Eine neue Art von Gegenwart. Eine neue Art von Präsenz. Ja, ich habe mir gedacht, wir können in diesen Augenblick einfach mal tiefer hineinschauen. We can hear you. So, what's going on here? Each and every one of us is sitting here in the middle of what I would now call a package of reality.

[01:02]

A package of reality, this moment. Even if we can't say what exactly is in it, it would be far too much. Trotzdem ist dieser Moment für jeden von uns Teil unseres Wirklichkeitskontinuums. Ich sitze in einem Moment meiner Wirklichkeit. Wenn ich jetzt dann genauer hineinschauen möchte, dann würde ich vielleicht anfangen, Teil von diesem Moment der Wirklichkeit ist, ich bin in einem Sashin. Ich bin Nicole. Nicole. Now I'm sitting the other way around than the others. Why actually? And so on.

[02:04]

Then things would pop up. And Because I want to see in this lecture whether we want to put the teaching of the five skandhas into this moment of reality and see how we can take this moment of reality from the perspective of the five skandhas How does it look when we unpack it like this? A new kind of reality, a new kind of presence. Yes. So quite normally, now we are already on the fourth day of the Sashin. Quite normally, I assume that this moment of reality

[03:04]

for each of us is already different than if we were just in the middle of our professional life, writing the last email before work and then maybe already at home with the thoughts. This moment is probably already different on the fourth day of the session. But in general, when we start, and this is a a way of practicing the skandhas, which I think Baker Roshidi developed. namely the skandhas, when you read them in the books, they are always taught from the first to the fifth, from form to consciousness. And Roshi always practices them backwards, at least as an introduction. Because we start, when we pick ourselves up where we normally are in consciousness, then we start there. and unpack them from there.

[04:09]

And this process, the skandhas, to unpack the moment with the help of the skandhas, that can also be an exercise that you can do at the beginning of the zazen, for example, sometimes. Wir rezitieren die Skandhas ja jeden Morgen und jeden Mittag. Also ich meine, das Herz Sutra beginnt fast mit dem großen Statement, Bodhisattva Avalokiteshvara erkannte in tiefer Übung von Weisheit, Prajnaparamita, dass die fünf Skandhas leer sind von eigenem Sein und war befreit von allem Leid, This is a great promise that lies in the penetration of this teaching. And this is a promise that, in the last consequence, lies in all Buddhist teachings.

[05:17]

Roshi has developed these four conditions of a Buddhist teaching. A teaching is then a Buddhist teaching. when the possibility of awakening is created in her. Awakening is possible. Awakening is possible. It is possible to be free from spiritual and emotional suffering. It means that what is meant by spiritual and emotional suffering is that it is something that is in the process of unsere Art, die Wirklichkeit zu konstruieren, stattfindet und dass es möglich ist, davon frei zu sein. Und dass wir, wenn wir unsere Momente with the help of the teachings that are based on liberation, then we can live an intentional life.

[06:26]

A life in which we may participate in our intentions even more, not absolutely, but more. And then, in the Buddhist sense, our intentions To want to support without limits. Without limits. Our actions should be beneficial to everyone. Not just me. That would be a small circle of intention. I want to help myself. That's good, but it's a small circle. I want to help my family. A slightly larger circle. I want... I want to help my friends and my family. I want to help my country, for example. Or humanity, but not so much the animals, only humanity. So we can, our circles, we have a certain radius that is enclosed in our intentionality and what is not.

[07:34]

But in Buddhism we are like Rilke. Ich lebe mein Leben in wachsenden Ringen, die sich über die Dinge ziehen. Ich werde den Letzten vielleicht nicht vollbringen, aber versuchen will ich ihn. Es ist diese Art von Gefühl. Ja, und viertens in einer buddhistischen Lehre, sie soll so sein... dass sie uns in Kontakt damit bringt, wie wir und die Welt tatsächlich existieren. Tatsächlichkeit. Ich lasse es mal, wenn ich da einsteige, dann ist der Vortrag wieder vorbei, so wie gestern, bevor ich mit dem anfange, was ich eigentlich sagen will. Selbstdisziplin ist gefragt. Wir müssen das jetzt so stehen lassen. Also, unser Wirklichkeitspaket.

