Although I know the drill very well, zero, two, five, and seven are the days I give lectures to show. Still somehow today I thought I got a vacation. And I was heading down to have lunch and you know, up comes the Anjasama with a tray of food. What are you doing with a tray of food? I'm eating downstairs. She said, no, you're not. I think you're giving a lecture. Oh, okay. So I did what she told me. The food was pretty good, too.

[01:08]

Thanks. So a lecture day or a not lecture day? Or a vacation day? Ein Vortragstag oder ein Nichtvortragstag oder ein Ferientag? Maybe a day with not knowing whether I'm going to give a lecture or not is the kind of space I need sometimes. Vielleicht ist ein Tag, an dem ich nicht weiß, ob ich einen Vortrag geben werde oder nicht, die Art von Raum, die ich manchmal brauche. What kind of space do you need to fish? to fish for how things exist. And we're back now again with Dogen to allow the 10,000 things to come forward. Und jetzt sind wir wieder bei Dogen, zuzulassen, dass die 10.000 Dinge hervortreten.

[02:21]

These statements can be studied endlessly. Diese Aussagen können endlos studiert werden. To allow the 10.000 things to come forward and cultivate and authenticate the self. But let's leave out the word in Japanese means both cultivate and authenticate. But let's leave out the authenticate right now, today. To make real, to give yourself a sense of being real. Yeah, let's leave that out and emphasize cultivate. To allow 10,000 things to come forward and cultivate the mind.

[03:45]

Now, I'm a neologist. A neologist is someone who makes up words. I don't think any of my words I make up will last long, but they're useful for a while. And my word of the day is mind-adeptness. And my word of the day is mind-adeptness. Yeah, mind-depthness. I don't know. It works for me. It asks me to feel the depth of the mind in the depth of the world.

[04:46]

And the word depth in English, at least, deep, the word deep in English, just meant a deep sea, a deep ocean. And I think until the Middle Ages, it was deepness, and then it became depth. And the model of length and so forth. Okay, but what do we mean when we say deep? Well, the deep ocean, yeah. Yeah. I mean, you can't see it usually, except along the shore, but it has a bottom, otherwise it would drain out. So deep means it has a bottom. But we don't know what the bottom is, is the implication.

[06:15]

Yeah, but we know it has a top, a surface. There's a top to the ocean. So... So the sense of deep and why it's used all the time, it's a deep problem, etc. I don't know if the word is used in the same way. I think it's very comparable. So... When you see the top, you know there's a bottom. But you don't know the bottom, but you know there is one. So the implication of deep is how do you swim in the surface in a way that stirs up the bottom?

[07:22]

How do we participate in the depth of a problem so that we begin to see into the depth? Wie nehmen wir an der Tiefe einer Schwierigkeit, eines Problems teil, so dass wir beginnen, in diese Tiefe hineinzublicken? Yeah, this is also Dogen saying, who knows the depth of our school's wall-gazing? Are we gazing at the wall or is the wall gazing at us? Here we have Dogen's also extraordinary statement. The host within the host and the host within the host goes beyond objects and transcends being.

[08:53]

What an extraordinary statement. What goes beyond objects. And what transcends being, being transcends being itself. And yet it's also obviously part of being or Dogen wouldn't be saying it. Quincy Jones, who most of you won't know who that is. He's a famous, well, he was a jazz trumpeter, but he became the most famous black record producer and all kinds of things. He was a jazz trumpet player and then became the most famous what kind of thing? Producer of records and all kinds of things.

[10:07]

And then became one of the most famous producers of records and so on. Quite a marvelous person. I mean, I've only seen him in, I don't know, the news and things. But someone asked him, he produced the record Thriller of Michael Jackson, which is the best-selling album of all time. And this person interviewing him said, did you know when you were working with Michael Jackson that this was going to be the best-selling album of all time? He said, of course not.

[11:08]

He said, but you just do the best you can. And you leave room in the studio for God. And I think there's something to this. You leave room in the studio for God. It also reminds me of something. There was an Italian chef named Massimo Bottura, I think. And one time his Japanese pastry chef dropped a lemon tart and it broke. And the pastry chef, I guess, was quite upset.

