Now the basic processes are giving, are collapsing. One of the words for a person who can't understand Buddhism in Japanese is wine sack. Wine? Yeah, wine sack. I see it. A wine bag. It's not from wine. No, no, not from wine. But wine sacks wine a lot. So it's just a body which is used to drink wine. Yeah. Okay, so... So Sukhiroshi's point and Dogen's point is everything is actually always going along in a very strict way.

[01:27]

But we in our psychic life and social life Don't live in a very strict way. We depend on an awful lot of redundancy. And through that we accumulate a lot of karma. I did this, but it'll be all right. But it'll be all right. That's depending on redundancy. And so we want to come into, from the point of view of Zen practice, into a very causally aware mind.

[02:40]

But if I say that, it's so easily misunderstood. It means you have to, as you were pointing out, always trying to do right or wrong or something. So a causally aware mind that functions beyond causality. I say something like this, but, you know, I'm again throwing words at this, at this thump. Okay, once I went to a dance performance of Balasarasvati. Mm-hmm. And I know something about the dance. I know a number of people who practiced with her and teachers.

[03:57]

So I'm somewhat used to South Indian dance. But really, I don't know anything. I'm just saying I had enough exposure to be open to it. And all these particular movements they do, they tell a story. Und ihr wisst ja, dass diese ganzen Bewegungen, die sie machen, eine ganz spezifische Geschichte erzählen. But I don't know what they mean. This means to look widely or something. Also ich meine, ich weiß natürlich gar nicht, was die bedeuten. Vielleicht bedeutet das, dass sie sehr weit oder sehr genau schauen wollen oder sowas. So basically I don't understand the language nor the story the language is telling.

[05:00]

So I was sitting in this auditorium in Berkeley or Oakland or someplace. It was a big performance she gave. And I'm sitting there with friends. and I'm watching her dance. Now, in the early Vedas, there's some idea that the body create, how can I put it? The body makes its own context. And the context becomes the dimensions of the body. Okay. Maybe I should say that again. The body creates its own context. And makes its own context.

[06:19]

And the dimensions of that context are the dimensions of the body itself. It's similar to Dogen saying, The entire universe is the true human body. And whenever the entire... And... And whenever the entire universe is the true human body, and the true human body frees beings. Now, I would suggest you take that literally.

[07:21]

Okay. I look at that wall. I call it a wall. It's a kind of delusion. It's a Yeah, I mean, if you're an architect or a contractor or a carpenter, it might be necessary. Yeah, I could call this space. But this space is made by the walls. But the walls are made by the space. So whatever I say about it is something wrong. So how do I call it so it opens up wisdom instead of opening up constriction? Again, Sukhiyoshi would say, we're always showing what kind of Buddha we are.

[08:38]

So instead of thinking, oh, that's that wine sack, You say, oh, that Buddha is showing that he's a wine sack. And that Buddha is showing what a dumb cough he is. So when you start calling in that, it's a different experience than just saying, you know... Weinsack. And I'm sorry to be so particular.

[09:43]

I mean, you want to live your life and just enjoy the walls and the space in the room. But things are not going on in a very strict way then. I can call that a wall if I know I'm... It's a convenience to call it a wall. But I'd like to call it a wall with the feeling that the space is the wall. And the wall is the space. Now the space is not emptiness. That space can be a gateway to emptiness. Because if you identify your mind with a wall, it doesn't help much.

[10:47]

But if you identify your mind with space, it helps. But of course, emptiness is not space. Emptiness is space and the wall and everything all at once. But space is a gate to experiencing emptiness. So what I'm I just tell you what I'm trying to do. I'm trying to create a context for us to talk about karma. I resisted it because I so enjoyed the conference in Heidelberg. And you all are so good at things, you know so much.