[08:36]

Our reality, the reality package of this moment. And I say, normally it's on such a delivery tape that runs from the past into the future. And the present is often more like a passage post. Sometimes whole years. Then a whole study, for example, is... Das ganze Studium ist da, um irgendwann ein Diplom in der Hand zu halten. Wenn es der Adressat der Wirklichkeit des Studiums ist, dann vielleicht das Diplom, der Moment, in dem ich das Diplom in der Hand halte. Also ich glaube immer dann, wenn wir Dinge nur tun, um etwas anderes und unseren Geist auf das andere zu Yeah. And what we're doing here now is... Wenn wir einsteigen ins fünfte Skandal überhaupt erstmal, Bewusstsein, dann ist allein dieses Einsteigen schon die Entscheidung, ich halte das Laufband, dieses Lieferband, jetzt einfach mal an.

[10:20]

Ich gucke mal, was da jetzt gerade drin steckt in diesem Wirklichkeitspaket, in dem Paket dieses Augenblicks. Und das muss gar nicht mehr sein. Also das Bewusstsein, das fünfte Skanda, in meinem Verständnis ist damit im Prinzip der relativ gewöhnliche, unser relativ gewöhnlicher Bewusstseinsgeist gemeint. Aber wenn ich hineinschaue in das fünfte Skanda, dann bringe ich zumindest schon mal Aufmerksamkeit in diesen Moment des Bewusstseins. Ah yes, this is a moment. This is a moment in time. This is this moment in time. I already have this feeling of being with myself. The world still looks the same as it did before, more or less. It's not even like that yet.

[11:31]

We have to completely ignore the future. It's often said, yes, but the future is important. Yes, of course it's important. But in this moment it exists as a wish of the present. Then we don't have to ignore the importance of the future. We can just say, ah, the future is part of von diesem Moment, von diesem Wirklichkeitspaket, als mein Wunsch. Ein Wunsch der Gegenwart für die Zukunft. Man steckt das auch mit drin, in unserem Wirklichkeitspaket. Und die Vergangenheit steckt auch mit drin. Alles, was in dieser Gegenwart ankommt, ist sowas wie eine Gabe der Vergangenheit. Hat die Vergangenheit in unser Wirklichkeitspaket hineingesteckt. But it appears in the present. A gift to the present.

[12:33]

Maybe you can say that metaphorically. I just want to say, if we say no before, no after, then in my understanding it is to transform before and after into the present. and not to ignore the fact that time is running out. Okay. If we look at it this way, we arrive in a present that is filled with the past and full of potential for the future and look into it. That's about it, I understand the fifth step. And this can happen in a spirit in which I want to take care of myself. Um die Zukunft vielleicht oder um das Jetzt. Okay, und jetzt kann ich schauen, was, wenn das der Moment dieser Gegenwart ist, was ist dahinter?

[13:38]

Was steckt da jetzt alles drin, in anderen Worten? Was steckt da drin? Jetzt öffne ich das Paket einfach mal. Was steckt da drin? Was steckt da drin? Nach den fünf Skandas, wenn ich die Gegenwart öffne, dann ziehe ich mich direkt unter der Oberfläche. Tauchen auf sowas wie Assoziationen, und wir rezitieren es als Impulse. Aber so im Prinzip, was taucht auf, wenn du den Moment öffnest? Ja, unterschiedlichste Arten und Weisen, wie ich diesen Moment der Gegenwart für mich verstehe. We've been talking about something like our script the last few days. When I look at my present right now, this Buddha figure is right in front of me. And I know, sometimes she looks a little angry.

