Well, in these days so far, I think we've gotten somewhere. Yeah, so that we can speak about the lived body with a more common feeling. Now, you know, I think that maybe we, also because we're practicing and because of contemporary views, we maybe take the the non-dual relationship of mind and body, rather as a positive thing. And, yeah, I certainly think it is a positive thing.

[01:04]

But... It's not that there aren't advantages to seeing mind and body as separate. I think, you know, Luther and Descartes and so forth actually made possible contemporary science and much that looks at the world separate from and the body separate from theology. That you see body and mind separate from religion, right? You see the body as in the early days the idea of the body rose. In the past, one had the idea that the body ascended to heaven.

[02:22]

With the Reformation, however, And in many ways that allowed contemporary science to develop. The point I'm making if you make a distinction and live it even if it's a somewhat false distinction it has maybe beneficial as well as perhaps negative results. So if we now make the kind of distinction we're making now about the body as self, This will have consequences in how you view yourself in the world.

[03:48]

And how you experience yourself. And it's really quite interesting how the West has so much emphasized mind and time, and really, Asia has emphasized the body and space. Let's go back to the tea ceremony again. You know, just as a kind of example, It's about the relationship of the body to objects. The various shapes. We're one of the shapes in a world of shapes. So we give ourselves some shape before we pick up the tea bowl.

[04:56]

And just as calligraphy requires your posture to be good in order to make characters. And I don't think it's an accident that it's Steven Jobs and Wozniak who were both studying Buddhism with the founders of Apple Computer. Also, ich glaube, das ist kein Zufall, dass Steven Jobs und Wozniak, die Gründer von Apple Computer, dass sie Buddhismus studiert haben. We're both studying Buddhism, Zen, with Kobujino Roshi. Sie haben beide Zen und Buddhismus mit Kobujino Roshi gelernt.

[06:08]

I don't think it's an accident that they picked up on the mouse. That doesn't surprise me, or I don't think it's a coincidence that you didn't develop the mouse, but came up with it by chance. I mean, I remember years ago going to Xerox laboratories before Apple existed, and Xerox laboratories had developed, they didn't know what to do with it, this idea of touching the screen and the mouse and so forth. But Jobs and Wozniak picked up on it, I think, because this emphasis on doing things with two hands. If it's all keyboard, it's not the same as having your two hands doing what you're doing.

[07:14]

Yeah, and another example is that they were the first company in the computer world to emphasize that the packaging was given the same, and directions were given the same kind of attention as the computer itself. So the box you received it in was thought through and the instructions as carefully as the computer itself. So you can feel, and they speak about it, you can feel in a character the spine, the spine of the person doing the writing. They speak about a kanji having a spine. And if you study calligraphy, as I did some in Japan,

[08:47]

Yeah, there's a certain mental posture when you bring the brush to the paper, and then there's another mental posture like you feel a distant, wide feeling as you pull the brush away. So in the tea ceremony, what you're doing is you're treating the body as an object among objects. Was man in der T-Zeremonie macht, man behandelt den Körper als ein Objekt zwischen vielen Objekten. Which doesn't just mean you treat the body as an object. Das bedeutet nicht, dass man den Körper als Objekt einfach behandelt. But you also treat the object as part of the body. Sondern man behandelt die anderen Objekte, das andere Objekt, auch als Teil des Körpers.

[10:11]

So you stop and you look at the T-Bolt. And whether it's a beautiful tea bowl or a third-rate tea bowl, you pick it up and examine it in the same way. Yeah, same. Respect, yeah. And if you make a mistake, the mistake is part of the tea ceremony too. Maybe I should tell you, I've told some of you before, my big mistake. I was at Senno Rikyu, the founder of the Japanese tea ceremony's birthday party. I'm not that old, but you know. Also, ich war bei der Geburtstagsfeier von Senorikiu.

[11:29]

Senorikiu. Senorikiu. Sen, S-E-N. Ja, das ist the same. Sen. Ja, Sen. Senorikiu. Den Gründer der Tee-Schule eingeladen. Er war so alt, bin ich natürlich nicht. Okay. And I'd gone with Nakamura-sensei and Philip Whalen and my wife, Virginia, at the time. And I had my robes on, something like this. So I suddenly went to the top of the hierarchy among all these, I don't know, a hundred tea teachers. Yeah, so they put me at the head of the line of this line of teachers stretching out through different rooms. So they brought tea, I did it fine, I drank it, I turned the bowl and drank and did everything, you know, etc.,

[12:44]

I know the bowl has an outer front and an inner front and a bottom front and so forth. So afterwards they passed the tea bowls. And then you look at them carefully with your elbow touching the tatami so you don't lift it too high. And then they brought out the tea canister which is for the powdered tea. Some beautiful object of ancient origin. So I pick it up and look at it and tip it this way, and it's full of tea that falls all over the teacup.

