weaving our personal narrative, that are weaving into our personal narrative aspects of yogic culture and practices and so forth. And and concepts of things like indeterminacy or inter-independence and so forth. That if they're part of your weave, they affect how you notice things. And I would say again, and I guess maybe I talked about it last year, this word hishiryo. Last year I did hear. And Dogen calls it probably the most important word

[01:04]

and of course the practice, the free practice in Zen Buddhism. And you can see that as a... What Zen does in contrast to career Buddhism It's bringing teachings through practices. So, for example, if you practice hishi-ryo, which I've turned into, it's usually translated as non-thinking, But I've tried to make it a practice of... By the way, if you want to spell it, it's H-I-S-H-I-R-Y-O.

[02:26]

Um... I tried to see how it can be crafted as a practice. As known thinking, it's just a kind of generalization of how to practice known thinking. But I... through noticing without thinking. And yes, just get in the habit of noticing without thinking.

[03:26]

And if you do develop a habit of as well as noticing with thinking, you also develop simultaneously noticing without thinking. Lotus is a symbol for Buddhism, the logo of Buddhism. The lotus is the lotus flower. And it's often primarily spoken about this because its roots are in the mud.

[04:35]

Its wassail is not just in the water, but up above the water. And it's interesting that the leaves don't really get wet. I stood for a long time in the rain by a lotus pond in Japan. And a lot of lotuses, a lot of rain, and every leaf would fill up with water and then dump it. And it would all ball in little pearls and then dump it. But it also simultaneously produces the flower and the fruit. The flower doesn't come first and then the fruit.

[05:40]

So it has come to represent also the simultaneity of differing practices. The one flower produces not only simultaneously fruit, but also the one flower produces many fruits. So it's also used as an image for indeterminacy.

[07:03]

The flower and the fruit are simultaneously produced and many fruits are produced. You don't know which direction it's going to go. So when I say weave indeterminately into your personal narrative, you know that each appearance Each appearance has arisen from the 3000 coherences and causes. And you don't actually know where it's going to go.

[08:04]

You can't predict what it's going to teach you or what it's going to lead to. So when you complete each appearance, You're knowing, you're completing each appearance in a provisional field of indeterminacy. So you need a mind open to complexity and not rooted in too strong a need for security. Okay. So now let me shift to the vijnanas. So vijnanas are again with custom in Chinese-Japanese Buddhism is that the title encapsulates the entire teaching.

[09:28]

So you, as I said the other day, you chew on the, the other day must have been yesterday, right? You chew on the type, you chew on the words and syllables. That's why my monk is called a ruminant. So in this case, vijnana means divided knowledge. The jhana is knowledge of wisdom and the vish is divine. But it also can be understood as knowing things separately and yet together. But it can also be understood as knowing things

[10:30]

Okay, so divided knowledge. Separated knowledge. Now, if we are going to assume that we create ourselves, and in fact we create locally time and space, As this room, again, this room is locally created and we are recreating it how we're using it. Yeah, there's no absolute space here. It's just the space that you're making, we're making, right? Okay, so if we can't blame a creator or fate or anything like that, we have to say, well, what's really going on here?

[12:16]

And this location in which you're standing is to be breathing. And part of the practice of bringing attention to the breathing is to bring attention to your location. So when you bring attention to your breathing, you're bringing, you're weaving, you're joining attention to breathing and weaving that attention through breathing throughout the body. And you're establishing the bodily immediacy as your location. So your location is where your attention is.

[13:18]

Your LBS, your local breath system. Okay. So if you the more you bring attention to the breath, awakening the body through attention, because somehow, you know, the body is great, it's doing all these things, and the kidneys are working, and we want hopes, and so forth and we'll say it works outside but it really seems to work better more harmoniously with mind when mind is joined actively joined to the body with the breath

[14:25]

And then you create a breath immediacy. And as your attention gets used to being part of your breath and part of your speaking and part of your sitting, etc., It doesn't just replace thinking. Because your attention isn't going here and there, it's more just settled in the ground. So it takes the place of thinking. But it also makes the direct experience of the body and mind more interesting than thinking.

