You know, I wanted this prologue day before the seminars formally start this evening to be somewhat different from... Ja, Seminar. Und ich möchte gerne, dass das in irgendeiner Weise unterschiedlich ist vom Seminar. And a chance for us to be together and speak together in a way that's different than once the seminar started. Und dass das eine Möglichkeit ist, dass wir miteinander sind und dass wir miteinander sprechen können in einer Weise, die sich unterscheidet von dem, was im Seminar möglich ist. And to be together with usually less people. And also cannot necessarily look at the top. But rather, yeah, just speak about whatever.

[01:02]

They were engaged. With what's happening, usually it leads to the topic somehow. Which is the topic, I guess, is the innermost request. Yeah, but just that, yeah. And that is such a sentence that is used now. And this sentence assumes that you have such a thing. So if we just start out today assuming that we probably have such an innermost request.

[02:26]

Perhaps several and perhaps some underneath others. So we can perhaps... Yeah, let this... Yeah, we can find a way today, this week, to let this come out. There's a group of statues in Japan of the Arhats, who are these enlightened... lay people out and rather bizarre people. When I was speaking to you just now, the image of one of those statues came up.

[03:30]

Why does it say came up to me? Michael said came down. You don't have the same preposition, do you? Oh, yes, we do. We have the same thing. So, also, this guy, funny looking guy with a mustache, but he's pulling open his chest like it was zippered. And as he pulls it open, there's a Buddha inside. And if I did that, I'd get nervous and zip it back up. But, you know, we don't want to just look for Buddhists as our most request. What do we, what is it we deep down feel like we should do or should be.

[05:10]

In the past, I didn't usually start the session with, if I'm sitting, But then I got complaints. And I started having a half an hour of sitting and then I had 15 minutes of sitting. But since then, Eric didn't know I had changed to having beginning sitting. We'll have just a little bit. Let's sit here a few more. I would define, say that practice is a certain way of being in the world.

[06:13]

Yeah, even though I haven't done it for a long time. I have to remind myself to practice. Because But so much of our daily life and our habits carry us into further habits. So you need to find someone kind. non-habitual mode of being. Because we actually can sort of switch ourselves, you know, from one direction to a slightly different direction. So here, My wife, Sophia, came this year, which I'm happy about.

[07:49]

My wife, Marie-Louise, my daughter Sophia, came this year. Sophia, when she came, we were staying in a little gatehouse. A very large gatehouse. A little house, maybe, yeah. Sophia never likes to leave where she is. Partly because she's usually in love with some of the little kids and some of the adults, and she likes where she is. Then we get to a new place. I stated it. Pension? What do you call that? Pension? Hotel? Hotel? Stay on the way here. I'm just staying there.

[08:50]

Then we get into... Then we get into... the gatehouse, and she said, I want to live here. And she went around. Everything was shared. She kept picking up things or pointing. This is beautiful. So she's kind of makes where she, in a way, you know, as a little kid, I just turned nine, she makes where she is, yeah, sacred in a way. She also makes things mysterious, cause trouble, and so on.

[09:51]

Aber sie macht auch Dinge unangenehm und macht auch Schwierigkeiten und so weiter. But, you know, maybe the most basic question in philosophy is why does anything exist at all? Und eine der grundlegenden Fragen in der Philosophie ist vielleicht, warum existiert überhaupt irgendetwas? And I would say No way to remind yourself of that as practice. I think, you know, somebody, you know, looking at something and deciding to write a poem. And I think of someone who sees something and then decides to write it. Yeah, and again, always comes into my mind that, like Yoshi's saying, when is a tree a tree, when is a tree a tree?

[11:14]

And I was talking with Miros, this is a book from Filos, his father's day, when is the tree a tree, when is the tree a tree? You know, you see something, you have some feeling. And why don't you just leave? Why don't you just, yeah, enjoy the feeling? Now, with the camera, I got my first camera when I went to... The Near East, on a ship, I left college. I got on a ship that went to the Near East. Yeah, never having left the United States to suddenly be in big, big London. It was a big change. So I guess I thought I should take pictures, you know, so I got a camera and be in mood.