[14:45]

And sometimes she looks very friendly. And then I think, when she looks bad, and when, for example, when at the same time many people start to move or something, then I think, oh dear, the lecture is quite terrible. And then I think of all the moments in which I have ever failed. And these are then associations that flow into the present. Scripts that flow into the present. Do you know the guide to being unhappy by Paul Watzlawick? He celebrates this point with his final statement, keep your hammer yourself. The other thing he says is, if you only have a hammer as a tool, then all problems will become nails.

[15:48]

And this kind of view, how my present is shaped by my possibilities or also by everything that flows in from me, that's what I call association or the area of the fourth skandhas. The teaching of the skandhas tells us now, okay, I can notice this as my own area where... wo ich sehe, wie ich die Zusammenhänge dieses Augenblicks kreiere. Und dann gleichzeitig aber auch sehe, es könnte auch anders sein. If I never look behind it, then I think, this is the reality, as I construct it. This is the reality. But when I open it, then all of a sudden, ah, okay, yes, no, I can see that. That comes from my fear of failing, for example, in there.

[16:57]

Or that comes from the corner, from that angle in there. And so on. And all of a sudden I get something like, ah, it could be different too. And again I can ask, what is behind it? In this moment, we are still in this moment, what is behind it? When I look at this whole level of flowing associations, sometimes also pictures, manchmal auch ganz losen Fragmenten, wo ich gar nicht weiß, wo kommt das jetzt her? Aber wenn ich diese ganze Ebene jetzt mal wie verlasse und gucke, okay, was ist da? Was ist da? Was steht da dahinter? Und wenn ich dabei in diesem Moment bleibe, dann beginne ich auf einmal...

[18:01]

Den Blick wirklich auf das zu richten, was ist. In den Skandhas sind wir dann in dem Bereich, über den wir als reine Wahrnehmung sprechen. Reine Wahrnehmung. And this is one of these, at least in my practice, this is a starting point for a relatively clear cut in this way. What else can I say? This is a relatively clear cut in the process of perception, so to speak, whether I am really located in what is actually sensual. from the senses and directly present, touchable, contactable, or whether I live from that into the worlds of thought, which do not necessarily have more or less to do with what is actually there sensually.

[19:17]

This third skanda is the area where we can easily bring our attention into the senses. And they are perhaps, to put it this way, I discuss them now as successive. But that's not the case. The skandhas are more like, Roshi often has this metaphor, this is white light. The skandhas are just, I can hold a prism under it and then the light is broken into five colors. But it's still white light. But the prism breaks it down into certain spectra. It's hard to say what's before, what's after. It's just a way and a way to examine the white light. And the scandals with the experience are similar. It's just a way and a way to experience this moment, to examine it, to open this package of reality.

[20:18]

Okay, so then we come to this third scandal. If we want to practice ourselves into it, then we can, for example, simply name it. Benennen, den Dingen einen Namen zu geben, Boden, Aufnahmegerät, Erlen und so weiter, Licht. Einfach nur das und das immer weiterzumachen, unterbricht einfach schon mal den Gedankenstrom. Nutze ich den Namen, um die Aufmerksamkeit in Kontakt zu halten mit den Dingen, with the things of meaning, with the things that are in the present, to name them. Then it's naming, then the naming stops, it almost stands against the flow of thought. And on that level, if I do it that way, I think that's still relatively easy.

[21:41]

I mean, you might notice that it takes a certain intensity in the attention to really stay there, to really stay in the pure perception. must the intensity of the attention already be stronger than the power of the thoughts that actually want to come. I don't know if you know that. There is almost a habit of the spirit to want to dip into the thoughts and that they just continue. Here the attention must already be trained a whole bit and have a certain intensity and power to get the spirit in this pure perception at all. It's already a kind of containment that takes place there. It's already a somewhat trained mind. And I can now do something really great in this area of pure perception.

