Now, I hoped to get to maybe discussing Buddha Nation. But there's not time. We need another day or half day. Yeah, I thought that Siegfried suggested maybe next year we do a constellation of awareness and consciousness. And I thought that maybe if it seems fruitful, we could do a constellation each year one afternoon in the morning on something that we're talking about. It certainly would bring what I call a material strain into our process.

[01:06]

Buddha next year, maybe that could be something, that could be a personal thing in advance for next year, because what does it mean? We have the self, the soul, the psyche, but now we have this new category, Buddha. I'm telling it dynamic. Is that how we live our life? No, I don't know. And I don't know, that's just something I remember. But I think what I'd like to do is to continue with, like yesterday afternoon, with now, maybe we can say two kinds of consciousness, not just consciousness and awareness.

[02:38]

Yes. Why not? I don't know. I don't know. Starting from yesterday when I tried this practice of stepping and with the step not having the feeling that the floor is going to be there. I feel sort of in a different mood. Sometimes at the end when I realize just what is there, all that is here.

[03:45]

And I have stretched things like the salt in my mind to feel like lizards just swiftly running along. And I remembered something you told us yesterday, last year. that the peeping of the birds, I don't remember what means, but it must have something to do with me. There's a teaching way to put it in the Zen.

[05:18]

You have three bodies. And really, the sound of saying mind, one of the koans in it is why they call body to mind. And one of the entries to that question is, is it a mind that functions like a body, like replication, and detected by a single body? Is it a mind that, like a body, functions like a body? Anyway, the three bodies are Dharmakaya, the Sambhogakaya, and the Nirmanakaya. Dharmakaya is the body like space. The body where there's no boundaries. Okay. Sambhogakaya is arises actually from dharmakaya experiences.

[06:38]

And what I'm referring to is the peak of the purpose. For example, a common experience in meditation is you start feeling things differently. It's like you're hearing things inside of you, which in fact you are. It doesn't feel out there. And that not out there-ness is often simultaneously a feeling of bliss. So the Sambhogakaya body is called the blissful.

[07:39]

And then you begin to find yourself located sometimes in meditation and after a while pretty much eating your sleep. In a body mind that always feels blissful or at least in [...] a body mind that always feels bliss When you look at a Buddha, this one is more historical. But when the Buddha's body is blue, black, or there's jewels on the body, It represents the bliss body of Sambhogakaya.

[08:57]

The subtle body of the chakra. OK. And then if you're not a Kaya, can you breathe this Sambhogakaya body? Okay, now Hana, starting where Hana left us at the afternoon. But some morning she gets up and she has a mind connected to a to-do list. And sometimes the mind just does what it wants.

[10:01]

No, that's, you know, the reason you're preparing with Jenny is As practitioners, we can experiment with it. Yeah, you say that. Not too many people can sleep forever. Even if you want us to, we'll wake up. Then once you're super depressed, go get up. So what is this getting up? Why do you get up? What do you do once you're up? Stand beside the bed until you're tired and all that kind of thing. Watch the sun, the shadow go across the bed.

[11:05]

Anyway, you do something. Why? What's the difference between, and let's start just really simple. Why? What's the difference for reclining mind? Let's give the physical mind, not sleeping. And sin. And I know it's Germany. You don't wake up with sin. No. I don't think I know anyone. Oh, you wake up. First you wake up, but you're still lying. Oh, I see.

[12:06]

You're standing up. Oh, yeah. And you're just standing right there. Yeah, okay. Anyway, it's funny in English to say you wake up and then you stand up. But let's say it's true that you go from reclining to standing. What? Yeah, that happens. That's called sleepwalking. Okay. What do you do? Okay, well, we can look at Japanese monastic practice. I mean, I'm just looking at it not as a recommendation, but just as a one answer to the question.

[13:23]

Now that you've stood up, what do you do? Well, in Japanese monastery, you're given 20 minutes. And you have to be in the zendo five minutes early, so 15 minutes to get from waking to the zendo. And you wash it with cold water. It's interesting. When I was headed to Tassajara, I checked it, so there was only cold water. We had no hot water. And I'd prefer that. But if I had a sink, which has hot water, I'd choose the hot water. And I get sort of annoyed at the other stuff.