[12:24]

Then I thought it interfered with my looking at things, being somewhere. And then I got the feeling that it was my... that it was... I would look at something, I think, because I'm not used to it. I would look at something and just take a picture. And I noticed it made me stop looking. Well, now it's in the camera. I can look at it later, but then I never have. And then I thought to myself, now that she's in the camera, I can look at her later.

[13:28]

But in reality, I haven't seen her for so many years. She's a little different. She takes pictures we all want to look at. She's a little different, because she takes pictures we all want to look at. But anyway, I found, somehow, for me, it can stop the process. But I find if I... something makes me stop in the sense that it might lead to a poem. Or a particular phrase occurs, a particular combination of words. That leads to a, that feels like Yeah, something to do with porn.

[14:36]

I wonder why that isn't like taking a picture. The difference for me is that... whatever I happen to notice in the phrase, the words, seem to be a surface that I can't get past. get on the other side of unless I write a poem. I actually don't write poems very often. But I decided to take that feeling of writing a poem and

[15:45]

Yeah, let it evolve through practice. I'm presenting. Is correct. There's often something under the surface of everything we see and hear and feel. We can't bring out without a certain process occurring. That's all a kind of introduction to reintroducing the phrase I've been using a lot the last few years. Und das ist eine Art von, eine Phrase, die wir in den letzten Jahren immer wieder verwendet haben.

[17:05]

Excuse me for saying it again and again. To pause for the particular. Und das ist, und ich entschuldige, dass ich das immer wieder sage, für das Besondere, für das Spezielle anzuhalten. And it's also rooted in Chinese culture. As the Chinese say, the words are near, they have a phrase, the words are near, but the meaning is far. And the words, meaning that the words are right in front of you. If you state the word, the meaning extends into everything.

[18:14]

And part of the craft of practice is to notice what works, what feeling, or what shades of color to catch you or have something hidden within. And then the practice to allow, if you're a poet, to allow older people. But as a practitioner, is to find a way to allow whatever's there to appear. Yeah, and now that we are good,

[19:31]

the words you choose start being part of the process. And then the words also lead or uncover or evolve. Because I think it's a process of uncovering and a process of evolution and emergence. I mean, you know, if you say a certain feeling and you try to see what happens when you put the feeling into words, you sense some praise is something you see as it's kind of pregnant.

[20:42]

And somehow your, um, your, um, Attention, the kind of attention you can bring is the midwife. Maybe the words you choose also are kind of midwifing. You know, the... phrase called in English quickening. You're explaining more than I can. What word would be used in German? We don't have this word.

[21:57]

I mean, in the Middle Ages or sometime, it had to exist, I think, in Europe. Yeah, but it's the first experience of movement. Well, not of movement, of presence. In the old age in Europe, a woman would say, I fell on certain butterflies, and then she would announce to everyone, I pray that you will hear it. you know, a kingdom, that so-and-so is going to have a baby. It might even be only two or three weeks. Okay. Also, in the Middle Ages, it would have been so that my wife would have said, I had a feeling like butterflies in my stomach, and she would have said, But in the 50s and 60s in San Francisco or someplace, if you went and told the doctor I had it, I mean, if you're a female at least, I had this quickening.

[23:02]

They'd say, oh, they want other tests. But we can sense sometimes a kind of... quickening in a phrase or quickening in something we look at. And we can notice, you know, in a sense there's a kind of pregnancy here. I didn't intend to, but I've seen to be somehow talking about an innermost request. Und ich denke, ich habe es nicht mit Absicht getan, aber irgendwie scheint es mir zu sein, als ob es hier über einen tiefen Wunsch geht.

[24:24]

Ich kann es gar nicht sagen. Du tippelst. Most intimate. Intermost requests. Almost can't be felt. They've never found a way to give them birth. Yeah, it's kind of strange. But somehow in this big world, we can't seem to find our place in. Our own little place where we feel we belong. So, you know, kind of give up and adjust. But it's one of those strange peculiarities.

[25:34]

In this big world, there should be lots of room for us. But sometimes it feels like There isn't room for how we really want to be. So the quickenings of our inner request maybe slow down. So just this very long. Now I'm responding to what I said.

