the back attention? When the body turns to attentional space. So then, turns to attentional space. The attention is speaking. The attention is That's a circulatory space. And it's circumnavigable. Uh, there is, uh, chakras. And then it takes the view. And in being, it's audio.

[39:15]

And that in being, it's this vision. In being, it's this knowledge. It's this energy. And that's always a good strategy. That's to represent anything that they can do. So that you don't do what they don't want you to do. seven-year-olds you don't talk about it's probably people when they all So it's not that it's secret, it's that it's not secret. You know, it's not. So the Zen practitioner in... relates to the... co-parent a student.

[40:24]

but one thing is that you look palms of your head spiral to brawn and pieces Why? I don't know. Because it allows you to treat everyone the same. Don't feel inferior. They just don't. They don't understand. And those who do not understand it, they do not understand it.

[41:35]

It is not useful. [...] Many of the Sandlings say The fact that the aspects of, for instance, you show it, but you don't tell somebody usually that you just stand there. A little example of Sukhiroshi once.

[42:42]

He was serving tea to his teacher who had a guest. So he opened the door, the left-hand door, and put the tea in. But he noticed the teacher should have found that. So when he came back the next day, he opened the other door, the right-hand door. And he put the tea in. And she should have frowned on it again. And so the third day, he didn't know which door to open.

[44:02]

And I can't know exactly, but the teacher said, he's not in the room. You can't see. The teacher says, can't you tell which side the guest is sitting on? You have to be in the room to know where the guest is sitting. But that's yoga culture is to know that kind of thing. And it arises from knowing everything is interdependent and there's a feel of the presence of the other person. Okay, so one of the things is you begin to feel after a while that there's a kind of rubber band, a gooey band. I want to start a group, a gooey band. And I feel like there's this gooey band between your hands all the time.

[45:07]

And that's one of the reasons, as I've often said again, why the hands of Buddhists are given as much attention as the face, if not more. So the mudras make sense when you realize the mudras are articulating a feeling in the hand and the body. So when the consolation therapist is setting up a consolation It's great that it's not done so much with language, but that you put your hands on the person's shoulders. And so the main feelings are from the hands, the top of the head, from the bottom of the feet.

[46:25]

And one of the signs of mature practice is your hands and feet are always working. Because that attentional space in sutras is called heat. And consciousness and warmth are closely connected. And the one reason this posture is considered preferred posture is you're folding your heat together. And you're mixing up left and right side. So it actually kind of makes you don't know what left and right are. Anyway, I'm not trying to convince anybody to do Zazen or anything like that. Okay. So, I would guess that the yogic constellation therapist would have a feeling of their

[47:45]

feet being in presence of the feet of the person they're with, hands, head, etc. I touch it when I start to really, and you throw a little syllable in there. So now then, but sometimes some things are verbally expressed. And again, if you're the yogic consolation therapist Buddhist, You want to speak at the margins of language. You want to get the soul, the Kleistian soul active.

[48:46]

You want to get under the language of usual thinking. So perhaps you want to leave some space in the way you speak. Maybe even divide a word into two parts. So now it would be good if everyone stood over here first. Then you're using words syntactically, but also as names calling forth. So if you said what you should do first, first now is used as a name and not as a syntactical word.

[50:10]

Now, if you take words out of their conscious syntactical usage... I'm just sharing my thinking with you. Derrida would say there's an erasure here. You've erased something. Derrida würde sagen, hier ist ein Radiergummi, ihr habt etwas ausradiert. I like the idea, but I prefer it sometimes to say you've subtracted something.

[51:20]

Because when I feel erasure, I remove the other thing. But subtraction still has the trace of what it's subtracted from. The subtract is a subtraction, and what is subtracted from it is still sort of there. So if you subtract the syntactical definitions from a word, and subtract the syntactical context for word and bring it more into a name and it's you just have to let me tell you the way I think of it You're making an anterior movement.

