Good morning. Guten Morgen. I'm sorry I'm a little slow this morning. Nothing to do with the change schedule, just I'm slow this morning. And yesterday it was Katrin Birkel who many of you know, fell a while ago and broke her elbow. And she is the director and cursory in Johanneshof. Anyway, she... Returned to the office yesterday after rehab.

[01:02]

And yes, what I was doing, and she knows because she arranged my schedule and blah, blah, blah. And she said that, I guess you, Christina, called and said, her at some point earlier, and said, could we send out an announcement of this to, I don't know, to somebody? And I'm happy for anybody who wants to attend this and knows what they're getting into. To attend, to participate. But at the same time, I really prefer this group to be just by word of mouth. And at the same time I like it, I imagine it, when this group is just like this, through mouth to mouth, propaganda.

[02:41]

Propaganda! I know that word. Like Kassel, I feel the same way about Kassel. The Hanover seminar, if new people come, I have to adjust myself to that. Kassel and here. I want to speak to this group until we're all in wheelchairs. Who will be the last to be pushed in? Who will be the first? I'm exaggerating a little, but not too much. Because I, you know, it's different when we have a, as we say, a Bodhi Mandala, an already arrived at Mandala.

[03:59]

And in my regular seminars I do the two centers. I have confidence that I know enough about what I'm speaking about to speak about it. But when I'm speaking with you in the context and to me a parallel context of psychotherapy and psychology And although I really do see them as parallel and in the West interrelated,

[05:07]

Particularly meditation and mindfulness practices have been absorbed by therapy in lots of ways. Especially meditation and mindfulness have been taken up by the therapy in various ways. Still, I am not so sure myself. So I need occasional reassurance from you that there's some relationship between what I'm doing and what you're practicing. And I don't want to use psychology and science as Trojan horses to sneak Buddhism into the West. I really see psychology's value as its difference as well as its related value. So before I speak about the Mahavijjana and my reformulation of it as gestational

[06:59]

mind or space. I'd like to have in the beginning here anything you'd like to speak about, but including any reflection you have on practicing with the attributes of space. Okay. Yes. The lecture yesterday that you gave showed me the switch point.

[08:17]

The switch point. The lecture yesterday that you gave showed me the switch point. where the brain is able to interrupt action sequences. in order to be able to not react to those sequences and to open an inner space to open an inner space to see how to go on with acting, how to take the next step in the action.

[09:27]

And that you made clear yesterday by using this concept of a cue. Mm-hmm. That's a neutral and neurotic point of the spirit. of the brain to first create an interruption And by also a point that can be cultivated through a training in mindfulness.

[10:50]

By brain creating an interruption you mean you bring a concept into the process and then you inject something into the situation through the concept. No, not a concept, not a concept. But what is the brain then? It's a point where I feel different. Like I talked about the first day. And to recognize, to observe is different. And then to be able to act in this way or in that way. Yeah. So the recognition of the difference is what you call the brain? What? The recognition of the difference is what you're calling the brain? The brain is all. The brain is all. And in the brain... I must not touch.

[11:54]

Yeah. Yeah. There is also a school for physical therapy and neurobiology Okay, this Buddhist psychotherapy that I was trained in, there is a confluence or convergence of Buddhism, psychotherapy, and neuroscience. You know, there is, you can see, in the neocortex, in the neocortex, and you heard about the eye, In the neocortex there is an area. This area is able to install what we call the inner observer. And this inner observer is without concept.

[13:06]

And the observer is also without a narrative, without a prior concept, without a narrative. So neutral in the sense of being able to mindfully perceive. Okay. The point was the queue, where I decide when I open a shop to buy something new. And it became clear to me through what you said about the no theater and the cue, this point where I can decide to act and create something new.

[14:26]

Okay. Thank you. And you see, and this is in the ear, and this is for me that the handling, the handling of the digital for my profession, the coaching, is that this neuralgia point is For me, that's the vehicle of my work, my coaching work. This point can be trained. Insofar eine Selbststeuerung, das ist wichtig für die Praxis der indischen Psychotherapie, eine Selbststeuerung ermöglicht, um mit meinen Gehirnen That's too cool. that it allows a self-management or self... Not controlling, it's self-leading.

