sensory fitness practices, to keep bringing yourself into this mind of immediacy. And people often ask me if this mind is similar to Zazen mind. And I often have trouble answering that question. It's a natural question, but it's the wrong question. Why is it the wrong question?

[01:03]

So to answer that question, I have to say something. I'm sorry for those of you who've been with me recently. I have to say something about foundations of mindfulness. And also, I know that for most of you it's not possible to join our practice more than once a year, So I try to catch you up on at least some of the things I've talked about during the year. And I'm glad you give me some excuse. Like Angela gives me an excuse to speak about the paramitas.

[02:27]

I'm on the wrong page here. This word in here should be pause. Now, I'm trying to think about, notice. Notice is better to think about. I'm trying to... notice what are the preconditions that make practice work. One of the things is a sense of a pause. This is connected with mindfulness.

[03:27]

But that You have a physical sense of each moment as a pause. It's not so much that There's a mechanical pause before a thing. Although that's good to practice. But there's a seamless... a pause built into each thing.

[04:28]

If you don't have this pause, there's no possibility of insight to erupt into our life, or less possibilities. And there's no possibility to bring teaching into the surface. And when that pause or interruption opens into a Field of awareness. You have a chance to see how You have a chance to feel the insinuations of the world.

[05:59]

To insinuate something, it's usually like many words, subtle words, it's used to apply something negative. He insinuated that she never tells the truth. It's something devious. To insinuate, I imply somehow indirectly... But the word is related in English to curves, sinuous, like a river curves. So insinuation is also, in a positive sense, a small curve, something you don't notice usually because you're looking straight on. So there's secret correspondences or movements that you notice

[07:04]

in a pause, particularly when it becomes a field of awareness. And mindfulness means to establish a field of awareness which is unperturbed by our usual need for continuity. Okay. So the choice to pause Or to bring a teaching into a situation. Sitting at the Brauhof restaurant and beer staff. Is that what it's called? It's a beer streff, beer streff.

[08:41]

Beer streff, beer treff. Beer treff, yeah, beer treff. Beer treff. What is a beer treff? A place where you drink beer, I presume. Yeah, okay, it was a beer treff. I was... I was drinking a Maylon. Um... Then you can have a sense of a non-choice. I put noise here because a noise can interrupt our sense of continuity. You know, a big motorcycle goes by or something. So it's a All these words make me think of how you wash the surface of continuity.

[09:50]

Now I might take for granted that you all have a sense of this pause. But when I think about it more carefully, I don't think it's so usual to feel a pause all the time. A lot goes into that pause. A knowledge already an actualized awareness that everything is a construct. That's also part of the practice of mindfulness as a path. That you don't see anything without knowing it's a construct.

[11:36]

And you feel yourself constructing it. Yeah, so I've said all these things before. I've said all these things before. But now I'm saying the meaning, it really has to just be your habit. Why is the mind of immediate consciousness not zazen mind?

[12:37]

Because it's a condition of the mind independent of zazen or not zazen. It's a condition of the mind independent of whether you do zazen or not. Okay, now what is this condition of the mind? Okay, the point of the four foundations, one of the points of the four foundations of mindfulness... is to discover the mind of the body, which is not the mind of mentation. Okay. Okay.

[14:05]

Sophia is trying to coordinate body, sensory fields, and consciousness. And that coordination is mostly happening through the movement, dynamic of intention. She intends to nurse, she intends to sit up, and so forth. So, in a way, everything is getting submerged into consciousness. And our practice as Buddhists, or whatever you are, if you want to practice this,

[15:13]

is to weave mind and body together. She's not weaving mind and body together. She's... trying to bring body and consciousness together. But that's not the same as weaving mind and body together. Yeah. We're in a sense returning to the body. Mm-hmm. Okay, so the first foundation of mindfulness is to bring attention to the body. And there's certain gates through which you bring attention. And there's gates that have been discovered.

[16:21]

but we have enough. I seem to be in a writing mood. Okay. In the first foundation of mindfulness, we could say the gates Because you have to pour mind into the bud. How are you going to do that? Well, certain main ways have been discovered. But you can do it any way you want. One is activity. Another is breath. Another is the four postures.

[17:51]

The four noble postures. The four elements. and the parts of the body. And all of this is done with a mind of clear comprehension. which is a mind within the active awareness.