[11:50]

And sometimes I feel foolish sitting here talking. But at the same time, My job is to try to make some sense of this. But if I try to make sense of it from the point of view of psychology and Buddhism in many contexts and how Jung used the word karma... If I were to create a sense from the point of view of psychotherapy and Buddhism and how Jung saw karma and from these very different points. I get lost. So I have to find a sort of tunnel in here somewhere. So I'm trying to find this tunnel. So I was at this Balasarasvati dance.

[12:52]

And she's dancing. And I'm sitting there. In a rather darkened room. And I was paying very strict attention to her. And I can only point some words at the experience. But I suddenly found myself in a space inseparable from Bala's dancing and inseparable from myself and inseparable from the darkened chairs beside me. And inseparable from the people, my friends who were sitting with me. Friends and family. And it was like there was a kind of luminous ball in the room. In which she was one edge of the dance of this ball.

[14:17]

But in this space I saw sort of like my own history dancing. It was very distinct and precise. And I could sustain it. And even after the break coming back, when she danced again, it came back. But it wasn't just her dancing. It was the chairs. The chairs were part of it. My friends were part of it. It was some kind of larger body. As Marie-Louise asked the other day, is a flower as big as its fragrance?

[15:38]

And I said, it certainly is if you're allergic to it. But what is our body? We have a habit of naming our body and that naming creates our body. Let's find some different names. He or she is showing what kind of Buddha they are. Or let's Be present to an all-at-onceness without names. There's a word juki in Japanese Buddhism. J-U-K-I which means the time for or prediction of enlightenment.

[16:53]

And I think Heidegger talks about the right time for being to presence. But Dogen from the point of view of practice says it's delusion to think there's any right time for anything to happen. Impermanence can only be penetrated in this moment. Insubstantiality can only be penetrated in this moment. Okay. Now going back to the Rig Veda again. My impression is that they used to do sacrifices.

[17:54]

With four priests or somebody. And my impression is that the four, though I really don't know for sure, but my impression is the four, each did four different things that didn't connect with each other. A little bit like Peter might sing a song. And you might read a poem that's not the same as the song. And they might happen simultaneously. And someone else did something else, etc. They were complementary. They related somehow to each other, but they were different. The idea was... And I think the idea, from what I've read a little bit, was to sacrifice structures.

[19:30]

sacrifice karmic structures, emotional structures, mental structures. And for the health of individuals in society, this kind of sacrifice had to be performed occasionally. And a similar kind of ritual in Japanese rituals, ordinary folk customs, They take grass from the field. They cut it with a sickle. As part of the ceremony. Then they take it and put it in strands. And they weave it together in various shapes. And then they burn it.

[20:48]

And that, I'm sure, goes back to these early Vedic conceptions of the world. It's even carried out in the Ise Shrine, the most famous Shinto shrine in Japan. Which every 20 years is dismantled and rebuilt. And once at Green Gulch we had a whole group of Indian dancers and drummers and things. Native Americans. No, India, India. And they were struck by the way we chanted in Buddhism. They'd never heard it before.

[21:48]

I like the way the Vedas are chanted. So I made some kind of little study of it, and it does look like certain Buddhist chantings go straight back into India, pre-Buddhist India. So here I'm talking about a tradition longer than Buddhism. So some sitting there in this theater was Bala dancing. Some kind of body was created again. He said again. What?

[23:04]

A body was constructed again. Well, when I was there, some kind of body was constructed. Ungraspable. Momentary. But very real. And it was one of the most powerful experiences I've ever had. Of my own body dissolving into this larger body. That was mutually generated. Not just by Bala's dancing. But Bala's dancing incited it. Now, Dogen's view and the view in essential Zen practice is that every moment is actually something like that.

[24:11]

And it's happening whether we see it or not. Okay. So what time do we have lunch? 12.30. 12.30, okay. So again, I'm trying to approach this in words, this world view. Okay. Maybe it will help us talk about karma, maybe it won't. Okay. Okay. So one useful practice is the entire universe is the true human body.