[26:35]

Evolved and emerged as well as uncovered. Because you could say, well, geez, there's a feeling of something underneath this, and I uncover it. But how you uncover it actually changes what appears. And how you take care during the uncover. And that is a kind of evolution. I keep waiting a full year before I can listen to you translate.

[27:48]

I decided not to do seminars much outside of Johannesburg this year, but because Eric, Christina, Christiane, Giorgio, Mikhail, and all of you. And the terrible wonder of this forest. Well, I have to do one seminar myself. Thank you for organizing it. And thank you for your hospitality. Yeah, so... That sounds like a good point to have a period of that big of a... So, how do we respond to this quickly?

[29:12]

So, we are also... This is... The painter responds with the movement of a brush and images. Or a pencil. Or a pencil. And the sensitivity of a pencil weighs in a different place than the sensitivity of a brush. And a writer or a teacher uses a pencil or a pen or a computer or something. And a monk or a practitioner chooses a certain way to allow this quickening to .

[30:25]

coming to our body and mind. And that's in the background. Could be the powers in particular. Could be the powers in particular. Or it could be the powers In the past. Which is already something slightly different. To pause for the particular.

[31:57]

Our senses are engaged in some way with the particular. In the past. The pause in the pause assumes somehow the pause is already there, waiting. And a phrase like this is not meant to be descriptive or philosophical. It's meant to be used. And in use, you find out something. And I think you'll find out, if you bring this phrase, at an intentional level into your activity.

[33:14]

You'll find that the pause in particular, actually, it's a different opening, it's a different kind of quickening than the pause in the pause. dann findest du heraus, dass dieses Anhalten speziell etwa eine andere Art von Quickening mit sich bringt, als wenn man in der Pause anhält. That must be a good point for a pause. Und das ist einfach ein guter Moment für eine Pause. Okay, thank you very much. Vielen Dank. Have a break. Wir haben jetzt meine Pause. And we start again. As usual, about half an hour.

[34:14]

Okay. As usual, about half an hour. As usual, about half an hour. Or when you hear a frantic ringing of bells. Or when you hear a very dark sound. And they don't get stuck in a poem or paint. I've learned a great deal from poems and paintings. But I've also learned that it's okay to make your life a painting or a poem. Okay. I don't know how I got there.

[35:16]

Before the break, I thought, I'm going to mock this experience. But before the break, I thought, how does this experience work? You know, what you said gave me an opening. And what you said gave me an opening. And what you said gave me an opening. And what you said gave me an opening. Because it's true, sometimes you put the ingredient in, and it only comes. Weil es da ist. Weil manchmal gibst du eine Zutat hinein und die kocht einfach erst später. I'll keep a soup on a lower. Aber wie kann man eine Suppe mit einer kleinen Flamme kochen? I was first living alone in New Jersey, right across the river from New York.

[36:40]

I had some idea you could have an eternal soup pot. And I love soup because I'm lazy and you don't have to chew. And I thought I took the whole very loaf Five will be just fine. I got so spoiled. And I got so sick from eating it. So I have to keep the right temperature.

[37:45]

It takes a while. And it's very helpful to clean up on occasion with new ingredients. It's very important when you clean up the village from time to time with new ingredients. Yes, Christine. That's my question. How do you relate to the eternal cooking pot? Do you see it? How do you... I feel it, for sure. How do you... There is a relationship between the cooking and you. Yeah. What is the you and what is the cooking pot? Deutsche Bitte. That's my question. How do you relate to the inner pot? Do you see it? And is there a relationship between what cooks and you?

[38:49]

And what is the you? And what is the cooking? Such a big question. My last letter after lunch. My last letter after lunch. That's almost now. So let's hear the bell carefully. And they've done studies which show that Even after the bell ceases to sound, we ourselves in our senses hear the sound continuing for a while long. It's almost like we, it's not just that we hear the sound.

[39:56]

We also make a bell in our senses that continues to ring. But it needs the help of the, of the, yeah, the... Other real bell. And that's also the meeting of the three. Thank you very much.