[19:06]

of cause and effect. Active awareness of change. Active awareness of the absence of impermanence. Complete absence. You know that? These look like the same thing, but they're not the same thing.

[20:29]

We're not talking philosophy here. We're talking you in the midst of a situation. And to be aware that everything's changing is not necessarily the same of an awareness of the absolute absence of permanence. Of impermanence, of permanence. And that's better than saying the awareness of impermanence. Absence of impermanence is more strong than the Absence of permanence is more strong than saying awareness of impermanence.

[21:32]

So when we do zazen in the morning, and then when we do qin hin, part of qin hin is just to walk a little and take a little break. What you're really trying to do is to discover a mind discover a way of acting, which doesn't interfere with zazen mind. Like here, you're noticing in secondary consciousness, like Gary says in the poem, I cannot remember things I once read. That's a way of not noticing and not letting disturb, noticing something in a way that doesn't disturb immediate consciousness.

[23:12]

So we could say Kenya is a way to step to keep stepping back into the mind of zazen. So if you're doing kin hin, you're thinking now I'm going slowly. How long will this last? I can't keep my balance. What's the person in front of me doing? This is really in K'in, it's okay, but it's not really K'in. In K'in you feel the Zazen, the mind of Zazen. And even if you're grateful the bell rang, And often if the sasen mind takes hold, you don't want the bell to ring.

[24:14]

The bell is rung. Then your question is, how do I step forward without disturbing the sasen mind? So it's like you're tiptoeing into a baby's room. You're tiptoeing into zazen mind. Try not to wake it. And you have to really bring your mind up through your heel and the back of your body. And there has to be a kind of physical continuity in the step. And that continuity, if it's contained within the breath, you're less likely to wake up ordinary consciousness.

[25:17]

You don't want to look around your own. You do it almost like your eyes were shut. You know, like that. Inhale, exhale. Something like that. So that's a way of bringing the mind of zazen into a physical activity. And if you get so, you're good at bringing... completing and continuing zazen mind and kin hin, it gets easier to do in your daily life. And generally when we do kin hin too, we tend to want to define the space we're in through the kin hin.

[26:21]

You want to take hold of the architecture of the space and make it your own. So you don't rigidly follow the walls, but you tend to... follow the shape of the room. You can round the corners a little bit, but you don't cut corners. By the way, who put the beautiful flowers in here, the hotel? God, they're so nice. These too? You want to come do flowers for us at Johanneshof? Those are so pretty. I'm sorry they couldn't sometimes be up here too, you know. Okay, so one of the ways in which we pour mind into the body, we can also, as you know, call this, this first one is called mindfulness of the body.

[28:15]

But more accurately, it should be called body-bonus of the body. The Sanskrit is something like to know the... What? To know the body in the body, that's actually what it says. So it's not that you have a point of view from mind toward the body. Now that's how you have to start, it may be. But you're knowing the body from within the body. Your toes don't feel down there. Your toes feel in here. Yeah. Okay, so where are these openings in which we pour attention into the body?

[29:32]

And that is how we have to start. Until mind or attentiveness is sedimented in the body. Sophia is using intention as the way to fill her arm with consciousness. And a consciousness which allows her to give attention with her hand and receive attention.

[30:37]

Now if she were sophisticated enough to practice Buddhism, she would in a way take the complexity of an evolved consciousness and take a part of it we can call mind but not consciousness as if you could kind of peel off part of consciousness and let's call it another kind of mind And peel it away from intention. She's now using intentionality, but take it away from intentionality. And let's maybe call it intent. Sorry to cause these language problems. Let's call it intent instead of intention.

[31:47]

Oh, yeah, I don't know the difference. Oh, no. You look at me with those big blue eyes. I feel I've done something wrong. No, it's okay. Oh, I know. Okay. No. and kind of pour this back into the body. Outside the conceptualization process, which allowed her to create consciousness. And again, she's creating a foreign installation. At this point, Western Judeo-Christian culture is foreign to her. If we took her quickly now to China, she could learn all the sounds of Chinese in the next few months.

[32:52]

After about a year, she couldn't learn the sounds of Chinese anymore. They say anyway, up to about a year you can learn the sounds of any language or even not yet thought of languages. But After a year, you can only learn the languages you've been exposed to, the sounds. And likewise, she's through the sangha and through aunts and uncles and through primarily her parents.

