Where do you get these tits? I need to get it. [...] Yeah, but I bought two. I was on a trip with Suzuki Rishi to New York. And he was, as we have shown in the modern era, blew up with two pillows and gave one to the hotel where he was sat. And I said, I have something modern, and I started blowing it up, and one day I sat down in the hotel room. And then we both could laugh.

[01:01]

Mr. No, Mr. And I see the technology looks somewhat advanced. And last night, I mentioned I lost that checkbox. And, you know, these lights aren't illuminating Schwarzschweig. It's too much noise. It's raining. It's wild. And we just did it here. That's not a joke because the hall is filled with half extinct animals. And this is no joke, because some of you have already seen it.

[02:23]

There is a hall in this castle, Rastenberg, which is filled with half of the already extinct animals in Africa. There was some great grandparent who just thought life was shooting animals in Africa. Could be in the dark and scary. But I found my way. Then I heard it was going to be a party. Meditation hall. And I got there and there was Mimi playing the bass viol. The bass, you know, like... It was quite good actually.

[03:25]

I don't know how she did it with an empty wine bowl. And I think that Christina was playing the water in can. And Angela was playing the empty plastic water bottle. Given the limited number of instruments, it was a wild apparelation. Yeah, so then I went back to the Schloss. I had the only key.

[04:25]

Because they all have gone, so I had the key to the castle. And luckily I had my tiny watch. Because I almost stepped on a huge frog. Which I thought might be Giorgio. Because he was locked out. He's trying to find out. He's trying to find out. And I looked at him and started to think whether I should kiss him or not. And I decided, OK, you're going your way.

[05:25]

I'll go mine. It was a wild night between lost and buried. OK. You know, I'm very, it just sounds silly to say that, but I'm very grateful that you're kind to this foreigner. It's good for you, but I'm so grateful that you're kind to this stranger. I don't mean that. So I want to thank you for this little accumulation of flowers. And I feel a little apologetic, too, by measuring as such a neophyte somebody who's inexperienced a neophyte.

[06:36]

into the realms of higher psychotherapy. And commenting clumsily how an unseen child might affect a seen family. From my way of trying to think something through is to imagine situations in toilet paper. I want to try to make clear what I mean by foldedness and a material stream and why I connect. Connect the two.

[07:48]

But first, you know, we only have this one, right? So it'd be nice if we could have some discussion, at least yet. And I particularly want to start with those people who've said nothing or very little. Yeah. Because, you know, I want to do this with you, not for you. So I at least want to hear your voice. Or anything about how you would like this to be or how it's been for you, Michelle.

[08:54]

We know who you are. So, yeah. You know, I'm the two of my best students. I've practiced for a week, though. at least two and a half years before I saw them, because they always carefully sat behind totes. Really, this is the truth. Yeah, go ahead. I feel like here, I feel like being in a process like being in a kind of flow.

[10:07]

I kind of follow the movements of the world. Sometimes there is a river, you know, like... Oh, we're in a pool. Yeah, like a water... Water stream. Oh, and... And if I stay in this process, then this water strudel, it dissolves. I try this to my head, my mind, and it produces a knot. And then I wait a little bit until a question arises out of this.

[11:23]

And then somebody says something. Like, for example, yesterday Siegfried said something. And then it dissolves again. Bon appétit. And sometimes something within me knows it is OK. So this is more of a bodily feeling and not very much, it has not very much to do with my mind. You're doing quite well. You're doing quite well. And this process also continues after the seminar if I read something or I need people, like Cyprian or others.

[12:38]

And then sometimes I talk about some kind of reflecting sphere. Yeah. Thank you. And that is it. That's good. This gives me reason enough not to retire. And we seem to be, since your questions you've answered, In process, we seem to be all in the same Wasserstuhl. You know, funnily, strangely, I remember when I first started in the practice, the first year or so, I think I read somewhere that Janice was jumping into the whirlpool or something.