[52:37]

Anterior is in contrast to posterior. And posterior means your back. Anterior in medical terms, I think, some things are called anterior to the... But anterior is a complex word because it also has... It's behind and it's moving forward. There's an anteriority. So it's back, but it's moving forward. So you're taking the word and turning it into a name. But its impulse is to move forward. And it moves into the syntax the 10,000 things. Or it calls forth a new context from phenomenon. And calling forth a new text from phenomena, it also calls forth a text from you.

[53:56]

So bodhisattva practice assumes that if you can talk on these two, primarily on these two levels to someone, You create a space outside the usual patterns of language and what the person is keeping in reserve or secreted away, even from themselves, begins to float to the surface. And what's interesting is that names float. Words bridge. Words connect one thing to another.

[55:13]

But when I call Minka, they just float up there and they have no existence until Minka appears. So when I use a word as a name, and it floats. Other things float up around it. And it's exactly 11 o'clock. So it must be time for us to have a break. And float over there. And they won't have floats for us. A float is a kind of milkshake. Chocolate float. All right. I said we'd talk about the five skandhas and this is preparatory.

[56:17]

Are you willing to listen to the stuff? It's real to me, but I don't expect it to be real to many other people. I think we ought to speak a little bit about what I just spoke about.

[58:15]

Given that it's not something I've spoken about before. And probably I will find ways to continue to speaking about it if it seems appropriate. And one step in developing how to speak about it is to speak with you about it. And could I suggest that this afternoon we come back At 3 instead of 3.30. So we have a little more time in the afternoon if I'm also going to speak about the five skandhas. Okay, someone has something to say.

[59:16]

Who will be set? Ani first. Once I... You know, she's well trained. Once I... I don't know what she just said. Once I gave a talk in Vienna. And the person who drove me there left almost after the talk was supposed to happen. And we raced to the lecture. Practically driving on sidewalks. Yeah, I got there. And I looked out at all these people. I didn't know why I was there. I didn't know what to say. I saw no reason to say anything. So I said, does anybody have any questions?

[60:39]

Nobody had any questions. So I told Christina and Eric and others afterwards, you've got to help me in this situation. You need to always be prepared with a question. Please don't ever let me sit there. Isn't that true? Isn't that true? Ever since then, they can't answer. Thank you. I'm well trained too. During the break I was talking with Christa about your talk that you had just given. This example from Japanese culture that you gave us,

[61:40]

They are amazing to experience because our differentiation between inside and outside is so strong. and reflects how we, is reflected in how we experience our flats and our houses. And I found that this distinction between inside and outside is so strong, That it is so strong that it makes almost impossible to experience other kinds of inside. And also on a psychological level this differentiation between inside and outside within me and outside is almost like a parallel to that.

[63:11]

And when you talked about that it's possible to experience the outside as another kind of inside, so that you're stepping from inside to inside, so that you go from inside to inside, This was really great. Output. In the early days of my practice, I found myself working with this guy, imagining the so-called outside was a big stomach. I was just in the stomach. It was all adjusting me and the situation. And there was an image which also let me not think of the inside of my body as an inside. But Krista almost carried this practice a little bit too far. Aber Christa hat dieses Beispiel fast etwas zu weit gebracht.

[64:42]

Because she brought me tea upstairs. Denn sie hat mir Tee nach oben gebracht. And she backed into the room. It was a joke because I had no shoes. Und sie ist verkehrt geworden. It was good. I thought, this is real. Und ich habe gedacht, Junge, das ist... I'm dealing with what you were talking about in connection with the self. Because since yesterday when I'm sitting, I'm sitting within the name of this structure of life and death.

[65:46]

And today what came up to me after sitting is that I was between 11 and 14 or 15 years old. When I was between 11 and 14 years old, it came to my consciousness and it almost frightened me to death. that I'm always looking at the world from my point of view and I realized that the others are doing the same and everybody thinks the world is that way and it really scared me I'm glad you were able to be scared.