[40:57]

Just to make sure it works. Several times I was told during the break that I wasn't speaking loudly enough. I actually was trying to avoid the echo a bit. That's why I was talking lower than the echo. But since we barely got started and Eric and I are already being criticized, I'll turn the beginning over to Christiane to tell us about Achilles. Achilles is not a heel, it's a rabbit. You need German and English.

[42:21]

German. German. Sorry, is it right? No, it's because... And we lived in a small town. And for three days we were running around in a virtual room.

[43:24]

And it was so pathetic to see. We were running around in a small room. And then on the fourth day it happened. My brother and I ran away. We were fine. Since then, it's... I had to get back to work. [...] I mean, this story is too true. I mean, this story is too true. I mean, this story is too true. Pember, you know the word?

[44:36]

Pember means to take care. So I... Would anybody like to say something? About anything, or what we just talked about? Once I learned quite of a poem by heart, clearly beautiful. And another time, about three or four years later, I talked to Martin, too, also a lot. And I said, God came back and stood next to me. It was like a treasure I had carried without realizing it. I had learned a part of the poem by heart, because it was included in the whole poem.

[45:37]

But I couldn't start it. Thank you. Anyone else? In the next slide, I'm going to share some emails with Paul Rosenblum. And I find it a very useful way to send an email, because he always starts with a positive to the first two sentences of a record book, describing his present feeling or situation at his desk. That's because he has nothing to say in the beginning.

[46:39]

Yeah. Yeah. I'm searching about emails to offer them, which source they are getting, the iron metal pieces in their mouth, and such and such. I ask them out, it's really familiar, and I could write this out, or just search for this thousand years, and when I say no, I actually put out the first thousand years. I'm looking at these emails to show these pieces I've got, and it's great. His Buddhist name is Paul Pausenblum. That's not true, but I don't know. Does anyone else have some experience with this phrase, two parts for the particular?

[48:07]

You've been all these years. You haven't been pausing for the particulars or haven't noticed anything you do? Oh, yes. Well, I can't ask for more than that. It's joy, it's just joy, and I can't ask for more than that. Yes? It's so simple in English. It's so simple. It's so simple. From time to time? When you are with somebody you know quite well, for instance yourself, and you know him very well, and suddenly you notice within this knowing and being familiar with, there's an opening, like a canyon or so, opening in something completely new, but it's within this familiarity.

[50:09]

Yeah, I understand. I don't understand that. Gisela? I don't understand that. I don't understand that. I don't understand that. So I have a little difficulty, for instance, when I hit the bell. Then I let myself be carried away by the sound. But then I have to bring myself back again because I have somehow the feeling as if I would tip over. Are you standing or sitting? Sit still or stay still?

[51:14]

So I'm sitting on a chair because I cannot sit in this posture anymore? Yeah. Well, I'll have to be careful when I ring the bell. What's it say? What's it say? What's it say? Thank you. Thank you. Thank you. So this is an experience I always had when I, and that's something I forgot to translate, is that when I'm carried away by the sun, I also feel getting empty or having the experience of being empty. And this experience of being tiptoe is connected to this feeling of emptiness I had. Can you say that again? So...

[52:31]

For my health, I was doing some deep relaxation, and I'm doing it for my CT. And the CT always tells me, relax and relax more and more. And I cannot melt. Well, I haven't heard the CD. I haven't heard the CD yet. Why don't you, when you hear the bell, why don't you bring the sound up your spine? Why don't they come out through your cheekbones? Why don't you, when you hear the bell, bring the sound up your spine? So maybe that's a good idea.

[53:48]

Let's try. Bring the sound into my breath first and then my spine. Someone else? She came all the way here from Munich. She is the whole way from Munich here.

[54:51]

1,000 kilometers of wind. 1,000 kilometers of wind. Yes, go ahead. This is a sentence, a percentage of concepts. Since my life is pretty chaotic at the moment and not in the way I wish it to be, I frequently come back to the sentence to look at things without concept. And this is also a way for me to look at things without judging them and to see them as they are. And the other thing I wanted to say is that on New Year's Eve I drove back from Johanneshof.