[22:44]

I can increase the resolution. As I have spoken so far, it is... is the perception, the percept, the perception, is still in, let's say, the conceptual area, the ground is a concept, the ground is a word that I have, Erlen is a word that I have, altar and so on. So there is percept and concept that are still going hand in hand. But if I increase the resolution, Because now I look, it's just more accurate to listen, more accurate to smell, more accurate to look. How do I call the reflection of the light in the nail? What does that mean? And you can see in the front, in the one corner where the nail sticks out a little bit, it seems brighter than here further ahead.

[23:45]

What does the point that is brighter mean? It has no name. Wie heißt die, dass das da in dem Holz so eingekerbt ist? Da habe ich keinen Namen dafür, müsste ich ewig beschreiben. Jetzt beginne ich mit dem Erhöhen der Auflösung. I start in details for which there may be no name at all. Deeper one, it shines, your nose blinks. The little ones, especially when I start with it, I see light reflections everywhere. And then I see, I start to see, light reflects everywhere. Then I see how much light is part of this moment. All of a sudden, light, there's light everywhere. And when the light changes, then all these types change, how it reflects in the whole room.

[24:50]

When I increase the resolution, then maybe I start to see things that don't fall into a category at all. How do I call them then? I have changed for myself. I always start by saying, oh, [...] Nicht von da aus gehen zu müssen und das durch das Bewusstsein validieren zu müssen. Als ob das, was da einfach immer bemerkt wird, vielleicht die Art, wie sich dein Blick verändert hat gerade eben. Wenn ich das ins Bewusstsein bringen muss und validieren muss, was ist da jetzt genau passiert?

[25:54]

Fand er das jetzt gut? Fand er das schlecht? Dann ist das eine Schlaufe, wo, wenn ich es automatisch mache, steckt hier auch die Frage drin, wie validierst du dein Leben? Wann zählt etwas in deinem Leben? Wann ist es echt? Wann ist es wahr? And here I say now, let's start to trust that the form of knowledge that we have, which may not fit into any category, But why actually? Because it is far too full of information. That's why they don't put a category in it. There is not less information in it, there is much more in it. I once played theater and the only sentence I remember from the whole piece of Shakespeare is, I have to say, I can't say that.

[26:58]

This word is too big for my mouth. And that's what I always think about. Oh, this word is too big for my mouth. There's so much information in there. It's not easy at all. Just increase resolution. In every sense of the word. then we are already in a completely different world. The spirit that can dwell in it, Das ist in meiner Erfahrung ein Geist, der bereits in der Stille wurzelt.

[28:06]

Es ist ein Geist, der diese Informationen, die in dem das so ist, der die empfangen kann. Es geht hier auch um die Empfänglichkeit des Geistes, der Aufmerksamkeit. Was ist das für ein Geist? Was ist das für ein Geist, der hier verweilen kann, der diese Informationen empfangen kann, ohne sie wissen zu müssen, ohne sie verstehen zu müssen? Was ist das für ein Geist? to stabilize ourselves in it, just to practice ourselves in it. This is a big shift in our lives that has emotional consequences, psychological consequences.

[29:07]

This is a shift, a shift, maybe even really in our personality. Manchmal auch ein Shift, es ist ein Shift darin, worauf wir überhaupt achten. Es ist ein Shift, dann auch automatisch, was in unsere Entscheidungen einfließt. Also das ist nicht trivial. Insofern ist das okay, dass das Zeit braucht, wenn man das überhaupt machen will. Es braucht Intensität, es braucht auch, dann kommen auch all die Zweifel auf, weil es auch gegen den Strom ist, glaube ich, was unsere Gesellschaft von uns verlangt. Und da kommt vieles auf, was sich dem auch vielleicht gar nicht unbedingt in den Weg stellen will aber was mit diesem Prozess den wir uns da jetzt dann verschreiben interferiert

[30:13]

In this respect, it's okay. It just takes time. And this word that several people have mentioned to me, what I said, meditation means to be trusted. And maybe here also to stabilize in this kind of spirit. Roshi says in this point, noticing, to notice without thinking about it. And Dogen says, this is the most important skill in all of Buddhism. It's the most important word in all of Buddhism. And it's a game changer. That's the bottom line. That's why we don't know each other that well anymore. Because our reality package doesn't run unverified in the future for which it was determined at some point, but we have now opened it. We have now become a customs office, so to speak.