[15:52]

And that's sort of, again, the practice of noticing without thinking. It becomes the way the body as a non-thinking location notices and knows. Now, given that that's the basic kind of yogic jhana practice, And it's assumed in all the teachings that you've accomplished something like that. Then you say, okay, how do we know the world and each other through the senses? And what are the senses?

[17:06]

Well, there's five physical senses and six source senses. At least in our language, mind doesn't seem like a sense, but it is a source of ideas and so forth, independent of sight and sound and so forth. So there's six senses. And it's this way of looking at things. But the five physical senses are specifically practiced. What does it mean to practice the five physical senses? Why do you have to practice them?

[18:11]

You see things, you hear things, what's the big problem? But they are not the representative of the world. They don't represent the world to you. There's no idea in this yogic view of the world. In this yogic way of viewing the world. There's no anthroposophic... Is that the word? Anthroposophic? Which is, you know, scientists sometimes say there's a very tiny margin of error, or humans couldn't exist, the universe was created so we can exist.

[19:15]

There's some invisible force which is controlling all this so it makes us possible. Es gibt eine unsichtbare Kraft, die all das hier kontrolliert, sodass wir möglich sind. But it also makes bats, bumblebees, and dragons, what is possible. Aber diese Kraft macht auch die Fledermaus, bumblebees, weiß nicht, was die sind. So you have the baddie or morphic. Die Hummeln. Die Hummeln, und jetzt danke. Die Hummeln, natürlich. So you also have the baddie or morphic principle. This is all created just for bats. What?

[20:17]

That really ugly, slailed nacktchneck. Of course if we exist, there have to be reasons why we exist, you know, geologically, chemically, and so forth. Temperatures. But you can't reverse that logic. It just happens. Temperature is good for us. It's a nice temperature today. It's also good for ants. Half is just more ants than gravel. So if your view of the world is that it is in the process of intermultiple creation,

[21:29]

Intermultiple. Then you want to know by what tools are we knowing the world, our portion of the world. This singing lawnmower that was going outside my room today. When I was a kid, you only pushed lawnmowers, but there would be a big child out there. Okay, but you know, you need to know, hey, this guy running this little machine, big machine, needs to know how it works. He better not run it over the gravel paths, probably.

[23:01]

So, if you view this as not some sort of special thing, just what kind of instrument? How does this instrument work? We're not asking where it came from, but we're asking how it works. Okay, so each first thing that's noticed is each sense is separate. Now, I've gone through this in a variety of ways. Luckily for you, I never seem to get it straight, the same way each time.

[24:03]

But still, to chew on the whole teaching or incubate the whole teaching again and again is useful. Right now speaking with you, I'm reviewing the practice within my body as I speak. So we have five senses, five physical senses. And each one is separate from the other. A blind person doesn't see. A hearing person A deaf doesn't hear. He may be able to see, he or she, but they don't hear.

[25:25]

So each sense is a different piece of the pie. And the pie is considered to be infinitely large. So we only know five little slices. Again, bats and bumblebees know something else. Infrared guns know something else that we don't see. So you recognize not only the specificity of each sense and its separate specificity, You're also aware that it's only part of what's actually happening.

[26:44]

All this is not included directly. Okay, now, not only is each sense separate, each sense is also limited. And I go back always to the example that a bird doesn't hear another bird the way we hear a bird. And you may notice, and one of the reasons Zen temples have gardens is hopefully there will be at first light the song of songbirds.

[27:49]

And when you hear the morning song of birds, why are you meditating? We try to get up before the sun gets up. And be present during first light. So we wake up because we wake up and the world wakes up because it wakes up. And then we're there together in the waking up of the world. And often when we hear the sound of whatever sound, a tractor going by, or one more, or a bird... We hear it differently in zazen than we hear it in usual circumstances.

[29:18]

Not only are we more likely to notice it because we're not busy, but also we hear it differently. And sometimes, if you're lucky, you really hear it internally. and are completely aware that you're only hearing your own capacity to hear. You're not really hearing the bird. You're hearing your own capacity to hear the bird. And this is considered to be one of the many fruits of the lotus flower.