[14:28]

It takes about 10 minutes for the hot water to be up. That's strange. I prefer cold water, but the hot water's there. It reminds me of my daughter, my best friend at Green Goats. We had no television. And I used to want them to go to the city with me, where we had a Victorian flat beside Green Goats. And they say, no, we want to stay here. The people there will watch out. They'd rather choose where we had no choice. At Crestone, we have 30 minutes because the toilet's a distortion.

[15:44]

But you have to be there to send a police partner to a lady. So you actually don't have much time. So you go from reclining to very quickly washing and getting the rope on, and maybe it takes five minutes to get to the zendo, so 10 minutes, five minutes to get there, five minutes early, which you can't do in the zendo. So what's better? Well, it was very helpful to me in my youthful practice. I have, you know, I have suffered a lot of the pain of other people and problems in the world and so forth.

[17:13]

And my own unwillingness to have a career in a society I considered corrupt. And what I'm going to do is collect cock bodies and turn them into a nickel. Well, this getting up and no choice and going to Zen, what happened then? All my self-reflection and consciousness was limiting. All my self-reflection occurred during that. Yeah, you sleep only enough to function. You get up immediately, and then your self-reflection is absorbed in the info that And the enfoldedness of dreaming and sleeping.

[18:25]

Yeah, that also happens. But the one who acts and experiences is not so present during sleep. but is present during sasen. So is this one who acts and experiences, is that what Buddhism means by self? I would say no. So is the one who acts and experiences something, we could say true nature or something like that? But the one who acts and experiences self-reflection, whatever it is, there is also a very different outcome than self-reflection during consciousness.

[19:37]

Which never felt particularly grounded. And it's badly always involved in what kind of person I am, and my parents, and yes, blah, blah. So, yeah, so this was quite good for me. And what do you do after you sit for one or two periods? And you have this slow kingpin walking, which is already some kind of different body. You're walking at the pace of your breath and the pace of the other people.

[20:48]

And do it without falling over. You have to kind of find some kind of inner balance. So Kingin already establishes breast-body rhythm, which you can't avoid. In Zazen, you can avoid it. You can't avoid it in Kingin. Now, I'm not recommending You or I even live this way. I'm just saying, this is one answer to the question, what do you do after you get up? So then what happens? You sit a second period after the communion. And you really feel the presence of everyone.

[21:49]

Like, I think, I don't have a so-and-so, I'm so-and-so, I'm so-and-so, I'm this kind of person. Like some seminars have you announce yourselves and what's your background. I don't want that information to I don't want the presence of the person and my feeling of the presence. And that's what you feel in Kenya. You really feel the presence of the other people and the teacher, your sheep's there. Now, if you're not in detainer and entity type thinking, And when you take for granted the normal to think of the mind as something you create, the mind as something you create.

[23:19]

Yeah, so what are you going to choose to do in the morning to create the mind while you live the day? If you think, oh, I'm this kind of person, and this kind of person is getting up, that's containment thinking. Ideally, you wake up and say, you know, these kind of superficial sayings, but this is the first day of your life. You know, but it's not true. So anyway, you face actually a tuning of mind and body, a teeming. You're establishing a certain pruning early in the day.

[24:25]

Even usually, if you grow mustard before dawn, But before daylight takes over and day mind takes over, you want to establish your mind. But that's refreshing. I remember at some time when I was a kid, local folks would say, why don't you get a little confession of this? And when I watched how bright people were in the morning, the details are there. And in the few times where I did that and observed how radiant the people were at that time, I thought that fishing is just an excuse to get up early.

[25:31]

Everyone was well prepared and made their way around to get out. Then maybe they tune themselves to the poor dune fish. Yeah. They fish for the first time. She likes fish. And she knows it's the same word as the fish in her books and things. But she didn't really eat a swordfish steak in no time. Yeah. At home, we're just vegetarians, but boy. We go to restaurants and hotels where they display meat.