[14:04]

Da habe ich irgendwo gelesen, das Sein ist so wie in den whirlpool hineinzuspringen. Ich hatte irgendwie so ein Bild. Das Praxis oder Sitzen irgendwie ist, einen whirlpool zu betreten. Und ich erinnere mich daran, dass ich wirklich dadurch auch geängstigt war. I found myself in my mind swimming so the current didn't catch me. And finally I decided, what can happen? I can either die or go crazy. If I go crazy, where am I going to go to? I thought, even if I go crazy, I'm still here. So I let the current carry me.

[15:12]

I heard you pop out at the other end and it was true. It's funny how images like this contain so much information and experience and can work in us sometimes. Okay. When I listen to you, I enter a space which is very wide. In between, I notice that I would like to know how you are doing with this.

[16:14]

And when I'm dealing with how you are doing it, then I leave this space. So I decided to let it be and not just let it be what happens to me. So I decided to let it be and just let myself be inherited by what happens. And now, in the last sitting, I was just wondering how it comes that I, although I have been sitting for years, again and again And during this last period of meditation, I asked myself, why is it that although I have been sitting or practicing meditation for a long time, I always have to go through thick walls of stories

[17:41]

Until it's possible for me to enter a stillness. And I'm dealing with that at the moment. Thank you. Thank you. I see the pillar right there. Right at the moment it's difficult for me to say something. I decided to practice meditation more. From being here, you mean? Because of the seminar?

[19:06]

That's not too bad. You haven't said much. No. At least a lot of stuff for me. I don't know. [...] For example, I was very touched by its emptiness. Because what I understood is an experience of bounty. The words send you out to it. actually means fullness, not emptiness.

[20:16]

Or it means no boundaries. Yeah. And also this picture of localization and that everything is right. But the school is not right. This feeling that there is much in the school on their own. Another point, just making no decisions. I have problems to decide what to wear. And I thought about maybe at that point I'd just try to touch the clothes.

[21:40]

That's what I did. You can see how funny I look sometimes. With Sophia's shirt on. Thank you. I was touched by what you said, taking responsibility for what I say, also what I say to my clients. And for me, it's like you're offering something to me. And the question is, The question for me is, how can I tell my client that it is an offer, it's not the truth, it's an offer and he can't take it?

[22:57]

Yeah, of course. What happens when the father doesn't know that he has a child? What happens to our wives? There is a relationship for us, but we do not know it for them. Yeah, I... I know that there are such cases. But I only know them because the father finds out 20 years later or something. Many of the problems that you brought up was not artificial insemination. I don't know. I thought about it. Ich habe schon darüber nachgedacht, aber noch nicht im Kontext dieses Eingefaltetseins.

[24:26]

Und ich werde darüber nachdenken. Looking at me directly, I think there is no problem. Yeah, there isn't any problem. Which one did I follow? And these days, for me, there was a personal process going on. And it was just like, who am I? Who do I belong to?

[25:26]

What group do I belong to? I mean, . Under what circumstances am I separating them now? And this inner process, it was in movement with what you said? I took the freedom of not having to understand so much, or not having this inner need to understand much. And I'm also used to your language, and my thing is I have to learn the language. And how I do with this learning a new language is that I create a new space, and I don't

[26:48]

I only want to speak to other things, or not speak at all. But not talking too much about the things you talk about. More letting this space be there. And what I'm dealing with a lot is this aspect of awareness. in connection with states of trends. And the question of whether these are the same, or whether there are very distinctive . Was this ? I often wonder why, because people tell me quite often that it took them two or three years before they understood what I was saying.

[28:34]

And I value it. Now, partly, I usually think, well, it takes the most time to get familiar. But sometimes it likes me, I mean, because I'm speaking pretty simple English. I don't use big words and things like that. Paratactic, I don't know. Yeah. But I think it's because actually my sentences are trying to make them vertical rather than horizontal. And then there's phrases and words that I'm actually using as technical terms, which you have to find out by contacting .