[30:21]

One of the knowledges. Because it's a kind of knowledge to experience, experientialized, experiential knowledge. To know that you're only hearing your own hearing. And strangely enough, when you know you're only hearing your own hearing, there's very often a feeling of bliss. So one of the reasons the four jhanas that we've been speaking about the last day and an evening are characterized by bliss and joy and

[31:40]

the satisfaction of equanimity and so forth. Because you're widening your capacity for experience. In other words, you hear something, we enjoy the earth, we enjoy the flower, you know, you know. etc., and the sky. But when you, I can't explain why it's the case, but when you know the flower, its color, sound, or the absence of sound of the flower even, you feel it as your own experience. So it becomes some kind of profound affirmation of your own aliveness.

[33:12]

you really feel, okay, this is it, this is what it is to be alive. And this is accompanied by bliss. So there's an extension of ordinary pleasure to flowers, birdsong and so forth, into the bliss of life. I'm afraid to say, realization. The realization of knowing the senses are your own experience, which realizes you. And this can be, of course, and is woven into your experience.

[34:37]

Kriyayas, samadhi and so forth are all ways to weave the world into your own experience as an internalized embodiment. Yeah, right. Yeah. Keep translating for me. I'm just going to have to say words and then let you go. You say what you want.

[35:38]

As soon as I get older and older, she'll be like, I know what it really is. Yeah, okay. Okay, so we're talking about the five senses. And we're talking about the strange fact that when you realize their limitation and their separateness, your knowledge of the world and yourself increases. And of yourself. And there's no way to predict that. There's no way to tell anybody that. They have to find that out by the practice of the jhanas. So through the practice of the jhanas you can really know each of the senses in their separateness and their limitation.

[36:53]

So the five physical senses now become a kind of inner realization. No, I ought to somehow associate this with my hand. There's five fingers. Like the five senses. But there's also all that space. You know, when kids, they count your fingers, I always count the spaces just to confuse them. I say, how many things are there? And they say, one, two, three, four, five.

[38:07]

And I say, no, no, there's only four. And then I say, how many things are there? And then they say, one, two, three, four, five. And then I say, no, there's only four. And then it's like, but are there only four? Oh, there's one right there. There's five. Oh, and there's one, there's, ah, there's everything. Yeah. So, but that's actual art. That is our experience. There's all this between the fingers, between the five senses, that there's a, there's, There's a mystery here. And that mysterium shifts into a kind of mysticism. And a kind of aestheticism of the feel of the world. And now each senses each sense by knowing its limitation and its separateness.

[39:28]

By bringing attention to each sense separately. You articulate like you might with a certain weight lifting, build up one muscle and not another muscle. So you begin to develop each sense in its kind of power. by bringing attention to it. So the world itself becomes also more alive through the attentional enhancement of the five individual senses. So just this kind of attention to the five senses is already a huge shift.

[40:37]

Now that's a craft of practice. We wouldn't think of it of ourselves. So I mean, I saw somewhere, I read that someone said that the... Freud's Free Association. Was the first scientific instrument developed by Scientology? I like it. Everybody has ideas. Anyway, in that sense, though, this is a kind of instrument of knowing the world.

[41:40]

We do know the world through our senses. And each sense can be enhanced. And the knowledge that each sense is simultaneously limited and separate. Internalizes the experience of the world through the five senses. And internalizes, we could say it again, as the sensorium. And that is part of the process of realization.

[42:57]

That's creating one of the conditions that makes the enlightened more likely. And that's a simple development of some centuries in how to bring attention to the five senses. And now five senses of the world, obviously also mind. There would be no smelling or experience of smelling, scent or sound if it wasn't being processed by the mind.

[43:59]

The bodily mind and the brain. Okay. So when you are aware of each of the five senses, as your attentional skills become more sensitive. You're actually aware of the mind in each sense. I practice it by feeling the mind in my hand. Because I'm somehow able to identify the five senses through the five fingers. And as the right hand can touch the left hand, And I can shoot that and have the left hand touch the right hand.

