So through the heart you can begin to feel also your circulatory system. And that helps you to know other organs as well. Because if you get to know the kidneys I mean the heart and the kidney have a physical location but they're also throughout the body. So you can begin to feel the presence. Once you can locate an organ, you can then begin to feel its presence throughout the body. This kind of practice can be refined all your life. It's like an inner knowing and almost being like an inner doctor. Okay, now the important part of this, one of the important parts of this, is not only do you get to know your

[01:09]

Self, yourself. Get to know your what-ness. Through and through. So you know and feel your body from inside as much as you feel your body from outside. Yeah, I have some feeling of this nose. But because I can breathe through it, I can also feel it from inside. But you can also start feeling your stomach and lungs and other organs from inside. But usually with consciousness you have to start from the outside. And because consciousness can allow you to feel your breathing, feel your lungs, But to become more subtle, to really know the nuances of the body, you have to shift from consciousness to awareness.

[02:18]

And this awareness of parts of the body may have the quality of sound or color, etc. It's not necessarily visual. Or shape visuals. It can be a field of color or something. So you can't have strict categories you're looking for. You've got to be open to insinuations, to nuances. And most of this can't be taught. I can just start you on the path, but you have to walk the path. Now, in a yogic culture, Socrates, you should know thyself. would first of all mean to know

[03:29]

the body you were born with. And the body that you are participating in all the time. Because there's a wholeness to the body as well as a whatness. And you can see the wholeness more clearly, is my experience, I guess, if you know the whatness first. Sometimes when I'm doing zazen, the words that have occurred to me is I'm luxuriating in the nuances of mind that arise from the body. No, I used luxuriate. It just occurred to me. Why did I use luxuriate? The root of the basic word luxury means what's not necessary.

[04:52]

Luxury is when you can afford the unnecessary. And this sort of luxuriating in the nuances of the mind that arises from the body is unnecessary. Unnecessary but essential. So anyway, I have that feeling. I'm doing zazen and I just feel I'm, excuse me for being so embarrassing in what I say. But I feel, to say it again, I'm luxuriating in these nuances of mind that arise from the body. And then that feeling continues and I luxuriate in the mind that arises from the sound of the birds.

[05:55]

And just as mind arises from the body, and mind arises from the sound of the birds and the hum of the building and the sound of the saws and workers it's all a kind of play Okay, so what you've discovered here, if you feel with me, is the mind which arises from the body, which is not the mind that arises from mentation, from your history or your story. Now we're into the second foundation of mindfulness.

[07:10]

The mind of pleasure or not pleasure or neither. Yeah. Excuse me. I asked Eric if I could do this. If I stroke your cheek. She's right, I didn't ask. It's okay. If I stroke Sophia's cheek. She feels pleasure. if I scratch your cheek, she feels displeasure. Yes, this is something fundamental. It's not based on history or reactions or anything.

[08:11]

A mind arises from the body. Mm-hmm. When that becomes likes and dislikes, and not pleasure and displeasure, that becomes a way all your consciousness and personal history and ego, etc., comes in. So the second foundation of mindfulness and why it's a sequence you don't find a pure mind or essence of mind unless you establish the first foundation of mindedness first.

[09:13]

This stuff plus. which is not just the palm of the hand or the heart, but the whole body. So the second foundation of mindfulness is to know this mind which arises from the body. This might be a good time to have lunch. Since it's the time, And we have a one-minute sasen. By freeing us from borrowed consciousness, begins a process of touching the mind which arises from the body, which allows us to touch the mind which arises from the body.

[10:32]

and we can call immediate consciousness. Immediate consciousness touches this mind which arises from the body. The mind of mentation is the vehicle for borrowed consciousness. The mind of mentation is the vehicle for borrowed consciousness. Yeah.

[12:11]

Thank you very much. Is there anything you'd like to speak about? Is there something I would like to ask? We are now thinking a lot about the questions when we are doing this constellation work.