[34:04]

Through what? Through sangha, aunts and uncles. In the Midwest it's aunts and the East Coast it's aunts. Okay. She's learning the shape of Western culture. And this will be installed in her. Now the question we're asking ourselves, can we install it loosely? Can we install it so that the fasteners can be unfastened? Can we install it so she knows it's an installation? Maybe we have to add little phrases always. Yes, that's one way of looking at it.

[35:06]

I think of, what's that famous scientist? His books about him are popular these days. Anyway, he was a little boy and he was pulling a wagon. I think his father was also a scientist. And when the little boy pulled it forward fast, the thing in the wagon slid to the back. And the little boy asked, why does it do that? And the father said, no one knows. The official explanation is, you know, etc. But he always told his son, no one actually knows, but the explanation is.

[36:33]

And this person became one of the two greatest physicists of this century. Yeah. So in practicing mindfulness, You're trying to get mind and pour it back into the body around and through the installations of the consciousness of your culture, your culture's consciousness. And again, one of the openings is your activity.

[37:40]

Walking, kinhin, doing something, washing the dishes. Another is your breath. Yeah, another is the postures of walking, standing, sitting, and reclining. Now, how is this different than activity? Because, wow, activity occurs in each of these postures. But it's very clear anyway that the mind of reclining is quite different than the mind of standing. You may be able to sleep and dream standing up, but it's more likely you'll do it reclining.

[38:42]

Certain minds go with each of the four postures. And the minds that accompany these postures You should differentiate. Now again, we have the axiom of Yogacara and Zen Buddhism. That all mental phenomena has a physical component. All sentient physical phenomena has a mental component. Which means that all states of mind can be precisely felt physically. One of the gates to this subtle discrimination of states of mind, this physical knowing of states of mind,

[39:59]

is to first of all at least know the states of mind that accompany the four noble postures. So here we can really see practice as a craft. Yeah. And then the four elements. as you know, liquidity, motility, solidity, space or air or heat. Maybe we should have five, but it's okay, four or five elements. Okay. And then the parts of the body. Now the parts of the body are the hinges of this, is the hinge of this practice.

[41:13]

In several ways. Yeah, breath is the hinge that brings, that can bring you into the continuity of the body. And out of the need of self for continuity in thoughts. Yeah. Gary speaks about in his poetry... Gary speaks in his poem about needing an attitude of gratitude and openness with now and then interruptions of the social fabric or something like that he says.

[42:15]

So we need somehow to interrupt our usual sense of continuity. And that's one thing that Zazen does. And one thing that makes it hard to do. Because it's usually an interruption of our continuity, and so we want to do things that lead from our continuity. So breath is, as I've Always say, such an easy thing to bring your attention to the breath for a short time, and so difficult to do it for a long time. So part of the practice of the first foundation of mindfulness if you really want to actualize the first foundation of mindfulness before you go on to the second foundation of mindfulness you

[43:36]

accomplish the unison of breath and attention. Now I'm speaking very strictly to you. If you were serious students, and we had endless amounts of time, I'd say, come back when you've accomplished the unison of attention and breath. And don't bother me until that occurs. But I'm not that strict a teacher. And I like you too much. I want you to be around. Yes, so I'm happy that you maybe, if you don't accomplish it, because then you'll stay around longer.

[44:52]

But if I really care about you, then I want you to accomplish these things. And you don't go on to the second foundation of mindfulness until you've accomplished this. That's what makes it a path. Yeah, of course we practice all four foundations simultaneously. It's impossible not to. But in the sense that you know when a practice is actualized, you know because this is a path. And you also know because of your actual experience.

[45:55]

That you can't actualize the second practice, second foundation, until you actualize the first one. So one of the hinges is breath. Another hinge is the parts of the body. Now let me try to reinforce a little bit what I mean by, oh my goodness, hinge. Yeah. Maybe, shall we have a break right now? We'll never have a break if we don't have a break. Leave ourselves at the hinge. Or I can... Well, let's have a break. Maybe we should have dinner except for Saturday at seven instead of... So I'll just finish this thing right now and then we can take a break.

[47:23]

Because you can practice, you can bring mindfulness to your activity. Anyone can do that. Yeah. Well, you can... Bring mindfulness to your breath too. You can bring mindfulness to your breath as well. But to really bring mindfulness to your breath until breath is your continuity and not thinking, that, I would say, probably is a million people in the United States practicing some form of mindfulness. of the breath. Let's say it's a million. I doubt if there's a 100 or 10 that have actually accomplished the unison of breath and mind.