[67:11]

Really, because most people, the most extraordinary revelations can happen in life. And then, yes, and I think that the book was a bit of a surprise, where you... And I was really then searching somehow what I could trust in. Somehow I know that dancing was certain practicing in physical education or mountain walking, that was quite good for me. Because now I would say because that gave me the feeling of independent arising.

[68:27]

Maybe this was also so important when I got to know Buddhist practice. That by practicing together, this sound gets tangible. And when I'm listening to the teachings, I somehow get the feeling that this is the only thing you can really trust in. And I fear that not even that is true.

[69:39]

But I'm very grateful that something like this exists because this is something like a home. And when you are talking about that you are trying and making an effort to speak that other people can find a home or feel at home in your speaking? I'm asking myself first, how do you feel that? And second, what are you doing when you notice that people don't quite feel at home there, in your speaking?

[70:54]

I shift till I discover the bandwidth in which people feel at home. Now I see if I can expand that bandwidth. You know, something. Thank you. Yes. I'm struggling or fighting a little bit with this term Bodhisattva and also with what you wrote down there. It seems to be almost a creation for me.

[72:05]

For me, Richard is one of the people who correspond most to this Bodhisattva. For me, Richard is one of the persons who most come up with this idea of the Bodhisattva, or image of the Bodhisattva. You will be, as a person, with a lifestyle with a lot of functions of self, with a lot of social roles, being a father, being a head of, lots of that. And it seems to me it is more simultaneously that you have anything that has something for yourself, but you cannot bring it together in any way.

[73:16]

Well, the statement at the beginning is that A bodhisattva who creates a perception. So if I'm speaking to you, yes, I'm a person because I have language and habits and so forth that arise from the experience of being a person. So you could say that I have the modality of a person. But if I say, even if I say something like that, a modality of a person, it means there's no persistent, enduring, substantial self. And that's all Buddhism basically says.

[74:23]

It just says there's no substantial self. It means something like self as an entity. So if in relating to you, I relate to you from within the modality of a person, then it means I can have other modalities. Or I can take all modalities away. And that's basically the teaching of the Heart and Diamond Sutras is the potentiality, the possibility, the way to take all modalities away.

[75:29]

But if in relating to you within the modality of a person, and I say within because then that calls forth your modality as a person. So if I speak within the modality of a person to you, it means that in some ways I'm tuning in your modality as a person. But then, if in that modality I now subtract or erase that modality of a person, by creating no perception of a person, doesn't mean I'm still a person in a certain sense, but now I'm a different modality.

[76:49]

That modality may call forth in you, to some extent, also having no perception of the person. And it's a non-violent way of doing it. In other words, if I relate to you in a way that requires you to relate without a perception of a person, I expect you to do it in order to take you seriously. That's a kind of violent movement. But if I do it in a way that you have your own free choice to do it, But if I do it in a way that gives you your own free will, whether you want it or not, then that would be called the way of action of a bodhisattva.

[78:09]

It means that you will fight a little less. But it's fun to fight. What I want to do is to meet the personal level for communication anyway. And then, at the same time, at a deeper level, anything can arise. Yes, just like that. Can you say it in German? Yes, what I have strengthened is that I think we need communication You know, I mentioned, thank you, Frank, I mentioned this standing and without any presence of the body or the mind of where you're going next. And that, like many aspects of yogic practice, is taught by feeling it in others.

[79:24]

But in Buddhism there is also a technical word for it. Buddhism has tried to develop a vocabulary which takes itself away. and the word citta c-i-t-t-a is translated in a lot of different ways we have different categories than they have but in general it means something like sometimes translated as mind but it means something more like mental formations or simply mentation or simply mentation so but achitta A in front of C-I-T-T-A means no mental formation and that used to mean that in a

[80:40]

experiential field there's no subjective vector. Isn't that great? It's a word which means in the experiential field there's no subjective vector. And most people thinking about this stuff in the West would assume it's impossible not to be a subjective vector. So can the Bodhisattva or the Therassattva speak and relate to others without any subjective vector? But please understand, these are not entities. You know, again, I've been doing this a lot, right? And when we chant in the morning...

