Zen temple at the top of the mountain, built where I live. And then the next day in the evening, I think, he gave a talk at my house to a Another group of people, but many of them the same. And since there were quite a few non-Japanese who were living in Kyoto, they came to the talk. Yeah, so he spoke in English in my house. And afterward, the Japanese persons had been to both. Said, oh, after the... First talk, it just, you know, it just smells of funerals.

[01:19]

Buddhism is for most average just when they go to funerals. But when he spoke in English, it was so refreshing and exciting. Yeah. So I actually, in English, I don't know how successful I am, I try to use words and to... create terms that are kind of don't call up so much of the habits of the culture in English. Hans-Peter, you had some thoughts about posture and Yes.

[02:33]

If I hear posture, I'm translating the German law into Ausdrucksform. Haltung, because it is very rigid, very static, and it has nothing of this rhythm, which you have with posture when you see. It is you pass it through positions. But the Germans, we have a lot of this very rigid posture. So we have to think about it. So it's better? When I say postural, it's not about holding, but about making an expression. It's a posture. It's like someone is playing a game. It happens. Holding is very static. It also means sustainability when I hear it.

[03:46]

Sustainability and culture. It's like this cat which is very rigid. It's [...] very rigid. Isn't the language just proven to be a wonderful mirror? Because posture in English, I feel, has got exactly the same connotations as halftone in Deutsch. At the Jesuits, they said to me, O'Leary, watch your posture. Is that true? Yeah, really. I just look at the Irish as a mirror at the moment. It shows me how I got a problem with someone's posture because I've got all this culture low we are talking about. It's like trying to swim out of the middle of the rainbow. Well, maybe we Americans aren't quite so Irish or German.

[04:46]

Maybe the Americans aren't so German or so Irish. But what word do you use for, like, a yoga posture? In French, posture is only used for the 64 postures of Kamasutra. Well, I wouldn't exclude that. That's not what I was going to say. It is simple. I'll pose it to you. But if you use a posture, it has this intention in it, doesn't it? I mean, or attention. So if you have something like ausdrucksform, you don't have this intention so much in that. Yeah, but mehr Absicht, nicht Intention, sondern Ausdrucksform ist, man versucht auszudrücken, was man herausbringen will.

[05:50]

Eher so. The expression would be more like expression, wouldn't it? Yes, expression. We just have to fill it with a new set and lose the concrete part of it. Wash it out. Yeah. Just fill it with another experience. Yeah, it takes time. For many years I wouldn't use the word meditation because it just meant something in English that it didn't mean for Zen practice. It had this strong feeling of... of not something you did, but something you meditated on.

[06:54]

But now after 40 some years, its meaning has shifted, extended and then shifted to what really means something very close to you know, the various forms of meditation that come out of yogic practices. When I try to grasp the positive thing in Haltu, then I Yeah, I tried to grasp it by the opposite, and the opposite would be to get lost. To get lost. The opposite for halten would be to... Verlieren.

[07:54]

Sich verlieren. Das dazwischen die Fassung verlieren. And so it has something that still tells me some positive thing about it. Deutsch, bitte. I have now tried the positive in the attitude, what is in there, what I can still use, and then I actually came across the opposite. My opposite, which showed me, was to get lost, to get lost and to get lost. It also comes from holding. And in the second movement, as Rosé has already mentioned, holding means to hold something. In practice, holding means to hold something. What I mean is to hold something, to be held, [...] to be held.

[09:03]

And if I were to take that as a form of expression, it is not so free for me, because it gives me the best idea of ​​what I have to do now. It is actually the other concept. In the word Hathor, I actually say, I do not give up in my individuality. I give up, I have to be kept while I am still. Is there something you could translate? For me, the dragon god is a lot to be stopped. Halt, yeah. And when we sit down in posture, then someone steps. And I like the feeling of being stopped in the posture. My daily activities, so I, I, every day now, it's, it's a different posture, so I stop. Also it's like being held.