[48:37]

Is that because it's hard to do? No, it's not so hard to do. They just don't see that it's necessary to take it that far. So they don't enter the transformative territory of practice. So the parts of the body is another such territory, a hinge. Now, when you bring attention to the parts of the body, you're creating an inwardness. You're knowing the body Through and through.

[49:47]

Yeah. But you're also discovering the mind of the body. Which you can't discover through the other gates. Okay, so let's stop and have a break now. This is like the horse going over the cliff. Episode three. I used to watch those as a kid. And next week you'd go back and you'd see there was a little ledge right below the cliff the horse landed on. In those days they didn't do things like, what's this recent Chinese movie called? Dragon and tiger. Where they jump off a cliff and fly. Zorro never did that. Yes. He just made a Z for Zen. Yes. Yeah, why not?

[51:06]

Could you explain the difference? If you suggest it's a Zen teacher? Why don't you let her finish and then tell me what it was. You explained this morning that the focus is on control and later on trust. And where is the difference when I meditate on the breath, whether I practice individual meditation according to Theravada or Where is the difference between focusing on meditation on the breath in Theravada tradition and in Zen tradition? This morning you explained the focus on the breath on control and then focus on trust. I don't know. Have you practiced the Theravada in the way of doing it?

[52:10]

Well, then let's not worry about it. But sometimes people ask it, what is the difference? They ask you what's the difference. Mm-hmm. In therapy, for example, there are a lot of methods to relax. And there also we find focus on the breath. And some people or patients says, what's the difference between Buddhist practice and this? And I want to be clear. Okay, I don't know if I can help, but I will do it after the break if I'm able. No one knows the answer.

[53:12]

Okay. Yeah, yeah. If you take the activity with you, you can take it as an additional exercise to take a day off from your daily life. as you described that after sitting satsang, you're getting up and start keeping really satsang mind, would be that this part of the practice also is a practice, the practice is taking satsang mind in. Yes, absolutely. Yeah. Yeah, absolutely. But that would mean that not only when you are making kinin in a group, but you're sitting for your own at home, that you more or less close your sasen with a little part of kinin and then you arrange the pillow?

[54:21]

Yeah, that's useful to do, yeah. But that's also like how you fluff the pillow. How you stand up. How you come in, leave the room where you meditate. All of these things where we bow to the cushion are all part of the same basic idea. Because funny, the little signals I can't stop talking about babies. Watching your husband with the kids and you yesterday with the fish in the aquarium. Reminded me of the fact that they've discovered through blind...

[55:31]

through the children of deaf parents, is they learn to sign before they can learn to speak. So the children, supposedly, of deaf parents are talking with their parents before most other children. And one parent got onto this by noticing that her child, her infant, when she would look into an aquarium, for instance, show the baby an aquarium, The baby would go... Yeah, like blowing at the fish.

[56:43]

And when they were going to have a meal and there was a fish on the plate, the baby would go... So she wondered what's going on. Then she noticed they had a mobile of fish above the baby's crib. So both parents would come up to the fish and go to move the mobile. So for the baby, this became the sign for fish. And every time they showed the baby a fish, he would go... So actually, we can sign to ourselves. You... Know what it's like to stand up for a moment and bow to your cushion.

[57:54]

That can be a language. You can feel it. I have a practice of every time I see a dead animal, On driving. Or an insect hits the windshield. I always go like this. Sometimes the other people in the car think, what the heck is he doing? But it's... Yeah, I know. I do it. But when I do it, I feel that moment before you sit down or after you sit down. So it's not just respect for the animal. I feel I enter the dead space or something like that. Okay. Now, what I'd like to do is here... Oh, yeah, yeah, okay.

[59:15]

That's what the baby Buddha does, you know. That's how they always show baby Buddha statues, you know, like that. And that was one of the first gestures of Marie Louise, I mean of Sophia. And I wasn't confused about which came first. Sophia or the baby Buddha. Sophia or the baby Buddha. I'm sure that they copied the statue because babies tend to do this. Yes, all right, go ahead. Yeah, you have a baby question, yeah. I have a baby question. When we talked about mindfulness in Rastenberg, many people told about the experience in work that they are completely absorbed in their work and they forget about everything, also about breath and about mindfulness and about anything.