[82:04]

But now I open Buddha's robe. A field far beyond form and emptiness. To Thay I just teach. Every morning we do that. So we first chant it in Japanese. Well, I like to start with not knowing what we're doing. It's always a good way to start. But I find my posture, the posture should be like this. And I think that my attitude should be like this. So the elbows should be up there, and about an egg should fit under it. So when I chant,

[83:31]

I find I usually have my hands like that, my arms like that. And as I said, I like to start without not knowing. But as soon as I start knowing, now we open Buddha's room. Every morning my elbows come up with me. And so I go from not really knowing, I mean I know Japanese too, but it's not the same as English. So as soon as I know what I'm saying, my posture improves. Well, I'm using this as an example just to say that no subjective vector in the experiential field is like a tuning From the subjective field to the non-subjective field, and the subjective field to the non-subjective field.

[85:08]

In the shower I have here, the thermostat doesn't work. If I put it on 30, it's so hot I can't stand in the shower. I put it a little bit, tiny bit below 30, it's so cold. So I'm constantly sort of... That's practice. I feel the presence of the subjective vector and I release the subjectiveness. I feel it and I release it. And that also engages the other person in the same way. So it's not there's a state with no subjective vector.

[86:19]

No. It's all about the edges and the margins. Because if things are interdependent, that's what it is. It's margins. It's edges. And edges are edges. Do you have the expression edgy? Edgy means difficult or complicated or dangerous. Anyone else? Someone else, please. Yes. For me this also has a lot to do with folding within and folding without. So whether I saw it is like the potential of the bodhisattva is in some situations more unfolding, and in other situations the Self is more unfolding.

[87:47]

That's right. Well, let's start with one. My feeling is it is something which I know from childhood. My intuition is that children always are in this sphere. Yeah. In doing constellations, it's very exciting to notice that I have to stay on these edges and borders.

[88:56]

And also language, to have this movement from word to name, and also sometimes the other direction from name to word. And during your talking to somehow doing this with you, being with you in this movement, This process has got a name for myself. This happens a lot when I'm sitting here and you are talking as if something which already is present in a folded in way is unfolding and this is

[90:38]

It is the big amazement, this astonishment. Thanks for letting me unfold. Yes. This night I was looking into the diamond, I should draw again. Your own text of it? Yes, from the text. And then it came up for me a form, a possible form, how we could constellate it. We could... We could represent the so-called entities as entities.

[92:11]

The self, the being, and so on. Like in a half circle. And somebody would represent the bodhisattva And it would be his single task to face the self. And without words, the fluidity, the interdependence between the self and the... So not to believe in the self as a thing, but without words that let it flow in between. And without seeing the self as another, just feel the flowing and the liquid between. And the person representing the self could not, when she or he feels this flow.

[93:14]

And then the bodhisattva would go on and the same thing with the being. Then the bodhisattva would stick further and the same with a person or with being. And that would have the great advantage that you realize that it is possible. The big advantage this would have would be that we can see that it is possible. It sounds like it's worth trying. And it would be important to bring into speech what kind of activity helped or what kind of mental posture helped to allow the flow. Okay, yeah. I like very much the idea of a secret.

[94:51]

I noticed you responded. You made gestures like that when you were talking about music. I found them quite important for me because this also excites me somehow.

[95:58]

I cannot say much more. I can feel the excitement in this room, the mystery of the gesture, this silence, not only with this open distance, nothing sacred, And what is contained within this excitement and also secret, I can not say much more, but it's somehow, somehow it's, there's this phrase, empty, nothing, holy. And it's somehow, there it finds somehow a rest or a home. Well, you did say a lot.

[97:02]

Du hast viel gesagt. Yeah, I think the held in reserve were the secret. Also ich glaube, diese zurückbehaltende Reserve oder das Geheimnis It's not like the secret or the held in reserve shouldn't be there. It's an important, maybe essential part of the dynamic of the space. It makes the space dynamic. And allows a territory of working. Okay. Someone else? Yes. I wasn't very careful at what Huni and Kristina just said.