[10:13]

I, I feel held when I, So for you, this word, if we're talking about the same word, has you find through your practice a positive feeling for it? Now, when I use the word posture in contrast to position, I am not so much using posture to mean what I'm saying. I mean, English has lots of nouns. And I try to pick Yeah, one or two.

[11:16]

That like consciousness and awareness. And then I use consciousness in a very particular way, eventually really a Buddhist context, not the usual sense of consciousness. Yeah, and I try to move the word in my use of it toward what consciousness means, something like consciousness in Buddhism. And I also have in mind, the background of my mind, that many scientists who are trying to experiment with the body, the brain, etc., and see if they can somehow understand consciousness from a physiological, biological point of view.

[12:20]

Yes. And most of these scientists use the word consciousness in rather different ways. And usually they use it too general a way and too conflated a way for it to be useful. So I find myself trying to steer the word to a more particular usage. And I use the...

[13:21]

Etymological root SCI, which is like scissors to cut, to divide. And I also take the etymological root of the word consciousness, SCI. That means cutting, like for example scissors. And awareness comes, the root is something like to be wary and to watch. But still, I've used it just as a container to more and more put Buddhist definition in. So I'm trying, while I use the word position and posture, to define it in the process of how I'm talking about it. And in a simpler sense, I'm using posture to mean a word that you can fill with energy and attention. I can't feel my energy.

[14:43]

I can't breathe. You bring me a beer, I'll feel good. But if I find my posture and visually can feel my posture, have a visual image of my partner. I can use that visual image to actually feel my partner. with energy and attention. I can't get a visual image or a feeling for an image in this posture. Yeah, so anyway, Don't worry too much about the meaning in English usually.

[16:08]

But I don't think, not having had a Jesuit education, unfortunately or fortunately, I don't have such a strong feeling about the word posh. And Suzuki Roshi would say things like, find your own posture. So you may take a position, but within it you find your own posture. Yeah, that was good to go over. Thanks. I walked out with those two words, generalization and metaphor.

[17:15]

And what's the difference? And it just occurred to me when you did that with beer, where people generally... It was not an alcoholic. I hope you noticed. And in that posture, you can generalize very easily because you don't feel yourself. And so I just got a bodily feeling about the difference of those two words. Good. Yes? The question is a little bit for me, when you read posture, whether you read something intentional, because of the word posture is an intention. And now, perhaps that's exactly not what we want to say, but you say inside posture, because I have the feeling that we use posture, you actually did not mean posture, but something which is more alive. But if you have a particular fixed thing, how can it be alive?

[18:31]

How can it express life? by some kind of a positioning. The word actually needs something which doesn't really, is not expressed by a noun, but rather by a word. If you go through a certain set of positioning, the moment you have a word, and now, I mean, you grasp it, and then it becomes . Now, of course, we use also nouns in a symbolic way, so I have nothing against using a noun for that. Posture, as it is called in English, is also something static. And it is intentional, especially the posture, not like an actor, a posture. He doesn't really do that. But from the inside, it is of course something debatable, but what I see is something static. And you really have to say something about what this vitality is all about.

[19:33]

How can you represent vitality in a photographic way? Is vitality still there? I think it's possible, yes. But there's no story comes in from the North YouTube, where they've moved from posture to posture, posture to posture. And so there's no gap of non-posture where they can make a non-composed photo. And I know it from karate training that a movement is not just the posture at the end of the movement, it's the whole thing. And this makes a big difference if you do it... So posture in karate is a sequence of movements. Even one movement covers a certain space and time. And it makes a difference if you think to this final posture.

[20:37]

Yeah, I understand. So this was... Yeah, it's more like that. Deutsche bitte. Da ist mir die Geschichte dazu ein, die Roche vorhin erzählt hat, mit dem Nottheater, dass die Schauspieler sich einfach von Haltung oder Stellen oder von Haltung zu Haltung bewegen. and no moments are not in a posture. That would fit to this movement, to life. And then, for example, I know it from karate training, that it is also the case that a movement is not the end of the movement, but actually the whole movement in a certain time and space. filled out or overlaid. And that's what I remember now. Okay. Yes? In Tai Chi there are also many positions, but also movements and then there is also a form. It is also similar to the Wundtheater.