[15:30]

Observe. You call it a self-leading? Yeah. A self... that allows a self-leading that... so that I can do with my brain what I want. Okay. Sounds so good. I would like to come back to yesterday's topic of trauma and locating. And in my personal experience with my own trauma, I notice a confusion or confounding. In the moment of traumatization, being located dissolves, disappears.

[16:45]

I am not bound to a location and that gives me some freedom from the trauma that actually is located. To see. The location in English is connected with the sight, etymologically. And it has the same root as the name Avalokiteshvara, which looks down on something. And that is compassion. For me it is the point where we look at the located trauma, For me the word location has the same root as ablokiteshva. And it's to see as it really is. It's seeing with compassion. Okay, I don't know if that… I've never seen the etymology of the connection, but… I have looked it up, and I've gone back to… Well, I'm sure… …the proto-Indo-European Latin… I'll have to look it up, too.

[18:37]

…it's the same. Yeah, it's a very beautiful connection. Yeah. Because when I'm free from location, it's like entering the field of mind. Even again, it's Deutsch, it's European, Berlin, it's Weisheit, Martin, it's Wien, Okay, there's an image of I am not bound to a location. Yep. Wie was? Wie Hintelscheine in einem riesigen Feld. Hintersteine. Hintersteine. Hast du recht. Die Traumata are like boulders in a vast field. Ich kann sorgfältig um diese herum, und manchmal bin ich nicht so sorgfältig, wie ich das sage, aber es ist der Raum, um den die Mietorte gebunden ist, die mir die Freiheit gibt.

[19:43]

And I can go around them and sometimes maybe I can bump into them, but there's space around them that allows me to move around. And when And when they are located but I am not, then I don't have to carry them with me all the time. I'm letting them have a place. When I discovered this field, I realized that it has no boundaries. It is so spacious that the boulders are sometimes not even visible. I don't know if I want to locate myself.

[20:56]

You mean if you do locate yourself, like I said, a site of bodily time as being a site of practice, that's a location too close to the boulders? Yes. I want to try a little bit of a joke. Maybe I can try dancing in the field which generates the contents of gestation of time. Good. All right. I completely agree. It's not the Irish jig, though. Vielleicht kann ich versuchen zu tanzen in die Raum, die die Inhalt des Ausbrückens zahlt. That's right. this is, that's on the limit of what I can do in English.

[22:10]

I can't get that into your own language. Well, I'll try after the break or at some point. Yes? If only there's a Latin verse, I mean, I mean, so... To locate the boulders at their original location gives me the freedom to dance around them. That's good enough. Okay. All right then. Yes, Andreas. I want to say something about the difficulty I had beginning of my practice with the concept of space.

[23:12]

And this was in Rassenberg here when I first heard about it. With me? Yes. Oh, goodness. I sat here. Is that what kind of? nonsense as well. I didn't know what to do with. But over time and along the development of my practice I began to get a feeling for it. I studied architecture with some masters.

[24:30]

The space was something very clearly defined. It has corners and lines and walls. But through practicing these limitations have resolved and I began to have a feeling for what the word space really means in Buddhism. And in our small group yesterday? We spoke about this shared space in relationship to unconditional compassion, absolute compassion.

[25:31]

in this space that allows a shared evolving unfolding where the possibility arises that things co-create Without, and that's maybe the therapeutic context, without inserting an active impulse to act, direct action. Through this co-creating or this possibility of shared unfolding, There is a particular potential for healing.

[27:23]

Okay. Thank you for transforming your concept of space. I would say that the major shift from Indian Buddhism to Chinese Buddhism is the doing it together that the Chinese emphasize. And the doing it and that, because practice happens, your practice develops more rapidly and inclusively and Subtly, through the inclusion of others in the development.