[60:20]

And then at some point you arise from that absorption and then you can start practice again. So how do you practice with that? How do you deal with that space where you're really absorbed? Should you interrupt it? Did you say that in German? No. That was after I left. Yeah, I've heard that before. I don't know what to say to questions like that.

[61:54]

If you're completely absorbed in your work, I suppose that's good. I wouldn't see it as a problem. But I wasn't also mindful. that I wouldn't see it as I wasn't also mindful. If you're absorbed in your work it's a kind of mindfulness for sure. But do you have a field of awareness around you? Okay, so maybe that's what the question is. Because I do notice It's a little off the topic, but it's okay. Or it's on the topic from another direction. Yeah, I do notice that people are able to concentrate. You come into the room. You can even do a number of things. And the person actually doesn't know you're there.

[62:55]

Yeah, and that wouldn't happen to me. That's because I'm generally distracted. But... But it wouldn't happen also to a good practitioner. I think. Because you somehow have concentration and an awareness of your situation. Okay, so, but that you can't do much about. I mean, you can't make that happen. Yeah. Because the development of a background mind, which turns into a collateral field of awareness, or simultaneous field, is developed, well, in this context, is developed in the second foundation of mindfulness.

[64:35]

Okay, so we'll get to that. But practically speaking, if you have been concentrated and closed out everything but what you're concentrating on, when you do notice, you just then bring yourself back to usual mindfulness. If you notice that, then you simply bring yourself back to the normal kind of mindfulness. Practice is first of all acceptance.

[65:43]

So you notice that your mindfulness is perhaps absorbed into concentration. And you notice there's different ways of being mindful. You can ask yourself questions. Is one pointedness the same as concentration which excludes mindfulness? Of course, until you have some vocabulary experience of practice, you wouldn't ask yourself that question. But if you ask yourself that question, you can then refine your practice through that question. I'd like to spend more time on your question.

[66:58]

But for now I just say the answer is it doesn't matter. What does it matter whether it's Buddhist or not Buddhist? Now, maybe to some extent it matters, but that would take some time to suss out. Suss out, we talked about the other day, right? Yes? For me, as I remember the question in Rastenberg, it was that people felt depleted after this experience of being absorbed. So this would be my question.

[68:04]

Yeah. Well, probably if they're depleted, it would suggest to me that probably I'm not there, right? But I would guess, at least I would ask myself, was I in a kind of concentrated, borrowed consciousness? So I wasn't really in an immediacy which was nourishing me. What? What do your faces mean? It means, I mean, you work on the computer and you write something. And how can you be in the immediacy if you do that? I mean, you can be, but most of the time it's borrowed consciousness.

[69:15]

Not necessarily. Deutsch, bitte. Die Situation ist, du bist am Computer und du schreibst irgendwas, und wie kann man das tun, ohne im geborgenen Bewusstsein zu sein? Das ist einfach nicht immediate. Und Roshi sagt, nicht unbedingt. It depends on how you can deal with the computer. Well, if it's an Apple or a Macintosh, there's no problem. Because it was designed originally by a Buddhist. That doesn't mean anything what I just said. You know, we have sort of endless little distinctions here.

[70:23]

Yeah, so what's the big picture? Okay. if you realize a field of awareness. There's not much point in my saying these things, but to give you a sense of the topography of practice. Of transformative practice. Okay, so one of the things that can happen to you And the people I know it's happened to, usually it's been in Sashin. You're extremely concentrated in Sashin. And let's not try to define what that concentration is right now.

[71:25]

But you can get yourself, you can come into a state where you can be simultaneously fully asleep at night and fully aware of everything in the room. Fully aware that you're sleeping. fully aware of any dreams that might occur or images that might occur and fully aware of anybody who comes and goes in the room. And if you sleep in a meditation hall where there's 50 other people sleeping there, you can feel everybody's sneeze or whatever they do. Or snoring. And you can hear the snoring on one level and tune it out on another level. Like the funny experience of listening to your own snoring. And being asleep and thinking, who the hell is snoring?

[72:39]

Okay, these things are possible and are happening now. Then you have a pulse of pulling that in and opening that up. Okay. Now, since that's possible, it is possible, I know, to be fully concentrated on writing, speaking, now, or on a computer, and at the same time be aware of your situation. And to find some definitions in there. We'd have to make a distinction between a field of awareness and something like a region of consciousness.