[21:45]

When the form comes out, you always have a half-blossom, a postcard. Form, I think, is a word that is more filled with this intentionality. Okay, that's all. In Tai Chi, it's almost the same. It's also a movement, but the movement is actually one form after another. And also like in Notea, the other is what you said, when you make a picture, it would be a posture, and if you do Tai Chi the right way, it would be the same. One form after another, each form would be complete in itself. Complete in itself. Well, one of the advantages of English in what I'm trying to do is it has a huge vocabulary compared to any other language.

[22:52]

The disadvantage is it's mostly nouns. So I tell people, I encourage people to think verbs while you say nouns. And the most common example I give is don't see a tree, see treeing. Because it's the activity of the tree which is... good but some words you can't do that with for instance I can't say posturing because that means acting in a kind of artificial way so you know I maybe I'm lucky but I do not

[24:01]

For some reason, think in language. I always think in images. And then I try to cram these images or fit these images into the little words. Sometimes it works. Sometimes the word goes... It's been very hard for me to learn simple grammar because I'm kind of stupid in addition. But it when you push images and metaphors into words, they often make the words not fit together in the usual way. So it's quite an interesting experience for me to kind of take my experience, which if I try to give it an internal definition, it's in images,

[25:14]

And then somehow get it into clear sentences. And then hand the With both hands, the clear sentence is over to Eric or Ulrike. In such a way that it can be translated into German. No, I found, I think I've gotten moderately good at it in German. But I found it's quite different when I do it in French. When Marie has translated for me in Belgian, even though she knows Zen well, I've got to find a different way to put the images in English so that they turn into French.

[26:47]

It takes me... an hour or so to shift how I speak English so that it can go into French. And mostly my body does this, I don't think it. I can feel it with the translator and feel it happening. Okay. Someone else? Yes. You gave us, anyway to me, a kind of a new explanation of the self, and I'm not sure if I got it.

[27:54]

For a moment I had the feeling for it, but I lost it again. I thought maybe in my notes, but I can't really think of the scenario. If you think in the future, it's a scenario, but if you enlarge your attention to the body, it's itself. It's a bit theoretical for me in the moment. Deutsch, bitte. I still have difficulties with this new explanation of Roshi from before about the self, how he spoke about the attention to the body, which we can expand into the future. I think, by the way, if you're needing a break, soon we'll have a break after I respond a little bit at least.

[28:57]

Ich möchte sagen, dass wenn wir eine Pause brauchen, dann werden wir gleich eine Pause machen, nachdem ich ein bisschen auf das eingegangen bin, was Cecilie gefragt hat. The most I can say right now, without trying to recreate it, is that if you deal with the context of meaning, And if you can be at a threshold of, let's just say, imagine you can be at the threshold of each moment. We talked about this a bit yesterday. So imagine you can be at the threshold of each moment. Each moment can be a breath moment. An appearance moment.

[30:29]

Something like that. And that's what a dharma is or dharma means. What Hans Peter calls a hap. Like it's part of a happening. And it freshens you up and makes you happy. So maybe we should change Buddhism into happism instead of dharmism. If your mindfulness can become evolved enough, mature enough, that it really is in the not generalizing, not going into the future.

[31:32]

But present in the immediate context, present in the immediate event. Whatever that is. And Dogen puts it very simply that It's to complete that which appears. Now, it doesn't just appear outside you. You're part of the appearance and you are engaged in that appearance. So in a very simple way, you can think of a dharma or perhaps a hap, perhaps a hap, Perhaps it would mean four haps. Which may or may not happen. So to complete the haps that appears, you can think of it in the first, you know, to make it simple.