[29:39]

At least you'd know why you didn't understand. Yeah, it's my need to create a text that reads practice, not text that reads . But it is my duty to create a text that is the practice and not our usual understanding. What? I can't hear you. I can't hear you.

[30:47]

I can't hear you. Wives, brothers, new baby, I guess could be Christoph, but it's Friedrich. Friedrich. And I also, what you said was helpful too, are reflexible in my own experience. Because if I'm in this scenario, I'm speaking about practice and the reading of practice with the Western Yogi culture. But if this isn't also simultaneously a personal process for me, usually I think the master is the person.

[31:59]

That's a continuation. Then there's not as much vitality. Okay. Does someone else want to... Are you a big fraud? What's that? I love this sound. OK, does someone else want to bring something up? Now you're chatting to me. It was so good on the... I think you have to be our entertainment director. When I was 16 years old, I laughed at the Gorita movies. I have to tell you... I actually want to say thank you to the group.

[33:21]

I don't have any more questions about the group. And I'm really impressed by your kindness and your gentleness. Thank you. We want to bring something up before we do whatever we do next. Could you tell us more about how intuition rises up? You said, when I was up to the surface. Yeah, something like that. Don't you get that? Well, I always was perplexed with that practice. by the fact that what was so important in living in a world of art and so forth, intuition and inspiration was important.

[35:08]

The words almost don't occur in the name. And after a while, I concluded that Intuition is a word when a kind of, let's say, deeper thinking or body thinking or awareness breaks through the surface of consciousness. It takes some kind of pressure to do that. But if you loosen this surface of consciousness, which maybe we can think about today, then, don't we, What characterizes an intuition?

[36:22]

A feeling of sheerness feels right. Yeah, and a feeling is inclusive somehow. It took in a lot. It covers a lot. And when you think more with your body, all I'm thinking is this feeling of sureness and peace. I'm reminded of, also now to carry it another step slightly, I think Plato says somewhere that dreams are like dark hatches in the open.

[37:23]

And these dark patches lead us to reflect and open up in ways otherwise it wouldn't. Und diese dunklen Flecken, die führen uns dahin, zu reflektieren oder zu öffnen auf Weisen, die uns sonst nicht zugänglich wären. Und ich stelle fest, dass das der Fall ist. Und wieder haben wir diesen Satz nicht wissen. I'm always, once I develop the courage to do it, I'm always attracted to the dark past. More attracted in a funny way into when I feel sometimes a little doubt or mixed up or something. Because it's almost always the case that transition is a process, and if I just enter into it, then it resolves itself quite quickly.

[38:48]

Or it's nothing, but quickly. Kassel says something a little bit. When he paints, the canvas has to be completely dark. What he says is, there has to be nothing but darkness between me and the canvas. He said, there must be nothing but darkness between me and the light. And I have to paint in a trance-like way into the darkness. Otherwise, I can't paint. Yes, yes. I thought of that too, did you? Yes. I'm dealing a lot with questions of consciousness and awareness.

[40:07]

I'm dealing a lot with questions of consciousness and awareness. During the last year, what I experienced at home is that my son, you know, if you let him, he's sitting in front of the computer. And I ask myself, when young people like him, they are doing these fast things, you know, with our car racing, you know, I ask myself, is there anything going on with awareness? Is this a way of shutting up, shutting down? Und ich habe selber keine Erfahrung, ich tue es nicht.

[41:16]

Ich habe eine Aversion, das zu tun, und kann es schlecht nachempfinden. And I myself, I don't play King Kong Missile. I have an a mercy to it. Yeah, und ich kann mir schlecht vorstellen, was da in Vorsicht geht. And from that, I cannot imagine what happens. Und meine Frage ist eigentlich die, wie lange, oder was ist noch ein Maß, was vielleicht okay ist, und ab wann ist es sozusagen... My question would be, what is okay? How far is it okay? When does it start to be a problem? Okay. And I thought about it myself. My little grandson played a little hand-held thing. Mm-hmm. Mm-hmm. Does he also surf the internet and stuff like that?