[45:25]

I can feel one is the toucher and one is the receiver and then I can reverse that. That simple common experience. is a direct experience of mind. It's not the brain, it's a larger field, let's call it the mind. So in that similar way, as I can feel mind present in this hand, my hand also, I can feel mind present in the senses. You can also bring attention to a sense, like looking at the sky or the fields or something.

[46:31]

These extraordinary trees you have here. And you can feel what happens when you bring attention to it. And when you say, in a jhanic sense, bring motionless mind to it. Attention allows you then to bring mind into the experience of the tree. Yeah, so these are all practices of... the vijnanas in relationship to the five senses. And I think we have to pay attention now to some other senses. Which is how your legs are feeling, whether you need to go to the toilet, and whether you'd like a cup of tea.

[47:44]

So I'm sorry, I kind of tranced out there, didn't know what time it was. I can't speak, yeah. Are we ready to go? Yeah. So, then go. I mean, start something. With sense? With or without sense. That's your specialty. He always makes me a little jealous because when I go down, I see him sitting in front of his portable house having a martini, looking at the sky, talking with his friends.

[48:55]

I never get an invitation. Maybe he fears that there are no martinis. Okay. You are invited. Oh, yes. That's the sound of Gassho clapping. OK, what else? Who wants to say something? Yes. Ich war gestern Abend in einem Zustand, wo ich, ich nenne ihn tilt, also wo einfach nichts mehr geht und kein Denken. Last night I was in a state which I call tilt, where nothing worked anymore and thinking wasn't possible anymore.

[50:00]

And since I already know that and have come to also trust it in the sense that I know it can't be ignored, I just left it there. And then I slept quite wonderfully and long until a bamboo bee started feeling attracted to the honey smell of my hair and got me to get up pretty early. Your hair smells like honey. Yeah, I have a honey shampoo. Oh, I see. This is dangerous. Yeah, I see so. Luckily there's no bears here.

[51:08]

Oh, there's lucky shampoo. Thank you. I'm telling the story because it all just kind of matched. And then I read this morning through what I wrote down about the journals. And I started practicing with it. and started practicing with it. There were just a few images that I would like to share, experiences. I think it was the first time that I really got a feeling for the perception, for the phenomenon, for the appearance, to get that with the mind, and for that a feeling, that was for the first time a feeling of self-evident, in me came the memory of how I learned to read, how I stopped writing and suddenly reading

[52:30]

And that was the first time that I felt like it was possible for me to join mind to the experience, to the sense of experience. I felt reminded of when I first learned how to read, when I stopped spelling the words and actually reading started having some meaning or I started having a feeling for it. So a picture was created in me like from a surface, so maybe also like from a carpet or a piece of fabric. And then I had this image occur about, it was like an area or a piece of cloth or carpet. And how, so to speak, on one end is the appearance, the perception, and on the other is how the associated mind? and how on the one end there is the perception of the appearance and on the other end the respect of mind.

[53:52]

And it was like moving back and forth between them. So I could find different localizations in this tissue, more in the phenomenon or more in... And I could locate myself in different spots on that tapestry, as if I could move more closely towards the phenomenon, or move myself further back into more of the feeling of mind. And that was quite blissful. And then there was a second image. [...] and the image was like the two threads I know they're called... The warp of the wolf.

[55:01]

Yeah. And the loose, like the loose linen tapestry. And that too was like... mind, but I also experienced the space in between those lights. It felt more bright or something, and I was joyful like a child about discovering. If I speak, or if we think a little bit, let's say if I speak in metaphors, analogies, and not in discursive concepts,

[56:09]

As I said earlier, there's more information in the metaphor than in a statement about the metaphor. But the metaphor is more likely to be carried into other areas of the mind, like dreaming. Like in your case. Because the metaphor has so many blossoms possible in it, it can be examined like you're doing. And because the metaphor has so many possible blossoms in it, it can be examined like you're doing. Yeah, thanks. What else? Yes.

[57:11]

I'm different, but also belongs here for me. And one thing that moved me throughout the past months was the Asman Roshi who had a stroke and is paralyzed on the right side. and his wife wrote a blog in relationship to the sound of the one hand. and she describes how this hand which is now so useless is between the two of them and they are shared and like a koan to be resolved.