[14:02]

Powdered green tea, which gets into the grass mat of the tatami. And a hundred tiny Japanese tea teachers So I sat as straight as I could. And two lovely young women in kimonos appeared from secret doors and cleaned it up very nicely. There was a complete way to treat such a mistake. And after it was all cleaned up, out came the tea canister again.

[15:08]

I looked at it very carefully. And as I should have noticed from the beginning, it was now quite light. It was empty. And the next day, Philip Whelan delivered a drawing to me This was before he was ordained. So I'm sitting there gigantic, you know, with this huge... He made it, right? He made it. He drew this gigantic with big robes, you know, rocks, you know... And Philip is fat as I was tall. A drawing of him. with a big red beard and wild hair.

[16:32]

And then Nakamura Sensei in Virginia. It was entitled Sen no Rikyu meets the barbarian. So, anyway... When you're in the tea ceremony. There's each object. And you could say that you let the, as I should have, you let the mind and body be led by the objects. One of the emphases in our practice is to bring attention to the breath. Is to let the breath lead the body. and let the breath lead the mind.

[17:51]

So we could say that an object is a breath object. That as each breath is long or short, And that's one of the basic practices of early Buddhism. You know this is a long breath, or you know this is a short breath. And there's many koans which say things, let the heron's legs be long, let the sparrow's legs be short. Now this kind of observation isn't separate from the feeling of, the practice of knowing when you have a long breath,

[18:56]

Knowing when you have a short breath. So again, there's the physicality of the sensorial act. As mind and body are not considered dualism, but at least a polarity, If mind and body are not considered a dualism within our practices, at least as a polarity or a relationship, So one of the keys to our practice is mind and body is a relationship.

[20:19]

And the point of practice is to develop that relationship. And that relationship is primarily in most Asian practices developed through the breath. So, when I say the physicality of the sensorial act, I'm speaking partly of that. Of course, it is a physical act. You can't have an eyeball or an eye, see without an eyeball. But we hardly notice it. It's practice which makes seeing, hearing, etc., really deeply a physical act.

[21:37]

Okay. So the object we can say the tea bowl, for example, is a breath object. You know, after living in Japan pretty continuously for four years, after that for a couple of decades, I went back and forth a lot. But I was there pretty continuously for four years. I remember coming back, and I don't know, I think I drove up to Nevada City in the Sierras. And there was road construction along the highway.

[22:47]

And I saw some guy, some worker, driver, jump out of his truck, his big, huge truck. A worker or driver? Yeah, both. And he ran somewhere and did something and ran back to his truck and got in. Yeah, quite an ordinary thing. But I remember I was really startled. Because I'd never in all the years, those four years living in Japan, I'd never seen a truck driver or a worker run. There's never a sense of hurry. You'd think that's strange, you know, Tokyo and Osaka.

[23:57]

But really, at least in the more traditional culture, people don't run ahead of their breath. And the American truck driver was, I think, yeah, his mind was running ahead of his body. And I think the new mind-body practices of some Olympic runners and so forth. To visualize every step of the run So they run within their visualization.

[25:05]

I would say one way to understand that is they don't want their mind to run ahead of their body. Okay, so it's a breath object. Es ist also ein Atemobjekt. Or, let's say, as we suggested, an appearance object. Oder, wie wir das gestern genannt haben, ein Objekt, das auftaucht. Or an each moment object. Oder ein Objekt innerhalb jedes einzelnen Momentes.

[26:07]

Now, this is, to some extent, a cultural habit, and it helps to explain a lot of differences between Japanese crafts and, you know, even other Asian crafts. Also, zum einerseits ist es eine kulturelle Gewohnheit und das hilft, There's a cultural sense of the breath object or the moment object. Because things aren't permanent. Denn Dinge sind nicht permanent. Everything's changing. Alles ändert sich. So, even though the tea bowl or whatever it is doesn't change over five minutes. Also, obwohl diese Teeschale sich wohl in den nächsten fünf Minuten nicht verändert wird.