[98:14]

I wasn't careful at what Huni and Kristina just said. So it fits from what they said about the past, but I also found that it's also concerning the future. It's a good instruction. And this relates for me directly to a topic which is the funeral of a very good friend of mine. And I notice how important it is to trust this moment of not knowing how we can

[99:18]

How can we give depth to the moment of personal friendship for the moment without it? So how we can give depth to this moment of this experience of friendship in this moment. So this is a good preparation for me. Although I'm stuck with being a male, I really appreciate the power of all women. Okay, shall we have lunch? Oh, is it one o'clock lunch? One o'clock. Oh, I thought it was twelve o'clock. Yes, a week. If in my work this experience constellates itself, the experience that you were talking before the break, but I do not do constellation work, then it is always accompanied by the original, even if it is a piece of time.

[101:07]

Then this is almost always accompanied by the experience, the mutual experience that the time stands still. And also this is often expressed by the clients. And maybe you could talk to that, talk about that. About timelessness. Yeah. Well, I mean, I'm faced with the problem of how to bring these buildings together in the Han Solo. Bring them together as a location for 90-day practice periods. And Dogen's teacher, Rujin, Rujin? mixed up between Chinese and Japanese said in the 90 day practice period you establish the structure of true practice and you carve a cave and empty it.

[102:48]

So you establish the structure of true practice. And you establish and you carnicate in it. That's already an interesting juncture. And then Dogen goes on to say the practice of the 90 days occurs in timelessness. And he says, but if you look for the reason for it, you'll only find 90 days.

[104:03]

So somehow we have to use, if we're going to have this 90-day practice, You know, the earlier tradition of Buddhism was living like a Catholic monk all year round in the monastery. In China, it shifted to being these three-month periods, these 90-day periods. Which is still quite a bit of time for the average layperson. But it's still not year-round commitment. So it was developed, like the seven-day Sashin is developed.

[105:10]

So there's an entry into the Sashin and re-entry out of the Sashin. You can sort of do it over five days, but really it takes seven days. You can't do it in three days or four days. And I mean, there's certain things that are kind of real, like the moon comes up, the sun comes up, and four days and seven days are different. And so from my point of view, I mean, to try to clarify this practice in the West. There's one such thing as a three-day session.

[106:13]

You can have a three-day sitting, but that's not a three-day session. Okay. Something happens in seven days, it doesn't in three. And likewise, something happens in 90 days that doesn't happen in 7 days. So the challenge I'm facing and our Sambha is facing And the word Ango, which can be generally translated as peacefully abiding, means 90 day practice. Okay, peacefully abiding. But it also can be translated to mean you don't leave.

[107:15]

So that's why I haven't done 90-day practice periods in Europe. Because I didn't think it was fair to ask, I don't know, 40 or 50 people to stay in the household for three months without leaving. We need a more complex articulated space than that. And it's interesting, As you know, Zen, Buddhism in general, Zen in particular and especially, emphasizes the face-to-face transmission of the teaching. But the teaching also consists of institutional configurations.

[108:26]

So in that sense, a Sashin is an institution. And how to do a Sashin and what the atmosphere of a Sashin is, is passed from person to person. And the tradition is that how you do a 90-day practice period is also passed. It's a kind of mutual decision where people make a mutual decision how German or English is going to be done now with the spellings and so forth. It means you don't have to observe them, you don't want to unless you're friends. Und du musst dich nicht daran halten, unless you have friends.

[109:50]

Because friends, legally, you can have to play so many French songs on the radio, you can't play too many English songs. And in text, you can't use too many English words. In France it's like that. But even if you, like E.E. Cummings is a poet, an American poet, he's quite wonderful, who dropped all capitalizations in his poems. So the rule is you capitalize certain words. He always wrote his name small e small e Smalls Cummings. Well, there's no way that's not also a comment on the way it's supposed to be done.