[26:47]

The other day, somebody ordered a trout or something. You get the whole fish. She was actually really shocked. The fish was a fish. She said, this was once alive. How could they do this to the fish just so we could eat it? And she said, she was really shocked. Rilke's arm, fish's tears, she didn't take. So then we took a second period of silence. You churned out the dead fish. And then what do you do? You bow to the Buddha.

[27:50]

So we've gone from reclining mind to sitting mind to bowing mind. And there's an old kind of thing I could follow. Yes, it produces hands, feet that are on your hands. Yeah, look. And back. The idea of it is that there's a figure on the altar.

[28:50]

And the person leading the service centers him or herself on the figure. And then brings the figure up in yourself. So each person bowing is in a way lifting the Buddha with his or her hands, but then when you stand up, lift that Buddha figure into your cell and you stand up. Also, jede Person, die sich verbeugt, hebt den Buddha auf den Händen hoch, und sie hebt die Figur in sich selbst hoch, wenn sie sich wieder aufwendet. Und dann rezitierst du, Form ist Leerheit, und Leerheit ist Form, und so weiter. So what you've done in this decision of what you do after you wake up is a start of a certain kind of mind.

[29:57]

So really, even though the service for many people in a way is quite boring, And although this service is boring for most people, although it is boring, you can get into it. You have to bring the energy into your body and voice to do it. Then you just do your day, the rest of your day. And everything that seems just practical matters by comparison. Sometimes you don't feel identified with, should I do this, this other person has this job, and I don't have that job, and all of that stuff subsides.

[31:12]

No. There is just things you do with others without much sense of personal reflection of it. It's weak. You know, and you get kind of, like, many people get so they really love themselves, and it's hard to do something else. And they think they're going to leave, but then they're, you know, escape, unfortunately. And then you find you can actually, this feeling doesn't lose you in ordinary circumstances. That's one choice.

[32:30]

What about us? Can we make similar choices without the monastics? In a big sense, that's what mindfulness practice is about. And what I would call simply what I practice as the four constants. Which I don't think I've spoken with you about before. But first let me go back to the sense of a material stream. So Sukhiroshi brought us sitting. And he really did bring us sitting practice in a Bodhidharma sort of way. China is a historical figure of some minimal reality.

[33:35]

And he didn't do much else but sit for nine years. It's called wall gazing. And there's a famous story somebody... says, you know, I've been practicing with children. My mind is still not at rest. And Bodhidharma says, well, bring me your mind, and I'll put it at rest. Of course, at that moment, he's enlightened. And, you know, so we're all talking about, you know, this kind of hokey movie that laughs.

[35:04]

The last sign, of course, in American. Anyway, it's real schmaltzy, what do you think? It's set in the late 19th century. So Sugiurushi really grew up in a samurai era, in fact. So I'm trying to, because modernization had not reached the part of the life of Hebrew.

[36:09]

So I'm trying to understand what it meant to grow up in Hebrew. Anyway, he's trying, Tom Cruise is trying to burn him to fight with a sword. Instead of a jet cannon. And he says, you know, he says, you have too many minds. Don't fight with so many minds. Fight with no minds. Well, yes, but still, this is something really much worse.

[37:19]

What kind of relaxation, physical and mental, is no lie? And clearly, they weren't recommending the sword, but no line. Please, Tong, go to sleep. They let Tom stay awake and have no mind. So we're asking, what kind of consciousness is this that we're awake and yet we could call it something other than ordinary consciousness? Yeah, so Sukhiroshi brought us, as I said, physical sitting.

[38:24]

Yeah, and it seems to be many people say this person really introduced physical sitting into medicine. And although he didn't sit nine years in front of the wall, for example, when he was invited to Stanford University to give a talk to a philosophy religion course, He had driven past us and he called me back. He came into the class and the teacher interviewed him. He looked at everyone. He asked him to stand up.