[58:34]

And that really startled me. Also, wie unmittelbar plötzlich so ein Schiff in dem Leben entsteht, was doch so einen Zug hat zu den ganzen Gängenfahrten. how suddenly there can be such a shift in one's life and yet it's related into all of their Zen experience. I never would have related the koan to such an event. Yes, that's perfect. Thank you. And some of you haven't said anything yet. It would please me if you spoke. I want to feel I'm talking to someone. Yes. In my attempt to practice with the Vishnayas, I have noticed that it is difficult for me to separate the individual senses.

[59:58]

I noticed how difficult it was for me to separate the different sense fields. And I must say that for the longest time I've just sort of, you know, let it drag. Because it was just so nice to let it happen the other way. I started with seeing. And with seeing quickly, that got related to sermons. Through phenomena and seeing, there was quickly a sense of stillness arising.

[61:20]

And that stillness which then also turned into the field of hearing. So that the distinction between seeing and hearing somehow also dissipated. was flowing into one another. And then sometimes I tried to just take those two apart. But they keep melting back into one another. And that was simultaneously the discovery that mind uninterruptedly comes together with another one.

[62:35]

I met Christine and we kept chewing my vaginas over. Christina said that, well, each of these personalities actually looked at it separately. You said that. Yes. Yes. And that encouraged me so much that I really disciplined myself and tried to do it. Yeah, manchmal ist es auch gut. Und was ich dann noch, also es waren verschiedenste, es waren Entdeckungen, aber eines war zum Beispiel, dass das Riechen

[64:00]

One discovery was that smelling, because it's related to the breath, it creates a lot of space in the feeling of mind. I think it's useful to take a path up through the woods here or someplace where you take a walk occasionally. And take the walk five times. Or 15. Or 15 times. Then you try to walk it just seeing, and you don't hear, etc. And then you try to walk it when you're not listening, your eyes sort of closed, I mean, don't hope it doesn't cross the street or something.

[65:09]

And you try to walk the path with smelling the path, which is easier to do in the autumn when the leaves are crushed. But even if you can't do it and you have to look sometimes, that's interesting too. Anyway, try to take the walk with using as much as possible only one of the senses. And that actually helps you get a feeling of the boundaries. I am experimenting with seeing recently. and the distinction between focused and non-focused seeing.

[66:16]

When I'm experiencing, when I'm consciously not doing non-focused seeing, like as if I'm in front of a wall and the light is coming, I'm experiencing an uprightness of the spine. I expect a little relaxation. I experience something that my physiotherapist does not mean relaxation, but the gravity against resistance, as resistance against the gravity. Because I would expect to experience relaxation, but actually what I can experience and perceive, what my physiotherapist calls, to resist the gravity, a force counteracting gravity.

[67:31]

When I'm looking with conscious focus, then it is as if I'm distracted from the object, and therefore... Distracted by the object or from? No, by the object. By the object. Identified. Maybe identified, and then I feel as if I'm collapsed. To focus without identification and with a sense of uprightness. That's great, yeah. I want you to translate. In order to locate myself, I always need metaphors and so forth.

[69:03]

And today, the metaphor that was helpful for me was with the five fingers, the hand and the five senses. And that sort of connected the other metaphors of previous days for me. On the one hand, this hand represents the dream of seeing. On the one hand, the hand epitomizes the separateness of the five senses. And the in-between spaces become quite meaningful, and also the round space. And in the breaks, I always go into the forest. And recently I bought new ears because I don't hear so well. And suddenly, with a real sense of bliss, I suddenly heard the birds in their beauty and I heard them sing.

[70:24]

and I became aware how limited my perceptual capacities are, just by not being able to hear properly. And I immediately got a reminder. We had a concert with a young man, where my favorite symphony, Mozart, was played, which I heard very differently. I had a very positive feeling about it. And just one month ago we went into the concert hall where they played my favorite symphony by Mozart. And I had this experience of hearing it so differently from how I felt it before, that although I feel that I'm quite familiar with it. Und wenn ich diese Erfahrung mit dir erlebe, And the picture of the web chair, the picture of my life, I think of a new web, or that I can combine the ingredients of my life in a new way, then it comes to my mind that there is not much for me.