[25:34]

This can be continuously practiced. But even if it's only practiced once a year, once a month it can change your life. And when it's practiced when the true human body appears which is inseparable from all at onceness, human beings are freed. So in this way of looking at the world, if, as in the Rig Veda, it takes four priests to do this and it's done for the society and for individuals, And maybe when you do constellation work, there's something like the four priests going on.

[26:39]

It takes a number of participants and it takes a therapist and so forth. Mm-hmm. And it liberates living beings. Sometimes liberates, partially liberates living beings. So although you may not... So anyway, all right. So the basic sense is... is that while you practice this continuously... Sometimes there will be enough mutual exertion that the true human body is manifested.

[27:40]

Okay, so what do we mean by true human existence? Or what do I mean by exertion? Or effort. Remember the eightfold path, effort is one of the points. And we can say exertion or acting in a very strict way. Or, for instance, my trying to find a way to use the word karma that's precise and not generalized. A word... in which I can feel the embodied presence of karma.

[28:50]

And when I can't feel it, then I'm just giving you information. And that feels like a lie, even though the information might be correct. At least when we're talking in this context of consequence. So maybe in a strict way also means in a way in which we recognize consequence. But perhaps most fully what I mean is when structures are dissolved into presencing. Strukturen in vergegenwärtigung auflösen.

[30:07]

And perhaps I'm using as the model of this the dissolution of the subject-object distinction. There's a kind of dissolving at that time. So again, I suggest as a practice try on calling everything you see The true human body. That's a tree. But it's also the true human body. Something like that, or find it, something, whatever, in your own language. I liked Sukhiroshi saying, when is a tree a tree?

[31:09]

And when is a tree a poem? Sometimes a tree is a poem. Then perhaps it's the true human body. That's an interesting difference, you know. Somehow this is connected with penetrating impermanence. One of Dogen's main points in the whole of his teaching is impermanence and conditioned arising interdependence are entirely too casually understood.

[32:16]

People don't really penetrate impermanence and insubstantiality. Die Leute durchdringen wirklich nicht diese Vergänglichkeit und die Substanzlosigkeit. Und das ist so eine vollständige, unterschiedliche Verständnisweise selbst in der Kultur von Asien. Maybe only a few people can do it. But it is still the way we actually exist. And why can't we do it? Why can't we at least take it on and recognize it's occasionally part of our life? And it is occasionally part of our life. And one of the reasons we do zazen on a regular basis is it allows fundamental time and fundamental space Or we could say being space.

[33:33]

To surface in our life. So in a way, that's one of the reasons in Zen practice you want your mind to be as free from structures as possible. So that fundamental space can surface in your life. And if it surfaces in our life, even as lay persons, it'll surface in our lay life. So, you know, Zen really is trying to create a practice for lay people. Zen versucht wirklich für Laienmenschen... To what?

[34:39]

Create a practice for lay people. Eine Praxis zu schaffen für Laienmenschen. It's a little bit like this posture has been developed. Es ist ein bisschen so, wie diese Haltung entwickelt wurde. And its preciseness. Und ihre Präzision. So it takes you, kind of puts you each day when you put yourself in to discover this posture. You find fundamental time and space, which is here simultaneously, is suddenly presenced. Maybe the ultraviolet subtle body or something. Becomes visible. And this is again a shared and mutual body. Like what you said a while ago, it's always mutual.

[36:00]

It's a little bit, what is language for? Language is for discourse. Language is for just what we're doing now. And the meaning and body, reality of language, comes out in discourse. And the true human body is a kind of discourse. A discourse recognizing that the entire universe is the true human body. Not as a fact. But as an engagement. As an activity. As a function. So here we're always talking about activity and functioning. We're never talking about entities. So somehow you've got to get yourself out of the habit of seeing and thinking in entities.

[37:21]

So Dogen tries to say it, give us a feeling of it. Saying the passage of time does not pass by. Time is passage. Time is its potentiality. And practice is to enter that passage. And we could also say that's coming into the path. And certainly in that kind of mind, There's no consideration right or wrong.