[39:25]

And he said, please sit down. And he said, please sit down. He sat down, crossed his legs, and 40 minutes later he got on the walk out. He wasn't invited back. But Deidre refused to even talk about Buddhism until people sat in... But he refused to talk about Buddhism at all until the people sat down for the teaching. And now that I'm telling you stories, I'll tell you a story. When we were in Tassajara for the first year after we learned about it, And we started invited to go to the school that I knew the headmaster.

[40:54]

And it was modeled on a British school called . Without discipline, you do what you want, et cetera. So we get to the school, we drove. Pepsi-Cola bottle, cigarette wrapper, everything, all of it. All the kids stand around smoking. Trying to get a kid before that. I talked to Marcia Elliott once about doing a conference on religion, which smoking was one of the practices. I agree.

[42:01]

Anyway, so Tsukiroshi, it was a safe spot around the school. And we were introduced to all the students, I don't know, 100 students, 50, 60, or 70. And he said, look here, he said, OK, you 10 get rooms. And he get everybody with cleaning scales. And the whole day, they cleaned the ground, picked up the... He didn't say a word about that. And then, late in the afternoon, we got word that... Ruth Fuller Sasaki wrote a book called Zen Dust.

[43:11]

She's one of the real, really Zen pioneers of the United States. Okay. So... Yeah, we drove to meet him. Yeah, it's almost the end of the story. And then I was talking to Norman Fisher the other day, who I'm doing some Zen poetry with, and... And he's a Zen teacher now. He said he was in Seattle or Portland someplace northwest of the United States. And one of the local Zen practitioners and I think Zen teacher

[44:13]

talked to Norman and said, did you release Suzuki? Maybe Norman never did, but she said, well, I did. She asked Norman something like, did you know Suzuki Roshi? And I think Norman didn't. But she said, I did. She said, I was going to this high school, and this fine Japanese man came and made us clean everything. I was so impressed I started . So what I'm speaking about here is in a way the material stream. What I also call the relics.

[45:32]

Relic. A relic is the enshrined bones of a deceased person. Relic. Relic. And, you know, there's a molecule-sized piece of bone from the Buddha. Look, the relic isn't just the physical remains. And the physical remains are kind of being, not being screwed. And represent a need for face-to-face teaching. But the stupas and pagodas are also the relics.

[46:33]

And the physical... physical copy of the sutra of the teaching is also there. In that same machine. And Sunil Kiyoshi, the last, I don't know, three or four years of his life, kept a beautifully bound copy of the Prajnapriya Paramita Sutra on the altar as also a Buddha. So I realized that I was inheriting from Suzuki Roshi, not only physical practice. But also material strength, I'm told. Yeah, where in the world.

[47:48]

Of physical ways of giving a lecture. Of future champion bowing. And I remember it was a kind of plaque of Roshi's plaque music group who came from Japan. And it was just the first year or so. And Tsukiyoshi asked us to say something to these guys. I remember one of them had some sort of St. Vitus dance. . And it was always moving and so forth.

[49:04]

And I thought, well, she can. I thought, if it's still all the time. So anyway, I said to this group, well, we can bring a Japanese redwood tree or sequoia. But if we strip off its bark and cut its limbs and plant it here, it won't live. We have to plant it pretty much as it is and then let it change by itself through itself. So I've kept many things, partly his spirit, trying to respect this material stream. Like Boreal practice, we eat with a bowl and a certain amount. I don't know any way anything available in Western culture could teach us what orioki practice is.

[50:28]

And I've kept it because then I inherited the physical posture. I inherited this material strength. And also that we're not smart enough to know how to change. And I'm not chauvinist enough to think modern is always best. So my kind of So I'm trying to suggest what I mean by material stream. It's partly carried in things teaching outside the sutra, outside the scriptures.

[51:39]

Of course, Zen uses, Zen says that, but Zen uses more sutras and scriptures than any other good school. But in a way, it believed none. They're only real through the presence of the practice of a teacher. So Darwin feels quite free to say, I don't like the way this sutra says it. It's not this way, and it changes the wording. Yeah, I remember I visited a lot of Catholic monasteries with . Yeah, . And they're chanting in the mornings, these monks. I can't remember the words, but then God smoked his enemies and did this and that and so forth.