[42:37]

Or mostly just plays games? I think it's not only a problem of my son, it's generally a problem of my clients. Your clients are also... But I know from some clients, they sit hours in the night on the computer playing games. Yeah. It's weird. But let's take the teenagers. But my feeling is that one of the most open times of one's life are the teenage years. I really entered into the openness and complexity of what it is to be a human being.

[43:47]

And there isn't much around to absorb or respond to this complexity. Usually school or Normal life is pretty dull. There certainly weren't computers when I was young. They talked that someday there might be something called television. We thought it was a very funny idea. But I did, you know, we had telephones, these white telephones. And I found I could dial people up by hitting a little thing that disconnects the phone.

[44:59]

So no one interested me in that. I didn't have to dial like this. I could just... I like the complexity. Yeah, and I think it's great when kids become readers, but sometimes they don't become readers, they become computer addicts. Somehow my two daughters passed through this unscathed. I'm wounded. I know in Japan, the Pachinko Park was... Which is, you know, a mad scene, if you've ever been in Japan.

[46:26]

These little silver ball, they fall and go, you know. You see hundreds of people, mostly men, And this is a game for art. And that thing is a din. Din? Din means a total white sound. But it does seem to be some kind of meditation where they suspend thinking and just do this. After a while, they feel better. Maybe these computer games allow you to suspend thinking in a certain way. But how some psychologists can be of the service of these companies and say, watching violence all day doesn't affect you. I actually think there should be some kind of laws about what they could do to show mayhem.

[47:44]

It's kind of a problem right now. I can contribute an experience. Very early I started dealing with computers. And I always had the impression that it had something to do with power. I had the feeling that you came with an additional possibility My experience was it has something to do with power.

[48:44]

You get an additional sphere where you're left to influence. That's interesting. Neurocysticicide. Neurocysticide. Neurocysticide. Yes. I had two big topics on the seminar. And one was separation and connectedness, and I already talked about this. And the second one is consciousness and awareness, and Andrea reminded me of this.

[49:45]

Because I had the chance to meditate more in the last time, about three times a day or so. And I've said that in my meditation, there is kind of a constant battle going on between consciousness and awareness. That consciousness is the doer, the active part, and requesting part. Yeah.

[50:53]

Requesting tea, coffee. . And there is a kind of, in consciousness, there is a kind of pressure to attain something, to realize something. Then my mind somehow goes away and I'm in the midst of my thoughts. And awareness is somehow a patient receiving in the background without aim or goal and without request, and somehow waiting. And at some point, my consciousness is getting tired.

[52:18]

We have to sit a long time sometimes before consciousness really gets tired. It's a battle between who gets tired first. And then there is a switch and what starts is a kind of unconditional leaping route or jumping route or whatever that is. And exactly what I experienced in my meditation is what happened for me during the seminar. There is an impatient consciousness which wants to understand that And there is a plastic kind of awareness which doesn't need understanding.

[53:41]

This gives me the feeling of being at home here and feeling well. Yeah, I think you've outlined the first two stages of practice. First is it takes a while. But you break the habit of consciousness. It doesn't even stop being conscious. You break the habit. You know that you want meditation mostly for this awareness, as you described. And then versions flow, evolve. But I forget something too. Can you hear something? Yeah. I am between three points.

[55:19]

The one is an English neuropsychologist who refers to the theory that the ego is an image. And he talks about the ego being like a bundle, something brought together. The second point is the German philosopher Sloterdijk. The second point is the German philosopher Sloterdijk. He wants to describe from the outside how the 20th century is an unfoldment somehow. And the third point is listening to you.

[56:22]

Beside the demands for achievement in my meditation, beside these demands, I really can think that there is a sphere... I can experience a sphere of... It's not Tenshi, probably... A sphere I can experience. That's all. Okay, thank you.

[57:42]

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