[38:24]

One can't always be in that kind of mind. But it can become familiar to us. And we can feel it presencing on the smallest things. Dogen says something like spring is spring. Spring isn't inside spring. Spring is an outside spring. Spring is the passage of spring. Manifested as flowers. The throats of birds. Calling us into another world.

[39:32]

The colors of skies. Spring can't be separated from its manifestations. Spring can't be separated from its passage. Anyway, these are, out of context, obvious things to say. Also in diesem Zusammenhang sind das ganz klare offensichtliche Dinge, die man darüber sagen kann. Also wenn man die so merkwürdig genug sagen, und dann sie noch mit anderen komisch gesagten Dingen noch vermischen, dann bekommen wir vielleicht ein Gefühl für dieses Aufblitzen. This dance of karma.

[40:51]

This song of lost memories. This constantly arriving at loss. Which is the flowering of the true human body. You said loss. Loss, L-O-S-S. And then after that? Which is the flowering of the true human body. Yeah, okay. So maybe we sit for a few minutes. inseparable from your own true human body.

[42:17]

If this is the worldview in which karma developed, the idea of karma and the practice of karma, what can karma be in such a world? a world in which every particularity is drawn from the totality, is drawn from an all-at-onceness, drawn in

[45:03]

by intention into a particular area into a manifestation then released back into totality What is karma in such a world? Is there anything any of you want to bring up? I'd like to come back to the disillusionment of these parts.

[46:50]

Parallelity of death and nirvana. I asked myself, I have something about you. The screen which the film is protected. Film as a human life is an illusion. And the truth is only this unstained or untouched screen. A question is because of this simple image with this screen.

[47:59]

Yeah. And now you think there's a big difference? My question is about the difference, because it feels different. The idea of everything you see, the true human body of a cloud-bundled place, the lip of the water with its flowers, fundamental view seems to be different from the feeling because in the first time or the first glance there may be some similarity. Yeah, okay. I think it's third and fourth glance there's similarities too. Yeah. I'm getting so old, you know, these things I studied when I was younger are slipping away. But Advaita, I believe, means non-duality. And so this is Advaita Vedanta.

[49:27]

And I believe it's a form of Buddhism, I think, a form of Hinduism, very, very influenced by Buddhism. I think Vedanta is the sort of Hindu answer to Buddhism in the development, when Buddhism was developing. Now the image of a movie on a screen, and the screen being real, permanent, and prior, it's interesting. that some Buddhists have the same idea. And it's a very difficult idea to avoid. Because it fits easily into our way of thinking. Yeah, it's much easier to... My beads aren't here.

[51:06]

It's much easier to, you know, to deal with that if this stays still. If we're doing like this, and this is really difficult. Okay, then if you have a tenfold or twelve-dimensioned world, as some physicists imagine, in which the majority of those dimensions aren't even imaginable. But mathematics suggests they're there, or there's some there-ness to them. So I think we avoid a certain level of complexity. Okay, so now let me draw back and say, even though in Buddhism these images are the same, there's quite a different atmosphere for some reason.

[52:25]

The Danta Society in San Francisco which was not so far away from the San Francisco Zen Center, is really quite different in feeling. And I think way up the coast, not very far, up the coast of California from Green Gulch, I think a 40-minute drive or so, I think the Vedanta Society is a big acreage. And the atmosphere there is also quite different than at Green Gulch, which is the place that I started. So what I'm saying is that you can have some fundamental, some basic conceptions, but the tradition and the teachings that surround it change a lot.

[53:32]

But the image of a screen, or like in the story of the sixth patriarch, the mirror that you polish, is denied from the beginning. The beginning of Chinese Zen. Where the Sixth Patriarch says there's no mirror, there's no polishing, there's no stand for the mirror. And although some Zen, you can read in some traditional Zen teachers' way of speaking, That there's oneness. Or that there's some original mind. Some original mind that's there that we uncover. Now, it's really no different than imagining there's a universal language.