[32:59]

You can think of it as receiving and releasing. So the teaching that everything changes is not just out there about things that you're not in contact with. It must be the very way you perceive. So to break the habit of implicit permanence, our actual knowing is a kind of pulse. And sometimes we characterize the pulse inward and outward as a turning inward of energy in a way that we call wisdom.

[34:07]

and turning outward in a way that we call compassion. So this pulse of, let's make it simple, receiving and releasing. If you can come to that, again, mindfulness is rich enough, that you can feel the beginning of each moment. You can feel the presence of karmic formation. You can feel memory entering the moment. Life from dislikes. And the deeper teaching of mindfulness of feelings, is to free yourself from the habit of preferences.

[35:28]

Okay, now, I'm sort of aiming at what you said. So now, if this moment hap dharma that appears with momentary configuration has as part of it a past and an implied future. And you want to put a context of immediacy to that implied future so it doesn't turn into a mental future where you've got anxieties about etc. Now, let me just say this phrase I've been working with for now nearly a year.

[36:36]

This is like the I spoke last night about incubation. This is a phrase from the text called the Genjo Koan, which I gave you at the end of this morning. To cultivate and authenticate the 10,000 things. By conveying The self-given is getting lost.

[37:39]

Inden man sein Selbst hinzufügt, das bedeutet sich verlieren, das ist Täuschung. This is a wonderful prescriptive and descriptive phrase. Das ist ein wunderbarer, beschreibender Satz. Because it allows you to practice with it. Weil es dir erlaubt, mit tiefem Satz zu üben. And this is the way you work with the text. You find a phrase... Maybe in science you find some aspect that doesn't, can't quite work with that and much of the rest of the science opens up. I don't know. Now, this is the text I've been reading since the 60s. And the potential of this sentence only appeared to me about a year ago. But it allows you to monitor or experience directly conveying self-defense.

[38:56]

It points out that he can notice Not in general, I'm selfish. How often do I look at this bell and say, it's my bell or it's a bell? What percentage of my perceptions are really self-referenced. And the larger the percentage of your thinking about another person, thinking about something that's self-referential, is delusion. Because it gets you lost in things, the myriad thing, the 10,000. Okay, now, his other phrase. True. Cultivate and authenticate.

[40:21]

The Japanese word means both cultivate and authenticate. And this is really helpful in itself. Because I cultivate the world by making it always related to me. And then I authenticate it as being thus so. Then I'm trapped in a world that's no bigger than me. And bored. Look, if I cultivate and authenticate the things, if I cultivate and authenticate, if I let things come forward, And cultivate and authenticate the self.

[41:31]

Now, this is not the same word, but it's a different self than in the first phrase. This is the self which covers everything. Which is defined through the immediacy of each moment. Which comes alive and is not afraid of the future as the new. But the way the future comes forward in its unexpectedness is refreshing. So to let things come forward And cultivate and authenticate the self.

[42:41]

Is it life? Within the horizon of immediacy. A spatially extended horizon, not a temporally extended horizon. Anyway, let's have a break. Isn't it wonderful that these little phrases can have so much life? And that Dogen and others took their lives and tried to Give these things to us. That we can open up and incubate.

[43:42]

Okay, thanks. Vielen Dank. I'm feeling good. I can say good afternoon in such a beautiful good afternoon.

[45:20]

Sometimes I imagine you think that These teachings are all, by this time, pretty clear to me. In some ways, that's pretty clear, and they allow me to go further in practice. But since for me it's really never understanding its experience. And I have to get a feeling for the... If I just speak from my understanding, I feel half alive and... Yeah, and I can't just, so I want to, need to,

[46:35]

speak from experience. But I can't just call up experience at will. So these teachings I have to kind of re-enter. And if I re-enter without understanding, all I can do, like I'm suggesting, is All the teaching is sort of in front of me. And kind of be in a sort of chaos. What could this mean again? And I don't turn to my understanding, I... See if in my noticing, you know, I use the word noticing, in the noticing I can find

[48:01]

What changed the teaching? Yeah, extended. or wonder how you can have contact with it to lose contact with it and I don't find this an unpleasant state because you know I have I have inhale and exhale. Ich habe das Einatmen und das Ausatmen. And I have feelings. Und ich habe Gefühle.