[52:56]

And they asked me how I felt about what was a monastic meal. And they said, and I said, Well, I don't know. I was a little uncomfortable with all this molting of enemies. We hate the champ. And I said, well, why don't you change it? Chant something new? Oh, good. But in Buddhism, you didn't want to chant it. Because the practice belongs to you and not to somebody else. Maybe. OK.

[53:59]

I think there was a certain conversation that we talked first, that we are best friends with each other, and we have a great place, and we are great friends with each other. And it was fascinating. Yeah. Deutsch, Gott. . . . Well, that's clearly implied by what I said.

[55:18]

And I thought I'd leave it as a comment. But maybe Eric would like it to be more explicit. OK. Well, I'm trying to speak, trying to give you a feeling for this embeddedness in a material stream. And a mental stream when it's a physical stream. And you can find a way to do it without internal conflict. So let me speak about the tea ceremony as an example of a material stream.

[56:20]

Now, we make tea. Yeah, it's nice to have a nice seat, etc. But the point is really to drink tea. In a yoga culture, the tendency is that the making of the tea is just as important as the drinking. And ideally, each person who drinks tea makes their own tea. A big family part of tea living in a restaurant is different. But when you look carefully, it's not the same.

[57:28]

OK, so I brought a little teapot. This is typical for drinking tea. Not all kinds of tea, but, you know, the better kind of tea. And so the idea is that you should be involved in the heat of the water, the temperature, the feeling of the warmth and so forth. And it's not only that you want to... The making of the tea is as important as the drinking of the tea.

[58:34]

And you want to make it and take care of the leaves and you have to do, there has to be a certain temperature of water that you have to feel or it becomes thicker. We're actually looking at the medium beside how much water a tea tree can take. But it's not only the making of tea. It's also the making of the pot. And some people even make their own pots. Now this pot, this is a popular pot, probably. I don't like these spots. They look like dirt. You can still feel the dirt in them. Look here. What you see, you probably can't see, but there's a price here.

[59:35]

There's no glaze. And here, there's no glaze. So what's that? When he put the glaze on, he held it like that. And here, you can see how there too. So the presence of the potter is here. So it was a material stream. I can feel it by his hand. And there's not a conceptual way to put this on. It goes on because the potter put his hands there. So this is one example of what I mean by a material stream, a sense of a physical mediation with whatever you... This isn't just some excessive Japanese aesthetics.

[60:59]

It really comes out of a yogic culture, which is... a sense of a material, physical. Now this is a machete made by an American woman Zen practitioner who lives in Japan. She's a pretty, quite a good boy. She gave me this, so I want to try it. No. Why are tea bowls this shape? Why don't you drink it out of another shape? Because this is really instant tea. If copper tea were to drink the physical product,

[62:02]

And if you just... Here you're drinking a fusion. There's a drinking of actual physical blood. And it's really instant tea. You just add water and mix it. But there's a certain way of doing it. First of all, cut by the pot. And then you turn it. So it has a second front when you drink. And when the tea is gone, you see a different bowl than when there's tea in it. So there's several different bowls. Yeah. You actually mix the tea and then hold it. And it's just chocolate.

[63:16]

And then you turn it. And then a different bowl. The pot actually makes a different bowl. So there's this bowl, and now there's this bowl. And then there's the bowl that appears after you've drunk the tea. And then when you finish drinking it, it's in three sets, and I'll set the other gate. What do you do with the last one? Because he disappeared. So it's very important that in the tea ceremony, darkness appears. Now, all of that's just built into the physical objects. Now, we can say, after you've had your English cup of tea, what you're having over here?

[64:18]

Everyone would forget to do it. This is ridiculous. But in this material string, you can't forget because that's what happens when you drink the tea. So there's, again, a sense of face-to-face teaching and engagement with the physicality of the world. And that the sutras are presented so that they require the ingredient to face the great pleasing to the other. It's not that they're hermeneutic. In other words, you have some kind of secret code you can read them.