[55:03]

Or some prior reality or ground of reality. Strictly speaking, Buddhism says there's no such thing. It's all shifting and changing. The ground is shifting and changing. So we're generating not only the movie, we're also generating the screen. How to talk about that is a semantic skill or luck. It's a semantic skill or maybe just luck. Can we open doors or windows or something?

[56:20]

Maybe I should go... Thank you. Again, if it kills you... Now we have too many open-ended, but let's try it for a few minutes. I can tell that's going to be too much. You'd better close the door at least. Sorry. It's okay for me, but I can feel it's not going to be okay for some people. Um... So I think we should tuck you in. But in any case, in Vedanta there's a definite, much sense consistent with Hinduism.

[57:29]

Some prior reality that's permanent. So Buddhism has the same? No. Advaita Vedanta is consistent with Hinduism itself, where there's a sense of a prior reality that's permanent. But still there's a lot of similarity in feeling. And Vedantists tend to feel closer to Buddhists than they often feel close to other Hindus. Yeah, they often feel closer to Buddhists than Hindus. It reminds me of Thomas Merton.

[58:49]

It reminds me of Thomas Merton saying, as a Catholic monastic, he felt closer to Buddhists who meditate than he did to other Catholics. in the context of karma and so on. So I try to get that organized with the camera. Again, everything is interesting. This feeling that things are all connected, that everything at once is completely independent.

[59:52]

I have no question to that. But I'd like to hear something about that. That's why I use the word inter-independence. There's interdependence and there's independence. So I often say inter-independence. For what, from one, yeah? Inter-independence. Yes. Ah, so. Ah, so. So from one point of view everything is absolutely independent.

[61:11]

And from another point of view everything is interdependent. This is another aspect of this dialectic. Supposedly, the Buddha said that actions are not the seeds of karma. But consciousness and intention are the seeds of karma. And actions are the field of karma.

[62:12]

And your attitudes, dispositions, greed, etc., joy, these are the moisture of the moisture of karma. When you're asking in meditation this question, what does karma mean? So the life kind of reaches into this totality and then it sinks back again. I've really not studied karma.

[63:12]

But this sentence came to me. That karma adds something to this process. So that it almost adds something like a kind of purpose? So that kind of sinking back, that adds something to the sinking back. Which might also make sense to the totality. I don't know how to say that better. Well, I'm glad you said it the way you said it. I mean, I think it's useful to keep trying to express it to yourself until it feels right. And what you said, I think it's in the ballpark

[64:13]

So maybe if you want to refine it a little, maybe we can do it as we go along. So what I've tried to do today is really emphasize the worldview in which karma is a part. Dogen again, let's go back to him, he says, the time that has not yet come. That's interesting. The time that has not yet come Earlier I said the passage of time, but now I say the time that has not yet come is not passing by.

[65:33]

The time that has not yet come is not stationary. The time that has not yet come is always presencing in the present. The time that has not yet come is presencing in the present. We could say the present is the arriving of the not yet come. Again. The present is the arriving of the not yet come.

[66:33]

And it's similar to Dogen responding to Sati just before he responded. Buddha. Buddha responding to Sati. I'm throwing the wrong words at this. Just before he was about to respond. Dogen said, the Buddha said, what is this consciousness? So the present is the not yet come time. If you say the present is the time that's arrived, you get a kind of dead conception. That suggests the time's going to arrive whether you like it or not.

[67:35]

Das schlägt vor, dass die Zeit eintreten wird, also kommen wird, ob man es mag oder nicht. Now, your consciousness may think that the time has arrived. Das Bewusstsein mag wohl annehmen, dass die Zeit schon angekommen ist. But your, let's say, your physiological functioning, breathing and blood and all, also aber eure physiologische Funktionalität, also das Blut und Atmen und so weiter, is in the not yet come time. It's like spring is the budding of the flowers. Time is the silence of the stomach. The stomach that we don't notice because it's not sick. We can even sense that there's a sea of silence.