[13:22]

And how is it if somebody else represents somebody? And then you are constellating a system? What kind of perception is that or what enables us? To embody someone else or an element of another system to embody somebody else or to embody an element of another system? What enables us to perceive what somebody else who is an element in another system experiences? How do we know that?

[14:38]

And how can we be in different realities at the same time? This must be a question that everybody who does constellation work has. Yes. And there is even a certain, how do you call that? Technical terms, yeah. For it. For it, yeah. What are the technical terms? So, for instance, Matthias Wager from where? Kibit. Kibit? From München? Matthias, yeah. I know him. I like him. He's a smart fellow. He calls it representative perception.

[15:44]

But I'm not satisfied with this kind of term. Yeah? I don't understand it. So another term is to understand with the body or bodily understanding. Bodily understanding, perception. Or the intermediate perception or perception of the in-betweenness. Yeah, I would understand it in English as in-betweenness, but as intermediate I wouldn't understand it. So how would someone else frame this question? The same way?

[16:56]

Same way? Simpler. Much simpler, I would oppose it quite much simpler. How can I understand or feel that your father, which I never saw, which I never experienced, which is not present, And I just can feel that he has, for instance, a disease in his eye. How can I feel that? No one knows. But maybe you can inspire us later. But I may have some experience in spite of not knowing.

[18:00]

You have kind of explanations of this experience. Yeah, okay. So you once played or enacted the white ox? Oh, okay, yeah. And you also played other things and know this experience? Oh, I know what you're talking about. I mean, I sort of know what you're talking about. In a certain way, I know what you're talking about. Well, you guys do this much more than me, of course, right? But from my experience and what I do know about it, I would say that we're at the we're outside the edge of any Western paradigm of explanation.

[19:17]

I ask myself, what is this? Because I have another technique which I'm using. And sometimes I imagine I would be one of my patients and then I have a certain image. And then I let what Roshi said, I feel what Roshi said and And then I'm looking when I reread my records from what you said, and then I try to feel how the patient would feel, or how does the patient feel. very interesting and it seemed to me that really myself can change sometimes to new ideas.

[20:51]

Do I get a percentage of the... I get a royalty fee. I didn't think about that. What part of what I've said do you remind yourself of? Particularly what you said about breathing and body and representation. And I'm thinking, how can people who have been traumatized, how can people who didn't experience their body as secure and safe, how can these traumatized people find secure places within their bodies? Something like trust and security, safeness.

[22:14]

Where are these, okay, how are such spots in your body and how can you work on that, that such spots arise? And I'm just thinking, what is the connection between my question and the question Christine posed? Okay, I'm willing to jump in and splash around. I think, as far as I can tell, Zen Buddhism, at least the way I understand Zen Buddhism, actively assumes that we live in a mystery of virtually infinite potentials.

[23:36]

In a sense, we carve out a certain space in that. And we do it according to our genetics and culture and so forth. Now, there's certain practices which we've talked about. already, which are to make this mystery operative. So it's not just a blanket explanation, it's a mystery.

[24:40]

But how do you let this mystery function in you? One of the assumptions is you can only know the parts, you can't know the whole. So Zen is rather aggressively against oneness. Experiences of oneness, it's an experience, but not a reality. It's an experience you have, but it doesn't describe everything. Yeah. When you extrapolate it to everything, even though it feels like that, you're making a false extrapolation.

[25:47]

Do you follow at least what I'm saying? I'm clear enough? Okay, so the antidote to... or the corollary of non-oneness is to experience things in parts. And really, quite radically again experience things in parts. Paul's in his time and Hiltrud is in her time. And these two times are beside each other, but they're not the same.