[27:12]

There's a difference if you think of it permanent, as permanent, or as if you think of it as appearing. Da gibt es aber einen Unterschied, wenn man sich das als So at the center or the root of Dharma practice is the craft of the moment object. Or we can call it three things, the appearance object, the moment object, or the breath object. It's three ways in your experience to notice the momentariness, the dharmic the dharmic quality of the world.

[28:19]

So the 10,000 things become, through this, the 10,000 dharmas. Durch dieses werden diese 10.000 Dinge die 10.000 Dharmas. The 10.000 things is not the 10.000 Dharmas unless you, in your experience, unless you have this sense of a mind, of an appearance object. 10.000 Dinge sind nicht die 10.000 Dharmas, außer du... So there's, again, these three, let me say, three experiential territories. You can feel the momentariness or the breath object or the appearance object. This is at the center of realized practice.

[29:40]

And I feel quite sure if somebody who's an experienced practitioner is coming down the moving walkway in an airport toward me, There might be Americans, there might be Europeans, and there might be the practitioner who would feel different. Okay. Why is it always, I just get started and the time's over? Okay, I shouldn't tell stories.

[30:44]

Okay. All right, so let's think. Okay, we have these three mind objects, ways of describing mind objects. And you can also look at the Heart Sutra as a description of the body. Man kann sich auch die Herzsutra als eine Description or Prescription. Both. Die man sich als Beschreibung und als Rezept des Körpers vorstellt. A description and if you practice it, a prescription. Also wenn man es anschaut, ist es eine Beschreibung und wenn man es praktiziert, ist es ein Rezept. So it's a prescription for... the lived body and the Buddha body.

[31:46]

Okay. All right, so here when we're talking, I think if we're going to talk about the lived body from the point of view of practice, we should speak about body space. Okay, so now internal body space. That's like, where do you feel an itch? Or do you feel your toes are down there or do you feel your toes are same place as your chin? Now the internal body space has no shape.

[32:49]

So near that I cannot touch. And yet it has distance and dimension. And you can explore the internal body space also by the breath, with the breath. You can breathe into the inner topography of the body. So there's an inner body space which has no definite shape. Es gibt also einen inneren Raum des Körpers, der keine definierte Form hat. And I can say that practice is to get used to or articulate, get familiar with, develop an inner body space. Also ich kann sagen, dass Praxis etwas ist, das sich daran gewöhnt und entwickelt, diesen inneren Körperraum.

[34:18]

And then there's the external body space. Yeah, what you see around you. And the more your internal body space is developed, articulated, it changes how you feel, experience the external body space. And then we could say, this is what I would call anyway, trying to find a term, somatic body space. For example, if somebody pokes something towards your eye, You blink or move away much before it hits your eye. So there's a somatic body space. And that somatic body space can be extended.

[35:36]

You have the feeling of the shape of your car when you drive. And if you give even a monkey a stick, Selbst wenn man einem Affen einen Stock gibt. And his body space is here in his brain. If you monitor his brain, his or her, the brain reflects an increased body space. Also selbst eben bei diesem Affen So I call that a somatic body space. Now, if you practice with... the tea bowl, or each particular object, you begin to increase or change your somatic body space.

[36:45]

You actually Develop, make more sensitive your somatic body space. Yeah, and martial arts are trying to do that kind of stuff all the time. So you feel what the person is going to do before they do it. So part of this lived body is also developing the somatic body space. No, I will stop with just saying somatic body space can be divided into habitual, and non-habitual body space.

[38:01]

Non-habitual. Sure, habitual body space is like if I'm typing and my fingers just do what I do and something appears in the computer screen or a typewriter. Yes, or if I'm driving a car, the habitual body space, somatic body space. But if you're going to know the world is absolutely unique and changing each moment, And you also got to be able to be in non-habitual body space. So each appearance is a surprise.

[39:04]

The adept practitioner is moving in between all the time habitual body space and non-habitual body space. nichtgewohnheitskörperraum, can you call it a surprise body space? Why not? Dieser Überraschungskörperraum. Okay. So now we're close to something like Buddha body space. Und jetzt sind wir etwas wie dem Buddha Körperraum sehr nah. No, we're approaching what we mean by the Buddha body or the three bodies of Buddha. And we can get there by beginning to explore the lived body, lived body space. Yeah, and this habitual body space and

[40:29]

Maybe each of us right now has the freedom of a non-habitual body space. Yeah, that's enough for today, don't you think? Thank you very much. Thank you.

[41:18]

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