[68:43]

Like our stomach is silent, everything is working. There's a sea of silence in which everything is working. Mm-hmm. Okay, so let me go back to the image I spoke about just as we ended before lunch. If we try to speak about this interdependence, That's not interdependent in a linear way.

[69:45]

It's interdependent in a simultaneous way. That makes sense. So that simultaneity is not exactly experienceable. It's livable because we're living it. But our consciousness understands things in sequence. Okay. But this all at onceness, let's call it an all at onceness. One of the main schools that influenced Zen, one of the main late schools of Buddhism, which is the school that influenced the overall vision of Zen practice, is the Huayen teaching, H-W-A-Y-E-N.

[70:55]

which is based on the flower garland sutra. Garland. Or ornament sutra. And that's generally called the teaching of totality. Do you like the word totality? Well, I don't know. Totalität oder Ganzheit genannt. What would you like to call it? It sounds so, even if it's total, it sounds not as if everything is in it. Aha, she's so advanced. No, I don't know if I'm totalitarian or something. Oh, I know, yeah. It sounds so good. Yeah. Well. Anyway, it's generally translated in English as the teaching of totality, which I prefer to call all-at-onceness, where everything is simultaneously interpenetrating. Okay, so we can barely say this How do we practice it?

[72:27]

Yes? She just said, we can't express it, so then just let us practice it. Yeah, but we have to express it to get your practice on the right track. A track that's constantly disappearing. Okay. So this is not only hard to say, it's a radical vision of actuality. But late Buddhism says, that if you don't somehow come into this radical view of reality, you'll always be in some kind of delusion and some kind of sickness and suffering.

[73:44]

Because this is the way things are. Okay, so how can one be a warrior in the midst of ordinary life? To find a way to live based on this radical view While participating in the ordinary view, But in fact, you need the ordinary view to realize the radical view. So if I were going to be a therapist, now the advantage of being a therapist and not just having friends, though it's wonderful to have good friends, with the friendship that is therapy,

[75:27]

You can take away all the social stuff. And you're just there together for the purpose of establishing a connection. Wouldn't you say that's true? So in that context, you have the opportunity to do things you don't in ordinary relationships. So that's what monastic life is or Sangha life is. Das ist das, was dieses klösterliche Leben oder dieses Sangha-Leben ist. Wo die Leute zusammen sind mit dem einzigen Grund, dass sie eben eine Dharma-Verbindung herstellen. Und alles andere ist bloß zusätzlich. But there's a lot of extras sometimes.

[76:50]

People get involved with which position they have and this and that. Normal, but one wishes it could be dropped in the monastery. But still, even though our normal human life is in the monastery, still, underlying it's got to be if it's going to work. Underlying it, underlying if it's going to work, has to be a commitment to this Dharma connection. Commitment to. The commitment to what?

[77:55]

To this Dharma connection. Okay, so in a context where there's a commitment to the Dharma connection. A lot of Dharma phrases have been developed. Wisdom phrases. A kind of inventory of them. You have a kind of bag of them at your side. And you can make up your own or you can pull them out of the bag, traditional ones. And the koans have been made up from this bag of wisdom saints. Little phrases that shift the worldview or create an insight.

[79:02]

Yeah, or create an insight. Thank you. And then there are practices. There's another bag of practices you got on this side. I think there's no reason a therapist couldn't have the same two bags. And sometimes you give them the practice, if that's possible. But often you have to give them the insight before you give them the practice.

[80:05]

Or they don't do the practice. But sometimes it's the reverse. Okay. So practices have been developed to try to give people this kind of context. And some of these conversations in koans and Zen is fairly unique within Buddhism and trying to bring forward all the teachings of Buddhism through a dialogical process. Maybe there's some similarities with therapy. is the development of the dialogical process and the sharing of the process actually passes on the teaching work itself.