[49:05]

And I... Oder ich fühle etwas. And that seems enough. I don't need to have more location than that. Und ich glaube, das ist genug. Ich brauche nicht mehr an Verortung... Yeah. So some persons told me, and I could feel that the last discussion was Someone said a bit heavy and others said a little difficult. So it would help me if any of you are finding your way in or getting a feeling or no feeling for this I'd like to know. So I want to hear something from you. And I certainly talked enough.

[50:07]

So if nothing else, it's your turn. Yeah. May I tell a little anecdote? I was about 15 years in Burgundy in Pliny, which was the largest cathedral until St. Peter's was built, and now we don't see anything but stones, and so I was guided by a Japanese art student. And we came to a big room, a small room, and there was just a window. And I always was fascinated by the remark of the Japanese art student, but now I think I understand it. Because he said, the downfall of me, which was very mighty, started when the abbot sat in this little room next to the heating and didn't try the other.

[51:33]

Deutsch, bitte. A few years ago I was in Guinea and Guinea was the largest cathedral until St. Petersburg was built and a Japanese art student took me there. You can't see the stones anymore and there was a big room or a small room with a window. And what makes you understand that now? Because what you told us is that the posture in Japanese. The what? The posture. Posture, yes. And also the little or the big expression by our body.

[52:44]

It's a whole message you give. In the Western world, we just sit like this or like that. But this was such a little detail. Yeah, it could be. Ivan Ilyich asked me once, actually the first time I met him, and he said, what is the reason you might not go to Zazen? No, I tried to think, is there some reason? No, I couldn't think of any reason. Even if you're sick, you try to do Zazen each day. And we ought to try to follow the schedule and participate even when you're old.

[53:46]

No, I don't know if he's right in what he said. But he said, I don't know any abbot of a Catholic monastery who would answer that way. And he said, I don't know any abbot of a classical monastery who would have answered in this way. And he felt the deep. All of Catholicism is held together at the center by monastic practice. So he had the same kind of feeling. Someone else? Yeah. This notion of posture and position, for me, I have the interest of feeling that it's something much more easy in English than in German.

[55:00]

And the reason being that if you use the German word for posture, it has a very moral kind of undertone, for me at least. And in English it seems to be more kind of an easy thing to do. So this is more kind of an observation I want to make. And the other thing I'm really wondering is that when you explained the four types of postures, I was really wondering what the different postures does actually in the way we communicate with each other. This is my question. Sorry, German. I had the impression that the difference between posture and position in English

[56:05]

is more descriptive than the German word position and attitude, because attitude has something very moralizing, so it shows attitude and things. So they are not exactly the same, I could imagine, but I have, so to speak, yes, more of an observation. And the other was a question about the four postures, Does anyone else feel this problem with the word posture in German? Yeah, that's absolutely right. For instance, if your parents tell you something like sit upright, that's somehow like... Yeah. If you're in an absolutely terrible situation in the world, everything goes wrong.

[57:15]

The last thing you have to do is hide. If nothing else, hide. It's like keeping up appearances. I see. Yeah, I don't know. I hope Eric and Ulrike and others can solve that problem when you trust them. I think this is more about German language or German culture rather than finding the better work. Yeah. Some German speakers say they like hearing Buddhism in English because the words aren't rented out least to the culture as much. At least for the Germans. Not for your students? It might be different for English speakers. Maybe there's some loaded... Well, there's a funny example.

[58:16]

Suzuki Roshi came to visit me in Japan. In Kyoto. Most of the time I was living in Japan, he was in San Francisco. But he came to see me in Kyoto, the same house I had. But he visited me in Kyoto, in this little house that I had back then.

[58:59]

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