[28:32]

Deine Praxis entwickelt sich schneller und umfassender und subtiler. It develops rapidly, subtly and more inclusively through practicing together. I mean, you could say, I'm just making this up, but maybe ten years of practice by yourself happens in two years with others. Okay. accompanying that shift to what happens the catalytic quality of practicing with others. The spaces in which you practice became the companion of the move into practicing together.

[29:52]

And there was a development which treats the practice spaces rather like the inside of a violin, which makes the sound better. And And Dogen, so much of Dogen's effort in his life was

[30:53]

What of the traditional Song Dynasty spaces should I bring into Japan? And In my experience, my inclination was always do it alone. And then my life was transformed because doing it alone I was half crazy. Three quarters maybe. And then when I did it with Suzuki Roshi, everything was transformed. And Suzuki Roshi even said to me, you seem to be able to make the practice work, just us practicing together.

[32:01]

But he said to me, but I think it will be better if we have a place we can practice with others. So I took that as instruction and a command and I found Tathāra. And I went there with the thought, well, this would be great, I'll practice with the Guru there. And then I found that practicing with others transformed my practice as significantly as it was starting to practice with you. And then I found that practicing with others transformed my practice as significantly as it was starting to practice with you.

[33:17]

So that was the second big revelation for me. Maybe the third was when we started tuning the facilities so they worked with practice well, that was the third revelation. And you can see me living out that positive trauma. and trying to create the non-socral way of practicing. where even as a primarily lay practitioner, we can have tons of practicing together. And we can articulate the physical spaces, which includes the spaces between the buildings, so that the streams of practice are well bowed.

[35:03]

so that the strings of practice are well bowed, like a violin or cello. Not bowed, but that would be all right, too. Um... Um... The concept that developed in China was that different functions, different practices should be in different buildings or different spaces. And the spaces are generally circles taking the form of squares. And we can see how our chanting and feeling of

[36:18]

shared movements was transformed by the new Zendo at Yangtze. So this is all articulating outer space and inner space in an interrelated way. And I think all in all, this room, for instance, works pretty well. Okay, now let me say something, if I can't... Gabriela, can you say something? When you speak, I have many spaces.

[37:34]

I see many spaces. One of those spaces is a circle of friends that I don't belong to anymore. That's why that makes me tear up. The other thing is a space. I gave a seminar with 12 participants the other day, a space that was way too small. And we needed tables to do some group work.

[38:44]

And in order to do that, the group dispersed in the space in a chaotic way. And we kept it that way for three days and it was a strong, powerful atmosphere. And in this contextual space I feel as a trainer it's important where and when I locate myself where in the space. Okay, thanks.

[39:54]

Yes? I just want to make a statement before you start and I'm curious what you'll say. That I feel really that space is the key to practice. There's so much to say about it. I'm a little bit overwhelmed even trying to do that. Okay. All right. That's like my... One sec. I started this seminar speaking about a Le Carre novel and this old lady walking along a nondescript street. And the implied question that's been informing me, sort of, not as much as I'd like, during the seminar,

[41:04]

It's not like a dumb question, but why can I meet this woman in this novel in more depth than I can meet somebody sitting across from me at a table in House and House? Why can I meet this woman with greater depth than someone who sits opposite me at a table in Haas and Haas? Haas and Haas. [...] But I did recognize when I was in there, Frau Haase's conception of this place is based on Japanese coffee house. And I went and asked, and it pretty much is.

[42:23]

But what's interesting about that is Japanese Kisaten's coffee houses are based on their idea of Viennese coffee. Anyway, I do think we can touch even in the interior space of strangers But I'm trying to think of how to get there and maybe again after the break I'll try to get there. Yes, Bert?

[43:24]

I mean, no, Bert? I found myself as a psychotherapist in this role of the no actor. Being called forth by the contextual time of the client. And then it became clear to me that there must have been already a shared ripening time that helps to create this space. That's a really wonderful feeling.