[65:32]

It's not a secret coaching. You just need the presence of a person who has practiced. So this material strength, this enfoldedness, I think it's no accident that in constellation work, you can't just sort of think these things. You've got to have a physical person acting out in the materialistic. Now, courtesy to the cook. was expecting us about in seven minutes. So we have seven minutes for four constants. You can see why I didn't think we'd get the Buddha. Yuan Wu, going back to what I gave you last year, this statement.

[67:14]

Once you've realized, understood the gist of the teaching, then practice continuously. Outbreaks. So that the womb of saviour, the embryo of saviour, develops and rives. Now the word in Sanskrit, I mean, Buddha nature is a practice. It's a primarily Chinese. But to sort out some sort of word with Navy and Sanskrit, The word they come up with is dharmadhatu.

[68:22]

The word they come up with is dharmadhatu. Which is the realm of the dhatu means realm. But remember, in this yogic world, everything is a bird. Everything is an activity. So a realm isn't just a room. A realm is a call. As an architect would look at this room and say, I'm going to design a call. So als würde ein Architekt sich diesen Raum anschauen und sagen, ich werde eine Ursache hervorbringen. Von dem Architekt, der tut das. You want to sign a rule that causes something to be felt or takes away causes that could be felt. Du möchtest einen Raum schaffen, der etwas verursacht, das gefühlt werden kann, oder der etwas wegnimmt, bestimmte Ursachen, die gefühlt werden, bei wegnimmt.

[69:28]

Take a little moment. An entity, first of all, and also has the effect on the people. Introduce a different architecture than if you think this room is a cause. But it has to look like an entity. But it has to disclose that it's not an entity. That produces a different kind of architecture. What? practice realm, what causal realm do we enter when we wake up in the morning? How do we establish the embryo of sage? where the realm where the embryo of sageshood matures and develops.

[70:39]

Let's look at what I suggest by these simple four concepts. Without going to the B10, the first is to be continuously aware that everything is mind. Or that all objects point to mind. In a way, it's a funny way. It's a funny way. It's like being a blind person. I think of a blind person as somebody who kind of feels the world. And you feel your mind feeling the world.

[71:40]

Even a visual sense, if you see a car or something, it feels like your mind is touching a car, and you see various aspects of it, and you put it together as a car. So all objects you see are mind objects. Maybe blind sages, that's not just a metaphorical idea. And 81 people are. Wilder in Santa Fe to touch the material screen of the world. And Ray Charles just died on the podium. He was really a great singer. I listened to him for hours and knew all of his voice.

[72:40]

The physical one. So, the first constant is to be aware of my object. And in the various way he thought about emptiness yesterday, it also means to know the emptiness of emptiness at the self-present. And the second constant is to be aware of the space of the world, the space of an object, and the stillness of it. And each object in its tree, in its movement, has a different stillness. But the stillnesses are connected to you.

[73:59]

The stillnesses are connected to you. And the third is to be aware of the breath. To find your continuity in your breath and your body. And to feel the breathing of the world and the breathing of other persons. And like the parameter practice I believe you were talking about last time. That's accompanied by kind of And you breathe with the world.

[75:04]

And you feel your own activity of speech and thinking, breathing. and your body and the world. And the last of the so-called four constants is to be continuously aware of your vitality, physical energy, mental energy. Yeah, and if you get aware of these four, sometimes you emphasize one more than the other.

[76:07]

But if you can find yourself present some of the times to one of these, it's like starting your day with zazen or chanting or whatever. Now, no matter how you start your day, at least you continue your day through one of these constants. And if you find yourself in touch with breath, the world as mind object, the world as... You feel yourself in a non-referential space. Now you have a consciousness, which in many ways is now open to awareness. It's a consciousness in which awareness can function. It's a consciousness in which self-reflective thinking has no hope.

[77:24]

Okay. Okay. BELL RINGS

[78:28]

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