[26:50]

And the way in which they're same is a kind of illusion. Now, this doesn't seem logical. But if you look at anything really carefully, it doesn't hold together very well, because... How do you explain this? So your mind has to have some view. It's almost impossible to function without a view. So you choose a productive, the most productive view. And that thing is the same for everyone. But in the lineage of Zen, since the Tang Dynasty, I would say the most productive view is one in which, if I say it in a clumsy way, there's a lot of parts here.

[28:12]

No matter how you divide it, it's parts. And they're all clumped together here. And together they make a space. But that space isn't even one space. So we call it emptiness. We call it something which is an absence. So whatever you call it, you have to take away from it. Because it's an absence of an absence of an absence, etc. Okay, so now I think that's a productive view. Because it leaves you as open as I know it's possible to be.

[29:15]

Another view is that you already know a great deal. So I already know let's say Paul, I mean, on some sense there's an infinite amount of things to know. But among the things it's possible to know, I already know a very large percentage. but I don't have access to my knowing it.

[30:24]

So then the question is, for a practitioner, is how do you create an access to what you already know? And that knowing isn't some big deposit somewhere. So it has some of those qualities. But that knowing is a constant because everything's changing. Knowing is an interactive... situational event. So in some situations you will know something that in other situations you won't know. I assume it's possible to create certain kinds of situations where a great deal more is known than in other situations.

[31:41]

No, I mean, Doksan or Sanzen is one such situation. Now, you know what Doksan is, right? No. Well, you are going to find out. If you come to Sashin with that pillow, you know... Doxan is this one-to-one meeting of the teacher and the practitioner. And as a social being, I'm always a little embarrassed that people come and People sometimes, they're new to me and they bow to me and so forth.

[32:56]

I always instruct Gerald or Gisela to tell people they don't have to bow, they just come in. But something has to be done that takes you out of the normal social fabric. So we have to have some ritual, we have to create some ritual to kind of separate yourself from being a social being. Yeah. And it's the case that if both have a sense of the mutuality of doksan, and they really use the bowels to disappear as they come in, I mean, some people

[34:00]

use doksan in a way that it's okay, but they have no idea what doksan's about. They come in with notes. I try to keep the room as dark as possible so they can't read their notes. Some people sit down nervously and then they pull out, you know, and they're trying to read this thing. Like candle-like, you know. Or if they don't have notes, they've got all kinds of things prepared when they get in. But sometimes doksan works well enough that when they get in there they say, I've forgotten everything I prepared. Because the nature of doksan is you just go and do what happens with no thought prior. So I think when you create a constellation, you're doing something like that.

[35:38]

And there's a tremendous amount of information in between this. What's there is somewhat mysterious. And I think Virginia Satir or Bart Hellinger or somebody hit on something that works. Is it Virginia Satir here? And perhaps Esalen itself as a location on the planet helped Virginia Satir come to something. But it's a little like... String theory or something.

[36:51]

Or ten-dimensional objects. Mathematically you can explain it, but you can't think it. You have a technique which allows you to know certain things but you can't really know why the technique tells you, but you don't know what kind of world the technique is reaching into. So you guys have hit on a technique. which somehow reveals something. But in this emptiness, we could say each of our bodies is some sort of technique which reveals a life. Another idea that's part of this Buddhist thinking, might be useful, which I've mentioned before, I think, is the ma point.

[37:58]

Have I mentioned that before? I think I have. But in any case, the idea of a marpoint is just imagine there's a string connecting us. Strings connecting everything. Strings connecting our heart and our lungs and our energy and et cetera. So there'd be an infinite number of strings. It'd be solid strings. But in any situation, there's... Any situation is described by a certain number of strings. Those strings cross at a certain point. And it moves around the room all the time. Once we're together here, after a little while, our metabolism and heartbeat and a lot of metabolic rhythms are actually going together.