[12:22]

He said, he'd like to be perfect. And Massimo, who likes contemporary art as much as he likes cooking, said, oh no, no, no, it's beautiful. So they began putting lemon sauce or something on the plate and breaking a tart on it. And it's on the menu as one of his signature dishes. Oops, I broke the lemon tart. So this is lemon tart broken in two or three pieces and there's lemon tart juice or something down the plate like a modern painting. Maybe this is like letting God in the studio.

[13:38]

Making space for the 10,000 things to come forward, even a broken tart. How do you locate yourself in this space? How do I know that something like this is Zen practice? Because Zen wants to make the rigor of of Zen is to make everything experienceable. And with the assumption that it must be possible because

[14:42]

We're all part of, we're different, we're parts of this whole, whatever's going on, we're parts of it. Now, I've often taught as a basic the four marks. Birth, duration, um, dissolution and disappearance. And the first three are just the way the world is. Then in fact things appear and they last for a bit and they dissolve. And the word disappearance means you're participating. So we're talking about a participatory world. And we had a little Dohan session this morning. And I emphasized that the yogic world is seen as not a world you do, but a world you participate in.

[16:25]

And really, if one of your basic mental postures As I'm going to do this, I'm going to do the world. It's very different than the posture, the yogic posture, of I'm going to participate in the world. And participate in a way that I don't fully know what's going to happen. Yeah. So somehow, you know, we adept practitioners need to become adept at having a mental posture like this as, you know, standard mental posture, always present mental posture.

[17:29]

I'm going to participate in the world. Maybe people like gaming so much. I've never played games on computers, but there seems to be a very addictive world out there somewhere. And maybe it's because it's a pure experience of agency. Like you were mountain climbing on a melting glacier. I know I told you once I rode with Sophia through one of the most beautiful series of canyons in the Rockies. No, I'm in a car.

[18:53]

Yeah. It was completely startlingly beautiful where we were driving. And she was on an iPad or a computer or a phone or something. Where this little thing was running down passageways and jumping over cliffs and everything was attacking it. But she was identifying with it. I think I would have identified it with the edge of the iPhone or iPad or whatever it was. But she identified with this little electric module.

[20:21]

There are lots of electronic modules, but she identified with this one that was in the most trouble. And I occasionally pointed out to her, it was, Sophia, look at... I think you're having a pure experience of agency. You're the agent, the I pronoun electronic module. And at least 10,000 things were coming forward and trying to destroy this little module.

[21:22]

So how do we allow the 10,000 things to come forward? How do we make space for God in the studio? Well, first it's something like the four marks. You really find yourself always in a situation where things appear, last and dissolve. Du findest dich wirklich immer in einer Situation, in der die Dinge auftauchen, Dauer haben und sich auflösen. And your participation is to make it disappear. Und deine Teilhabe daran ist, dass du dafür sorgst, dass sie verschwimmen.

[22:44]

It's going to dissolve, it is dissolving, but you let it disappear through yourself. Es wird sich auflösen, es löst sich auf, aber du wirst dafür sorgen, dass es durch dich hindurch verschwindet. So this morning in our Doan session, I said you generate, you inhabit and you release. Da habe ich gesagt, du bringst hervor, du bewohnst und du lässt los. And I emphasized release like I did in the last Tay Show. Und da habe ich dieses Loslassen oder Freisetzen so betont wie im letzten Tay Show. But this generate, durate, no, no, durate, durate. generate, inhabit and release is just a way of practicing the four marks.

[23:52]

To practice the four marks using different words. die vier Kennzeichen zu praktizieren, indem man andere Worte benutzt. And so maybe, you know, I often say pause for the particular. Und ja, vielleicht, also etwas, was ich häufig sage, ist halte inne für die Einzelheit. Maybe I should say pause for the space of the particular. Vielleicht sollte ich sagen halte inne für den Raum einer Einzelheit. Because each particular is its own Like right now, there's a sound realm here, which is its own space. And there's a visual realm here, which is its own space. Yeah. And there may be other realms here that don't coincide with our five physical senses.