[56:05]

and I had to come to a very heavy car, a traffic accident, and I had to give first aid. And at that moment I was just so present that life was really just a breath of fresh air. And this question, what do I want from this life, or how do I want to live this life, was just like on the pill. And at that moment I realized and it came to me that life is only like a, what's the word? Sigh? Breath? Yeah, very subtle, like breath. And this question, what do I want to do with my life, was very present at that moment and since then. Yeah. Yes, and at that moment you think you want to change your whole life or it is so urgent to go deeper.

[57:25]

And then after a month or two weeks I realized that it is the same habit again. And at that moment, there is this urgent need to change my life completely and to go into more depth into my life. But already one month or two weeks later, I slipped back to my old habits. And so it changes over and over again. But the habit is also very strong. And there is the change of this experience of urgent need, of changing one's life, and also that these old habits, I'm back in my old habits, and it's like following an older path or so.

[58:26]

Yeah, that's the situation. Sometimes our old habits are not just the condition of our life. Habits we inhabit. And sometimes they're addictions. And... But you had the recognition in this terrible moment, helping someone. And then practices how to really renew that recognition. In our habits that are both inhabited and addiction sometimes. So you're here.

[59:29]

Somewhere else? Yeah. Well, regarding to the parks, I had a kind of realization this morning when I came up from Vienna, driving up and down the street, and suddenly I saw this beautiful meadow full of flowers. It was so gorgeous with the blue and white and purple. And it's just, it was amazing. And I wanted to stop, and I couldn't because I wanted to be here, but I had such a desire to really stop and be there. And I think this opens something up. .

[60:30]

with faith, with reality, with knowledge. And suddenly I realized, yes, what is it? I would like to continue now, and I really do not want to go into a hole. I had to continue because I wanted to come here. But this need was very strong. Well, there's a teaching called the... I've mentioned it for a while, I think, called the Meeting of Three. It sounds more like a description than a teaching. The meeting of the three means the meeting, coming together of the sense organ, the object of perception, and the consciousness that arises.

[61:50]

at that time. Now again, as I said before the break, this is not really a description. We could say it's more of a prescription. In other words, it's The idea of such a description is to get you to notice this sense organ, object, and the consciousness. Just slow down the process. Mostly it's both too fast and unnoticed.

[63:15]

Again, it brings such a description. Into your intentional mind. After a while, it becomes a kind of new habit to notice the three. Yeah, and Yeah, now normally we're in a flow of consciousness.

[64:20]

It's something like Achilles. Who shows us the evil of human weakness. He's pampered in a pamper box. He goes around and around in the square. That's what he does. And then one day he notices. We say, in the... In the ten directions there are no walls.

[65:25]

In the four quarters there are no gates. In traditional Chinese towns, probably European medieval towns, there would be a gate on each of the four sides. So, it's a calisthenics in the 10th century. And so sagt dieser Friedrichs, der Hase in diesen... In Dharma practice, in the Dharma technique, that experience to reach deeply in the experience in the time direction there is no there are no walls means in a way you have to break the habit of

[66:29]

It's like in the stream of consciousness you keep putting your hand Then you put your hand in it. The stream of consciousness keeps splashing around. If you do this once or twice, yeah, something happens. And sometimes, you know, you come out of your house and you hear a bird sing.

[67:40]

You suddenly see a field of flowers. And we might have some light matter inside. But there's a big difference when you do it all the time, not just when you pass beautiful flowers. or something in the world stops you, you, through your wisdom, keep stopping yourself. It's transforming. You're always moving from particular to particular. Then what happens, you change the ingredients of your life.

[68:59]

Because your day is made up of thousands of particulars rather than your habitual strength. Because your day is made up of thousands of particulars rather than your habitual strength. Now, what I'm trying to approach here using your example, I'm going to use the word bug to mean and really to be an adept practitioner. So we have painter, poet, and book. So I'm trying to get to in our conversation that got started this morning.

[70:06]

So the poet cooks his quickening or her quickening in words. So kocht also der... Traditional poetry and so. The plot and the ingredients of the tradition of poetry and words.

[70:57]

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