[39:38]

And we begin to create a field. And some people have an ability to Feel that ma point. And keep pulling it or making use of it. And I think probably, if we apply that way of thinking to constellation work, constellation creates some kind of ma point, which when everybody has got it, Suddenly, information starts flowing. Und ich glaube, man könnte das auch übertragen, diesen Marpunkt auf die Aufstellungsarbeit, dass wenn jemand diesen Marpunkt fasst, dann fängt auf einmal Information zu fließen an für alle And I would say here is a good example where technique surpasses theory. But much of Zen practice is based on the same thing.

[40:40]

I can teach you techniques that go beyond any theories I can give you. Now, in Zen practice, Various practitioners refine these things to various degrees. Some Zen practitioners know refine these things almost not at all. It's not necessary. It's not really... that important.

[41:44]

But I have a kind of scientific curiosity, so I tend to notice these things. Okay. Now if I don't have theories, When I ended the seminar, my portion of the seminar at Rastenberg, I remember I said, for those of you who were there, I feel connected to each of you through the side of my arms. Did I say that? Do you remember? Yeah. Sometimes I say things and nobody hears it.

[42:44]

If it's too outside the category of thinking. So the feeling was not just that there was a circle of from here to there. But somehow each of us all at once was in that circle. As if it was a circle, but it was connected here, but also simultaneously connected to your arm and your arm. Now when I have a bodily experience like that, Again, really, you normally do not talk about these things. And Zen, and there's a reason for it. Because if you're with practitioners who don't have these experiences, they think, oh shit, I can't do this.

[43:50]

It's a much nicer word, shaisa. Not really. No, not really. No, okay, no. To my ears it is. Yeah, that's the same with shit to me. Yeah, yeah, I see. Sounds like Harish Shaisa. Harish Shreed. Harish Shreed. But of course, if someone feels that way, then they're making comparisons, their ego's involved, and they shouldn't be practicing Zen anyway. It's good if you just... Oh, okay. All right. So... But when I have some feeling like that, I know something about the situation. I don't know quite what I know.

[45:06]

And I don't try to grasp what I know. Because if I try to grasp it, then it's in consciousness and it's like trying to grasp a dream or something. I think Freud is new. Yeah, go ahead. Freud and Jung and Hillman points this out, too. Made a very serious Western mistake. They tried to turn dream images into symbols. So a dream image then becomes your mother or your something, and it loses its power. And then it doesn't evolve either. It doesn't evolve then either. So more in Zen practice, the style would be you might notice images surfacing, but you let them go back into the water. than just be reflections.

[46:23]

I don't mean to say that analyzing dreams in that way isn't productive. Or helpful for some people. But in practice, you want to keep... the dream to work in the dream, not in your consciousness. Okay, so if I feel something like that with my arms, try is not the right word, I act within that feeling. Because if I act within that feeling, then if I do know something, it comes out through the acting within that feeling.

[47:27]

Okay, just now I took a walk. I don't know if I should tell you all these funny things. So I took a walk and some of you ran past me. So I tried to find, I allowed myself to find a certain pace Where the trees were like beings. And a little bit I was feeling what I was saying, the unfolding and unfolding of the tree, you know, because I like to practice what I spoke about. Renew it.

[48:33]

And other, I did other little practices. And suddenly my upper lip here became very numb. And then if I paid attention to that numbness, The forest began to occupy a space as if I was inside the field of the forest itself. Okay, so why am I mentioning something strange like this? This is a milieu to me. And what's interesting to me about this is that I don't try to make it a theory.

[49:41]

And as a result, Every day there's ten new ones that I never would have thought of, that I couldn't have imagined. Now, there are certain techniques. Let's go back to Doxan. Now, I guess what I'm saying here is you guys have hit on a technique. You can... may evolve the technique, if you don't overuse the technique.