[44:45]

To have time and space coincide in such a way. If I were to try to use these terms, I'm trying to make technical terms precisely. Yes, so if I try to make technical terms out of it, I would say that your bodily time is drawn out by the client's bodily time and by the already developed shared contextual time that you have developed through other meetings. And the advantage of making distinctions like that is then you can notice if there's dissonance or abstinence between the bodily time and the contextual time.

[45:48]

I'm sure that sometimes planets arrive in a state of dissonance, and sometimes they arrive in a state of happily... Yes, someone else, anybody else? Yes, Andrea. Andreas and Andrea. What you said about how practice develops more strongly through the shared space, I experienced that just as Norbert described in my work. In the history of my practice, I would say I've practiced with Sangha.

[47:08]

When that muscle is somebody whose inclination is to do it alone. Now I feel like I do this in my work, but I have a question about it, which I'm not sure I know what it is. I know that I put my practice in service to my work and that's clear but from the point of view of practice So I've done this for a while now and have viewed it as a great gift that I can practice in my work.

[48:29]

But I think it's reaching a new, different kind of new point. I don't quite know what it is. Will it develop? Yes, good to know. It put us on a torturous rack. Promises, promises. I have miles to go before I sleep. Okay, so now I feel permission to ask a question. When the practice develops, I have the feeling that one collects past and future in a place in one's body and

[49:50]

When practice develops, I feel that you can gather past and future in a location in the body and that you can turn it. It feels like this point, like when you It's like a stone that you like and you can hold in your hand and turn it. And I'm wondering if you can do that together, if a sangha can do that together. It is a good point for me to be here and to express my inner desire. I didn't quite understand what you were saying.

[51:16]

It's as if the unfolding is present now. Unfolding of? Okay. Future flows from flows into the present okay I want to I'll say a couple things about space and then let's have a break we see Water as a medium.

[52:39]

And if you're walking, wading, walking, swimming, you feel the medium of water. Yeah. If you're a bird or a kite or an airplane, you feel the medium of water. the air. And the branches of these many, many branches of these many trees are shaped to use the medium of the air and the medium of the light. And the branches, the many branches of these many trees are shaped in such a way that they can use the medium of air and the medium of light. And I think it might be useful to think of light not as light, but as a medium of light.

[53:45]

And in addition to the medium of air, for the yogi, there's the medium of space. And... and we actualize that medium through its attributes of space. And if you want to explore the more medium-like qualities of space, I think it's useful to notice this inner attentional space in contrast to outer attentional space.

[54:46]

And the attention... intensifies the dynamic of space. So again, you can try to use a concept like in-betweenness. First you can notice the social distance that is present in in-betweenness. If you really notice it, it's fun to go to other cultures where it's different. You can move into the difference. I mean, in Scotland, at least where I used to go there occasionally, you can't get near a hug.

[55:53]

In California, you can't get away from a hug. So this in-betweenness happens always. And when it's with another person, you can feel whether they have the other end of the in-betweenness. And in the way, if I yesterday said, you know, in between the say, between Siegfried and I, because where he's sitting and so forth,

[57:06]

And I can change the shape of that in between just by moving my hand, turning my body. And when Sukhiroshi said the thing that he notices most in the West is you do things with one hand. So then I watched him when he said that. That was what I pointed out many times. He did things with two hands. And he passed his body with the two hands. He'd turn and pass this in-betweenness to the other person. I never saw him do something like that.

[58:19]

Yeah. So it was always his whole body was involved in like turning a light to the other person. Okay, so say that, I mean, I'm just waxing incoherent here. But say that... Siegfried and I establish an in-betweenness. Sorry, I didn't, you know, say these things, but if Siegfried has the other end of the in-betweenness, then Then I can walk over here to Gabriella and establish an in-betweenness here and then return to you and bring that in here to the in-betweenness with Siegfried.

[59:30]

And when you begin to feel the in-betweenness that's established with objects and people, It actually becomes a kind of weaving of this in between this with this and then the two Andreases, I mean Andre and Andreas. And that feeling of weaving... Yeah, okay. We're going to have another kind of space called a break. All right, thanks a lot.

[60:22]

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