[110:50]

So once you have generally agreed rules, if you don't follow the rules, you're not following the rules, it's also... Part of the communication is you're not following the rules. So the rules are that a practice period is transmitted from people who know how a practice period should be done. And when we started Tassajara, Suzuki Roshi and I looked at the property together. He was clearly excited and clearly wanted to do it. And so when he went to Japan, he went to Japan for some reason.

[112:09]

While he was gone, I started the whole process of purchasing the land. And he came back and he said, oh my goodness, we can't fail. But in Japan you don't fail. If you fail, you're cut off from resources the rest of your life. So he really was clear that if there's going to be a flow of support from Japan, now that we started this, we couldn't fail. And part of the problem was he felt he had to have permission from Japan to do a practice period. So he composed a letter to the Japanese Soto school.

[113:25]

So we have these and these facilities. Such and such facilities for sleeping and meditating and so forth. There's such and such space around the building. And he said, in my opinion, these are sufficient facilities for practice sleep. And they looked back and said, yes, you can do it. So Tassajara is officially authorized to be a place for practice. So this attitude of Sukriya, she says, is what I've inherited, too. So although many people said to me, why don't we just do a practice period?

[114:33]

I thought, it's not my choice. I have to do something in line that fits with the tradition. I mean, I'm not smart enough to change it. So we purchased this building. And for many people, and also what I said, one of the reasons is we can do 90-day practices. But we don't really know yet when it's going to be possible. Because one of the things you're supposed to be able to do in a practice meeting denn eines der Dinge, die du in einer solchen Praxisperiode machen können sollst, ist so arrangiert, that people can stay without even wanting to leave for 90 days, ist, dass die Leute dort bleiben können, ohne, also sie dürfen nicht einmal wollen, wegzugehen, während des 90-Tages.

[115:59]

And in a way that... A kind of timelessness takes over. And the rest of the world disappears. And you hardly know what the rest of the world is doing, and you actually don't care. And traditionally you receive no mail, no phone calls, etc. It would be hard to do now with the internet and cell phones. But my challenge I feel, is how to create 90 days of timelessness in these two buildings, these several buildings. It's wonderful that it occurs in your work. But now the challenge for me is how can we make that happen with

[117:01]

40 or 50 people for three months. Yeah. Anyway, it gives me something to do. Maybe it keeps me alive a few more months or years. Okay. Someone else? Yeah. how words can turn into names. And I don't know whether I understood it correctly. Whether this is also a possibility to enter down under language?

[118:32]

Yes, it is one of the main entries. And on the one hand, in our tradition of therapy, Maybe in connection with hypnotherapeutic concepts. There is a way where language becomes something flowing. And I also asked myself in constellation work, these sentences we use, these ritual sentences, are often criticized.

[119:35]

And with the scientific glance you can say how stupid. But I almost think that these sentences, we ask people to speak, They are almost more like names than just sentences. They call forth. And I think when you say, okay, you be the grandmother, you're calling forth the archetype of the grandmother as well as specific grandmothers.

[120:46]

Rufst du auch den Archetyp der Großmutter hervor, genauso wie diese eine Großmutter? Again, this has taken quite an education for me from how I thought of myself as a young person. Und wisst ihr, das war für mich eine ganz... But ritualized statements can be each time new. We sometimes have a head monk. And there's ritual things that every head monk says. Es gibt rituelle Aussagen, die jeder Hauptmönch macht. At some point the head monk comes to me, if I'm the abbot, and says, because we've given him or her the responsibility, and he or she says, this responsibility is too great for me.

[122:07]

And they try to bow. And I stop them from bowing. And they try to bow three times and I stop them three times. So then they stop and they say, they will take the responsibility, I don't remember the words, and they hope my good health continues. And everyone knows what's going to be said. And often people burst into tears, even though you know exactly what's going to be said. Because knowing exactly what's going to be said and then hearing it said and meant becomes very powerful.

[123:15]

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