[50:46]

Or if you find yourself use the technique very loosely. Loosely, yeah. Or let some kind of let some mind bigger than your mind decide what you do. For instance, I've learned in doing doksan that I can produce a certain state of mind, which allows me to see the aura of the person. But I don't ever use that technique. Occasionally I do. But usually I don't. Unless it's really forced on me. If the person comes in and I can... white light around them or one part of their body more than another if it's real okay so okay that's what what this doxan is going to be but you see from my point of view i don't want to get into what does this person have a big horror a little horror i don't want to think that way

[52:16]

So when I come into doksan, I come in too. The person comes in the room, but I also re-enter the room each time. I'm as blank as I can be. Except if the person's nervous, I try to make them a little at ease. But I don't... have any technique except to be there. But you'd actually, there's a kind of movement between a technique and a pulling back from the technique. And my experience is, doing that you discover more and more techniques.

[53:26]

But you can't make these things happen. Or only to a limited extent, and if you do, there's some problem. So you might want to bring breathing, kind of attention to breathing, into your practice with someone. But you might also want to feel them with your cheekbones. And I feel the cheekbones for some reason are almost like antenna. So you might have a variety of things, not say, oh, I'm always going to use breathing. You might come in saying, well, I might use breathing. But I'll be open to what I discover or what the person shows me.

[54:57]

No, with some people you can have more of this relationship than with others. For example, if I don't have any of this kind of connectivity with another person, I suggest they find another teacher. This is actually quite hard to do, though. People often feel devastated when I say that. They inevitably see it as a put-down or rejection or something. It's just that there are certain affinities, and some people have affinities with another person. So I don't know if I said anything in this splashing around. But from my point of view, what I was saying, I emphasize technique over theory.

[56:19]

And the way you can use a technique and evolve a technique and be free of technique, And know, but not know what you know. But develop ways in which you can make use of what you know or act within what you know. Now, I've seen now several... Bart Hellinger films. Maybe turn off the tape recorder. Okay, I mean, was this, you know, was this useful, this discussion, or was I just off-base entirely?

[57:43]

Right now, that's about as much as I can say in response to what you said. Yeah. Would you say that if you had this kind of... of feeling, through the practice of this consciousness, or through the Would you say that by this practice of immediate consciousness that you can support this practice and this feeling, to get the feeling of the mind?

[58:45]

It seems to us that by irritating or breaking the bubble of the consciousness, Or by irritating and to stop or to interrupt their borrowed consciousness. So these two practices, would they support? Irritating and stop. Irritating is a different word in English than it is in German, I think. To irritate? Yeah, to irritate means to be made angry. Oh. Interrupt. Interrupt, yeah, okay. Okay, I'm sorry. Okay. So interrupting borrowed consciousness, yeah. I think our job as psychotherapists is to interrupt borrowed consciousness. Okay, yeah, I understand. Well, let me speak about... I think this afternoon would be a good day to have our first group discussion among you.

[60:01]

Walter was looking forward to that or not? What? This witch beside me is forecasting everything. This witch? Oh yeah, really. It wasn't too hard to forecast. So, three groups maybe, something like that. But I would like to say something first. We've been speaking about the first foundation of mindfulness.

[61:05]

And I've been speaking about it as trying to use an image. It's only an image, though. Because the experience or whatever reality is, isn't... confined to this image. But we need some image to direct our practice. Okay, so one of the images I used was of pouring mind into the body. And usually you pour mind initially through attention. Now you're pouring mind, eventually you start pouring mind more through feeling, not attention. Okay.

[62:05]

So, what happens then is the body becomes like an artesian well. An artesian well, you have that word? It's just the water flows out by itself. Okay, so mind begins to flow from the body in some relationship to how much you've poured in. Now, I'm not saying it's the same mind or there's a direct relationship. Because I'm not trying to say... Mind is something you can get hold of and say, oh, it's this kind of liquid and this happened.