[25:14]

And as I said last time, there's also a realm which maybe is a seventh sense of proprioceptive, And interoceptive and exteroceptive. So we could say there's a realm of using those three words as one, a receptive space. And maybe that you're finding yourself in a receptive space is the space in which you feel the visual space and the auditory space. Yeah, and the redolent or olfactory space.

[26:24]

Yeah. And when you separate these spaces out and notice them separately you notice they're generated. And you need to separate them out and experience them prior to their becoming consciousness. Because once they become consciousness Consciousness tells you, this is the way the world is in fact.

[27:28]

But when you experience, let's take these three, the olfactory, the visual and the auditory separately, You realize these three major aspects of the world that we find coming toward us. dann hast du Einsicht in diese drei Hauptbereiche der Welt, die auf uns zukommt, dass die von uns hervorgebracht werden. Ganz eindeutig bringen wir den visuellen Raum hervor, der ist nicht einfach da.

[28:30]

we generate the audibleness of the bird. Wir bringen die Hörbarkeit des Vogels hervor. Within the possibilities of our own hearing. Innerhalb der Möglichkeiten unseres eigenen Hörens. Again, it's not the way other birds hear that bird. So you're hearing your own hearing. Okay, so you're generating the auditory world. So it's not the way the world is. It's the way the world allows you to generate it within your senses. And once you really get used to that, there's a big mystery appears. Or my five physical and mental sense is it. clearly just generating a world that's our human world.

[30:01]

Maybe there's a world there that God inhabits too. Or if not God, a kind of mystery. If we can only know parts and we can't know the allness, then always there's the presence of what goes beyond objects and transcends beings. dann gibt es immer die Präsenz von dem, was über Objekte hinausreicht und das Sein transzendiert in Dogen's Wort.

[31:03]

So one way to live in this kind of world, and in a way you're floating on the surface of this ocean, You're feeling the mind-depthness. You're fishing with God in the mind-depthness of the sea of beyond being. Du angelst mit Gott in der Geistestiefe, in diesem Meer des Seins. And you need life preservers or you need a rubber inner tube or something like that. A kickboard. A kickboard? When you go swimming, you hold a little board. Ah, okay. And these inner tubes, do you... Oh, inner tubes, no. I mean, we use actual inner tubes from tires. Yes. Yeah, at least.

[32:05]

We have a lot of old tires in America. Probably here too. Okay, so if you pause for the space of the particular, somehow it helps you stay afloat on the surface while you look into the depth. So you can practice with generate, inhabit, release. A version of the traditional teaching of the four marks. And even when you do little things like... At the meal, there's a point where you're in gassho.

[33:23]

And then you're in shashu. And then you're in mudra. Okay. Now, why bother with these things? Why don't you just put your hands down on your lap and to hell with it and eat? Because the oryoki practice is a little dharma theater. And to get you to do each thing and inhabit each thing. If you just do it as a drill or a routine, you don't inhabit the space of each thing. And if you don't inhabit the space of each appearance, there's nothing to release.

[34:41]

And if there's nothing to release, then you're living in a world of things. So somehow to give inhabitory... to inhabit each particular, to inhabit each particular, is to make space for God. Or to make space for emptiness. To make space that goes beyond objects and being. So maybe you can use the word, I don't know in German, but use the word in English, inhabit. And the four marks start with birth.

[35:42]

It means something is born, like a real infant, a baby is born. And it manifests. And you have to take care of this baby. So it's generated. It is brought forth when it is born. And then you inhabit it. You inhabit your gassho for a minute. Everything's gone. There's only the gassho. You're completely free. It's just the gassho and your elbows raised a little, etc. And that allows something to appear through the gassho that wasn't there before. So you yourself are not a continuity, you're an appearance, an appearance, an appearance.

[37:02]

So now you're gassho appearance being inhabited. And then you're shashu appearance. And then your mudra appearance being inhabited. And all of us are in a kind of a concert, a compositional rhythm of occupying the gassho, the shashu and the mudra. And we all are in a kind of And this is called fishing in the depth of mindness. I said it's called that, but it's never been called that before. This is the first time it's ever been called that.

[38:23]

Thank you very much. Thanks for your warrior translation. Throw yourself into it. We will fulfill our purpose in every way, in every being and in every place.

[38:52]

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