[31:20]

Okay. Okay. What can I still look at here? What is there? I ask this question now. Maybe you ask it differently for you. I don't know. I ask it, of course, with the what is behind it? Also in contact with where we worked on the last lectures and so on. What is behind it? That's how I ask it. What if I unpack that too? This kind of noticing without thinking about it, this form of knowledge is clearly physical knowledge.

[32:32]

I'll give you another example to make it more tangible. It can be something like the look Ich schaue jemanden an und sehe, ach schau mal, da ist ein bestimmter Blick, ist aus deinen Augen schon gewichen. Wie der Blick heißt, weiß ich nicht. Aber ein bestimmter Blick ist aus deinen Augen schon gewichen. Und der ist jetzt ersetzt durch einen anderen Blick. Ich spüre das. Ich weiß nicht, wie das heißt. And when I look at what's behind it, then I feel into this feeling. And to feel into this feeling, is a process that is already relatively detached from the senses.

[33:34]

That seeing is in the eyes, hearing is in the ears. Where is that exactly? Where does this feeling of perception take place? Sometimes I get almost more access to this form of knowledge when I say to myself, let the ears see. Let the body smell and taste. Let the eyes taste. I just feel into this kind of feeling. I try, as far as I can, it's always different, but I try to go through the sender with this kind of feeling in the morning. Und dann merke ich, mit jedem Schritt taucht fast so ein neues Gefühl auf.

[34:35]

Jetzt beginne ich, das gespürte Wissen auszupacken in diesem Augenblick des Wirklichkeitspakets. Gespürte Wissen. This is what Roshi calls the non-grabable feeling. And I think the non-grabable, this is very important, this is the formlessness, this non-grabable. If we want to fill this level of the moment with attention, it is important to remember, it is not tangible, it flows. I have the metaphor for myself, it is almost like being present in the moment where the spirit perceives

[35:46]

the spirit touches the perceived, in the moment of touch, to feel into the moment of touch. I give myself such a kind of instruction. If we now want to see what is behind it. What is behind it? Be it in the Heart Sutra or even the skandhas, it means that this is form.

[37:03]

The first skandha is form. From the concept, form is Rashi has often said, signal, the moment in which the sense stimulus hits the perception organ. It's something that has resistance. I don't say anything about it except for several reasons, but except with Wittgenstein. What you can't talk about, you have to be silent about it. It's a great way out for everything I can't talk about. Yes, Wittgenstein said, it's always good. Wittgenstein unfortunately also said, whatever you can talk about at all, you can talk about it clearly. But with Skanda, whatever you can't talk about, you have to be quiet about it.

[38:11]

When we stopped this package of reality, the package of this moment, we stopped it. We opened it. We looked inside. Socks, chocolate. And haben die Inhalte fast so wie in ihre Einzelteile zerlegt. Wir haben in all dem aber nichts verloren. Wir haben den Moment geöffnet, ihn zerlegt, aber nichts verloren. Es ist alles immer noch da. That means, in the Heart Sutra, it was neither to recognize nor to achieve, because there is nothing to achieve.

[39:22]

But from that perspective, there is also nothing to lose. Everything is still there. And ideally, I now have a choice. wie ich die Einzelteile dieses Wirklichkeitspakets wieder zusammensetze. Und auch, wohin ich sie schicke. Vielleicht schicke ich nicht das ganze Paket an dieselbe Adresse in der Zukunft, sondern das eine dahin, das andere dahin. Vielleicht sortiere ich irgendwas aus und sage, das nehme ich gar nicht mit in die Zukunft. Und so weiter. Idealerweise haben wir in diesem Prozess jetzt Freiheit gewonnen. Alles klar? Wir haben unsere Absichten gleichermaßen, jedes Wesen und jeden Ort.

[40:33]

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