[63:21]

But we can work with certain images and notice certain things. It's a little bit like the rain falls in the forest here, but then it comes up in certain places of its own. So you bring attention, but there's attention coming from all over. And your body begins to know this attention. Now, I want to say that although I'm speaking of this Of what I know and what I experience. There's big blank spots in my own knowing. And there's obvious things that other people know that I don't know. So this isn't about some kind of perfected, developed practice. it's just about the unevenly developed practice that I have within the context of Buddhist practice and within the Zen tradition that you only speak about that which you've practiced okay so

[64:50]

mind begins to, the body through the first foundation of mindfulness, the body seems to develop a kind of presence. Now, is that mind as presence the same as the mind of immediacy? Is it the same as interrupted borrowed consciousness? I think it's wrong to say it's the same mind. We don't know. We know it's very similar. I think if I say it's the same, I've forced a theory onto experience.

[66:07]

If I walk in this door, it's a different room than if I walk in this door. Because the room is also us in the room. And for example, I come after you've started sitting for a number of reasons. One of the reasons is I'm lazy. Another reason is that I like the pressure of knowing you're sitting. And it gets closer and closer and I feel, oh jeez, I've got to, something has to come together here. But I discovered over years, though I didn't know it, I discovered it.

[67:18]

Is the main reason I come late? Because I don't want to shape the mind that's here. If I sit with you from 3.30 to 4.00 or 4.00 to 4.30, I'm a participant in what happens in this room. And then I can't feel the difference so clearly. So I can't feel where you're at as clearly as if I come in late when you've already established a certain kind of So the first thing I do when I come in either door is I walk in to feel the field. And I don't think about it, but it hits me with some precision. And then I sit down in it and see how to start to act in it.

[68:30]

Okay. What mind is this? This presence that we generate together. What mind do I have to be accessible to it? I don't try to say these are the same minds the image used in Buddhism is it's like water poured in water it's different waters but when you pour it in you can't tell which water is which there's another version of that which I used in a Poem at the end of the zazen of the day.

[69:41]

Carrying the piss pot. No one knows who pissed first, second or third. Pardon me. Okay. Now, one of the first signs, one of the first, okay, the second foundation of mindfulness is the second foundation of mindfulness is that describes that territory where the Body-mind takes its first form, first definition, as pleasure or non-pleasure.

[70:56]

Yeah, unpleasant or pleasant. Or neither. Now, it's sometimes translated as neither pleasant, unpleasant, or neutral. That's okay. That's a useful approach. But I think if that's the only translation, it's a fundamental misunderstanding of both. Pleasant and unpleasant. Because, again, this is not philosophy. For the practitioner, it's pleasant, unpleasant, or neither. That's the difference in your trouble. That's different from neutral.

[72:06]

Neutral is like, I don't care, I'm bored, but there's neither. I look out and I see that beautiful hillside. I don't like it or dislike it. I just see it. Neutral. Now this is the territory in which you explore the pendulum of likes and dislikes. Because pleasant and unpleasant very easily turns into likes and dislikes. Now, a useful inventory to take Like the inventory, how many of my thoughts are really about another person or about myself?

[73:16]

You might think few, but I think if you tag them like you tag deer in the woods, you'll find 95%. Okay, so you take an inventory of how many of your thoughts are either I like it or I dislike it. And the hallways of your life are constantly, I like this, I don't like this, and there isn't much else. From the point of view of what we're talking about, this is deadly. And it opens you immediately to all of the associative thinking of consciousness in the fourth skanda.

[74:21]

This we can imagine as a pendulum or you can imagine as a funnel. And the mind of mentation, the mind of consciousness, pours into this funnel through likes and dislikes. And the coarseness of this mind obliterates the subtle mind of the body. You can't experience the subtle body-mind if you're involved with likes and dislikes. You somehow have to suspend likes and dislikes. Okay. Now. I asked Christina if I could brush your teeth.