[81:28]

Yeah. So it's, if I, let us say that... Marie-Louise and I and Peter Oechsle all live in the Schwarzwald. Okay, so we see each other occasionally. We run into each other in grocery stores. So we could use these opportunities to hone our wisdom phrases. Hone? It's like to sharpen an axe or... So many of these, I'd run into him in the grocery store. And I'd say, oh, you look awfully busy. And he would say, you should know there is one who is not busy. And then he'd pick up a box of cornflakes or Kleenex and say, is this two realities?

[82:48]

So really, a lot of these koans are developed by these people hanging out together And trying to catch each other in a duality. Because the practice is never to say a duality. If you say it, you start to be it. So it can get kind of crazy. Somebody asks me, are you Richard Baker? And I usually say sometimes. That's not being caught in a duality.

[83:49]

But it's ridiculous to say that at the passport office, you know. They look formal. So on that occasion, I say, yes, Richard Baker sometime. And then in so einem Fall, dann sage ich, ja, Richard Baker, man. So that's these practices like the entire universe is the true human body. There's some discipline here. Yeah. We're going to stop at what time is dinner again? I'm sorry I'm so dumb. 6 o'clock?

[85:02]

6.30? 6. That's 4.30. Oh my goodness. Time flies. That Dogen says is an example of derivative time. Because time doesn't fly. Where did it fly to? Okay. I'll give you one other... I'll give you a practice related to totality. Think of objects as sixfold. Okay.

[86:03]

That's a sixfold object. In what way is it a sixfold object? Okay. It was physical. It was audible. And... you couldn't smell it. But the absence of smell is also an object. Now, Sukhiroshi says, bring your senses to each, bring your attention to, bring your, how do you say it, bring your senses to each object. As Suzuki Roshi sagte immer, bringe alle Sinne, die man hat, also alle Sinnesorgane oder ihre Eindrücke, auf jedes Objekt.

[87:03]

Es gibt dort immer etwas zu riechen. Also bringe deine Nase immer mit zum Riechen. Not only the rain, the wonderful rain. But the rug has a certain smell. And this bell does. Like cheap silverware in a diner. Wait, wait. There is no mistake. We can smell... In McDonald's, it's plastic. I think McDonald's has nothing. It just has... Plastic, yes. Containers. But you know what I mean. There's cheap silverware in some restaurants that you can smell before you sit down. So whatever it is, bring your nose to smelling. Bring your ears to hearing. Bring your eyes to seeing. Bring your proprioceptive sense of balance and body to the world.

[88:20]

And in each moment there's again a certain taste. So even if I do that, still there's a sense of taste and smell happening. So that's a six-fold object. This glass is a six-fold object. Yes, there's definitely a smell. And there's coolness to it. There's a feel to it. There's a sound to it. Supposedly that's one of the main reasons we toast. We've talked about that before. To bring sound into it so all the senses are there. Okay. So when you see anything you recognize it as a six-fold object.

[89:24]

The key to the practice of the sixfold object is to realize that the world is more complex than can only be seen through six senses. We are so convinced that what we see is what is, Yeah, that we think that this is the whole of the object. But if you have a sense of bringing each sense to the object, You really start having a sense that you only know six aspects of the object. So you might say, again going back to when it doesn't smell, well it had this aspect, this aspect, but it didn't smell.

[90:55]

So it's still six-fold because it's not smelling as an aspect of it. Okay. So knowing it as a six-fold object means you know it as a sensory representation. Every object is a mental representation represented through the senses. So all your karma is a mental representation. Your karma from the past, your karma when it was first created, it was a mental representation.

[92:00]

So we're working with karma as a mental representation. Yeah. Or an embodied representation. Now, again, so the six-fold object makes us aware that there's a mystery there. That's the example I always make. Right in this room, there's thousands of handy phone calls. One arrived over there somewhere yesterday. But that's not within a six-fold object until it rings. So the point out that things are six-fold object makes you realize the folds you don't notice.

[93:22]

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