[71:58]

And if I take this experience into this image of the loom and this feeling that I keep weaving my life anew on the loom, then that really triggers a lot of richness and thoughts for me. But then I also have the question whether the images that I've woven in the past that I will weave in the future. do they change or do they not change? And is there anything like a meta-image that represents or a meta-image of my life?

[73:06]

And the question that I would like to ask myself when I will be pregnant the next time is, should I be happy to achieve this meta-image? And the question I will be pregnant with for the next time is should I be looking forward to this upcoming meta-imaging of my life or should I be more I don't know, maybe anxious. Anxious that the image is something that is fixed. Just be open. I know you will. Yes. And what I'm wondering about, it's not so clear to me what this noon is.

[74:31]

I feel like I am believing in my body and the senses. But then I also feel as if I am the woven texture. So as if I'm both simultaneously. And that's quite wonderful. But also quite confusing. A lot of responsibility. And it's quite simple. I feel like there are so many diverging aspects that come together.

[75:53]

One other thing I would like to mention, which occurred when you spoke about the paralyzed hand, 19 years ago when I was at Johanneshof pregnant with my daughter and we were at a seminar weekend or something. On the one hand I appreciated it very much and also I suffered a lot while sitting. And then I left with the decision that this can't be right for me.

[77:11]

To suffer so much and to have so much pain. Oh my God. And then we met again later. And then I had a terrible accident. And I am still noticing how much that touches me and for me I call that my whole body zazen. Because you can't leave it, you somehow have to go through.

[78:18]

And that was interesting. I just felt like, well, maybe this here is something for me after all. Some world and history. Well, I'm very glad I keep seeing you. I remember, Andy, after your accident, I was so worried about you. But you recovered quite well. Yes? About weaving your own... Your [...] own... One time when I was Outside position?

[79:36]

I was in the Zen center, but I was responsible for taking care of the cooking for the country. And on the fifth day of the seven days there is this loud mooing. And on the fifth day of the seven days there is this love ruling. In the evening at the end of the last round when it's already dark. in order to raise the energy and to enhance the field. The koan mu is invoked. And I was outside.

[80:38]

And I wasn't prepared for the attack. And all of a sudden it started. And then suddenly it started. And it was like, everywhere. And I was in this field, which was in diesem Feld, was sich so übereinander gebliebt hat, von all diesen Menschen, And I was in this field that was overlapping, woven, made by all these people. The Ascension beings, it was just... And at the same time, it was just mind. And then it became part of my carpets.

[81:47]

Or it was my tapestry. And in a different way, I feel similarly here, although we don't move here. It's the same here, yeah? as the same with this field. And I just wanted to express how grateful I am for that. For this field that is woven into my tapestry, into my weaving.

[82:48]

You're welcome. Yes. I would like to continue with my gratitude and share that. I'm grateful that we keep looking at a topic like the sciences through the years over and over again. Because it seems the experience is possible to make within that seems unrelated to me. And in the last year I've concentrated more on fluid movements again, in contrast to only still sitting.

[84:07]

And a phrase by Friedrich Nietzsche has accompanied me. And the phrase is, the middle is everywhere, the center is everywhere. And when I sit still, when I always have this feeling, this image of the focus being at the center of my body, and when I shift into those fluid movements and then add the phrase, the center is everywhere, then that's a whole different thing.

[85:08]

And I wonder if that's comparable to different views that we can take. Of course. One thing to add. With the moon, what you were saying, it was just sound for the vision. I had last night, I had in my resistance. around the topic of the third noble insight or enlightenmentness of the Buddha.

[86:22]

Which is that you or Buddha, you claimed that things were perceived the way that they are, recognized the way that they are. But what this no resistance is telling me is that life or things are always larger than anyone can perceive or grasp or apprehend. And that fits finally into this topic that was discussed yesterday with the horizontal and the vertical dimension. And then there are these examples in the scene of a bunch of people, but even a lot of people can have, on the horizontal dimension, traumatic or unresolved issues.