[75:56]

Well, I didn't ask Christina. He blushes. No, I'm right. He's embarrassed. He's blushing. No, I wasn't. Oh, all right. I wasn't Rastenberg. Yeah, I know. I'm used to it. This is nice. I like it. They're freshly shaved. Yeah, there's like and dislike, right? Also, you can... And Sophia has that feeling from birth. If we stick her head in the garbage pail, she goes, okay, it's not too pleasant a smell. If Marie-Louise sticks her nose in the garbage pail, she says, eww. But if I dump the garbage pail all over the kitchen floor, Marie-Louise comes in the kitchen, she smells it and then gets mad.

[77:02]

But if the garbage is all over the floor and Sophia smells it, she doesn't get mad. So the smell is unpleasant, but you dislike it if it's on the floor. So, Sophia has no likes and dislikes in that sense. She only has pleasant and unpleasant. So, if Marie-Louise comes in and smells the garbage pail, she says, oh, put the top on the darn thing. But the smell doesn't make her angry. But if it's on the floor, it makes her angry. Then all kinds of associations come in. Why am I living with this chaotic American?

[78:25]

Or whatever. So those are, you see how the funnel works? Sinners are like and dislike this. Oh, I don't like this, and I'm this kind of person, and he's that kind of person, and blah, blah, blah. So part of practice is to have your initial perception, pleasant and unpleasant, but not likes and dislikes. And now one of the interesting things is when you begin, when you can stay in pleasant and unpleasant, which is real basic, you can't get away from that. And you just accept pleasant and unpleasant. It turns into a kind of gratefulness. It turns into a kind of pleasurable interest. Somehow, you're right here at the root of equanimity and compassion.

[79:50]

Now, one of the things you can notice at the second foundation of mindfulness is that we usually conflate pleasurable and unpleasurable, and likes and dislikes. And we usually conflate non-graspable feeling and emotion. And feeling and emotion become the same thing. And they're not. So the second foundation of mindfulness is where you begin to separate those out and make them clear. Now, I'm saying this second foundation of mindfulness, the hotness plus... The what-less plus is sort of this body-mind.

[80:57]

And it's also the root of mindfulness. The non-interfering observing mind. Where, well, oh, I'm getting angry. Part of me is not involved in the anger. Now I'm more angry. Now I'm less angry. Now that's hard to understand unless you realize the mind that's observing the anger. Anger is rooted in the body. And the mind that's angry is the mind of likes and dislikes, the mind of mentation. It's water poured in water, but they're two different minds because they have a different source.

[82:04]

So if you've been angry, you can feel the anger almost like octopus ink. comes into the clear water, the essence of mind or pure mind. And sometimes the octopus ink just floods the whole thing and you're just... And then you're caught in the anger or the emotions of the emotion. Okay. So what I would like you to discuss in your discussion is How do you see these minds?

[83:04]

What lecture will I give tomorrow? I used to practice that with Suzuki Roshi. Tuesday's lecture, I try to say, okay, what's he going to lecture about Wednesday? I try to recreate the lecture before he gives the lecture. Ich habe versucht, am Dienstag hat er das gelehrt und was wir dann am Mittwoch lernen. Ich habe versucht, diese Lecture wieder zu schaffen, bevor er sie gehalten hat. Did I understand Tuesday's lecture well enough to produce Wednesday's lecture in myself? Then Wednesday he'd give a different lecture. And I'd learn more from that than having no lecture prepared in my own mind. So your topic can be, what's tomorrow's lecture? How would you talk about now this

[84:06]

mind of immediate awareness, or body mind, or interrupted borrowed consciousness, or the mirror mind of mindfulness, or essence of mind, and the difference between feelings and emotions, and what happens when emotions, desire, ignorance, aversion, come in. And what's the difference when an input arises from the senses, arises from the body, or arises from mentation? These are the kind of things Buddhism has tried to deal with. And this all relates to your work. And understanding other people when suddenly something from octopus ink comes in their mind. Or they don't even know what non-octopus ink is.

[85:34]

Okay. So, take as long a break as you want and start whenever you want. So it's 5.50 now. Okay, sorry I talk so much. Apologize. I'm just hitting the bell.

[86:28]

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