[73:50]

And actually such distinctions are not moot. Moot. M-O-O-T. It means a meaningless distinction. They are not moot. They're not meaningless distinctions. If you say it's a moot, like in Ireland, it's a moot point, which means it's a point which doesn't make any point. But these distinctions only make sense if you're there. Your mindfulness has to be fairly developed before these distinctions make any difference. And that's what we're talking about here. Do you really want to actualize this practice?

[74:53]

That's the question I'm asking basically in the way I'm teaching these days. And if you do You've got to know it's possible. And you've got to believe it's possible. If the belief and faith isn't there, the alchemy, the catalytic alchemy, it won't be there. And I want to bring these practices alive as a as if they were a living being. Not a map or a list of equal things, but a landscape of hills and valleys. So this is a landscape. Now what's the point of saying these are gates for the first foundation of mindfulness?

[76:10]

That's the question I think we have to ask. What's the point of gates? Well, you have to kind of have some kind of openings in the seamless way, the seamless world our senses present to us. So you can see your activity as a gate. Attention needs an object of attention. And the objects you give it make a difference. And here, these are the traditional objects. And now I would call breath a hinge practice. And I would call hearts a bridge practice.

[77:12]

No, to me that's a useful distinction. The others I wouldn't call bridge or bridge practice. hinge practice. So within these gates there is the practice of breath which in itself can be realized. Actualized. As breath mind. Can you feel I'm speaking? I feel on each word my body and my breath. It's just my inhabiting, my habit now. And I feel a pause.

[78:15]

Each word is a kind of pause. And I feel a clear comprehension. The clarity of mind that accompanies the pause. Now this isn't something exceptional. Maybe it's an exception, but it's nothing special. It's just a decision to be like that. To... To limit yourself to speaking in a way where you feel a pause on each word. And an experience of clarity accompanying each word.

[79:19]

And to feel not only mind on each word, but breath on each word. And to feel the body in each word. It's a fact of each word, because if you... If I put the baby against my chest, she hears the vibration of each word. I can feel it myself. So the body is as fully in the word as the mind. Yeah. And And mind can be a lot in a word or a little bit in a word. But there's a certain pace when mind and body are in a word.

[80:25]

And sometimes I think what you inherit in a lineage teaching is a certain pace. And I feel 90, I feel 100% certain if I could suddenly go back to the 9th century, say, I would find the pace of clear comprehension, breath and mind in the speaking of some Chinese Zen person. Because the practice only takes hold when there's that pace. And the bow before you sit is maybe more important than the sitting.

[81:36]

Because it's in that bow that you acknowledge the ancient pace. If you just walk in and sit down, it's okay. But you don't get it that the whole thing is, in a deep sense, a kind of pace. Okay. Okay, so within the first foundation of mindfulness, it's the actualization of the unison of breath and mind that really allows you to realize the whole of the first foundation of mindfulness.

[82:43]

it's the hinge that makes it possible but it's mindfulness of the parts of the body which is the bridge to not only the other gates but the bridge or connecting link to the whole, to the bodyfulness of the body and to the next foundation of mindfulness. So I call that maybe a bridge practice. Until you realize fulfilled mindfulness of the parts of the body.

[83:48]

You don't the phrase to know the body in the body. doesn't make sense. You can hear it, but it doesn't make sense. The bodyfulness of the body, you have to know the body in the body. makes sense primarily through the gate of the parts of the body. Okay, so tomorrow we can speak about the gate of the parts of the body. Your body has parts. Traditionally in the Satipatthana Sutra, It speaks of 32 parts. The point is not the number, but an object of attention requires an object of attention.

[84:53]

You can make the parts of your body the object of attention. And there's an alchemy to it that's better than turning lead into gold. So let's sit for a few minutes. And have a golden silence. Do you have an expression, silence is golden? Yeah, okay. So we have a brass, at least silence. The bell is brass. Brass is bronze. Blech, blech. Brass is different than bronze. Anyway, it does make a difference. Zinc and lead. Gold would not sound that nice. This is the only seminar I do which I have this much time.

[87:33]

It's a different kind of time than a sesshin. And to explore a teaching, we actually have more time than in a sesshin. So thank you for giving the Dharma this much time. It allows us to look at teaching much more carefully.

[87:53]

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