[88:00]

And my feeling about that is that there must be something that's still above Zen and psychotherapy or practice and traumatic experience. If you could say anything about that, I'd like to hear. Can you encapsulate what you said a little bit with more focus? What particularly do you want me to respond to? To take the image of the weaving. In my daily life I have the feeling that there is practice and that's one of the threads among many others.

[89:23]

What practice? You mean Buddhist practice or Zen practice or something? And I'm asking here and yesterday, what can happen here other than that another small thread is joined into my tapestry, into my carpet? And that's the way I'd phrase the question, can happen, is there more that can happen here or not? Here being here in general, you're here different or similar? Similar. Well, I don't know.

[90:41]

It's up to you. But I think we can add some threads. That's what I hope. I'm always adding threads. I'm talking to you and I start adding threads in my own practice. But more important, I think, is how you view the loom and the medium itself. And, yeah, that's what I would say. Gerhard? Especially through today's retort on perception that connects to something that I've been working with for the last year or so. It has a lot to do with nature and birds.

[91:57]

I hear the birds singing differently than I used to. And I try to feel out what kind of being is sitting there. Sometimes I dance to it. Are you all alone? Walking down the street again? And then you can blame me. And through that I get in touch with different qualities of myself.

[93:13]

And I get in touch with myself as a young person and my love for it led me to study in biology. And sometimes I can feel that again, that tender, gentle love for that one bird that's singing there, and sometimes it sings for me. And what has been reawakened? I have three questions. One, what do I learn about myself? And the second question is, what can I learn about the different worlds?

[94:39]

But my impression is, and that's also a question, that in Buddhism you tend more to ask the question, what do I learn about myself? And that question, what do I learn about the specific burden, that's really not a question. Well, my daughter is finding herself completely interested in math these days. My 15-year-old daughter. And she keeps getting the math person to give her math problems that aren't part of the curriculum. And I asked, why do you do this?

[96:07]

Basically, I asked that question. And she said, well, it's such a great satisfaction to solve a problem. But she did say, just as an aside, that she's beginning to be interested in the humanities, but there are problems you can't solve. Problems you can't solve aren't so interesting yet. But again, in our emailed conversation, she said, really, she likes how she discovers her mind in the process of solving a math problem. And I think you can make the same discovery wondering about the bird.

[97:23]

Yes? Yes. My question relates to what you said yesterday when you talked about a Buddha sitting down for 49 days, that he raised energy or somehow was involved with energy. He sensed and developed his energy, something. And does that have something to do with when we are involved with our senses, does that mean we are raising our energy? That's my question. In this kind of way, thinking a body like a dead body is not a body.

[98:41]

It wouldn't be called a body, it's just stuff. But the jnanas are considered what makes the stuff into a body. So if you think of it that way, all of what makes stuff into a body is energy. And that energy takes the form of the senses, intentions. So that's why in all the Buddhist lists you usually find one of the things is something like energy. We don't know how to translate it in English because we don't have such an overall concept.

[99:58]

Okay, Christine. What arose from me yesterday and today over and over again is the term uncorrected mind. And I got to know that from you as basic laser instruction. And what was added for me is that the body got involved now, and now I would call it an uncorrected body-mind.

[101:05]

And although I call it an uncorrected body-mind, it is a way in which the mind is shaped. And because the body mind is shaped in that way, That is the kind of genius field in which the weaving can happen and which allows that the sensory perceptions can just occur and just be noticed. And during breakfast I was wondering how can we practice to pay it up without having the self be defined constantly because that just slips and so is that.

[102:27]

and just letting the self happen in a particular way. And I'm noticing that that's a bit of a dangerous territory because I'm also afraid to just let the self happen. But uncorrected body-mind, that feels good. Okay, well, to respond to that, I have to peel away quite a few layers. And so maybe I can speak to that after the break. By the way, I think we ought to maybe make the lunch at 12.30 instead of 1, because if we have from 10 to 12.30, that's two and a half hours. And then if we have a half hour break at least two one hour sessions

[103:57]

Which is pretty long for our legs. But still, that's manageable. But an hour and a half session for our legs is rather difficult. Tomorrow we can have lunch at 12.30. Okay.

[104:26]

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