For me, to speak about inner world and outer world. That would be a territory I would like to hear. For me, the topic, no non-intentionality. And non-doing. And non-doing, yeah. And for me, non-intentionality and doing. Okay. So doing and non-intentionality and non-intentionality, okay. I got it straight. Yes? Ich würde mir wünschen, I would be happy if you could speak about how can I create a momentum in my life so that each moment becomes an expression of my inmost request.

[01:05]

Well, it's optimistic of you to think I can answer such a question. Well, okay, all right, all right, I'll do it. What else? Anything else? And I would like to say again that there is always the question of ethics here in the West. So in the West, there's always the question of ethics. And Buddhism is oftentimes charged with having no ethics, no ethical basic attitude. But my feeling is that it has the most ethical attitude that's possible.

[02:21]

Okay, I agree. This is the same, you know, version of the same thing. Well, why don't I talk about that now? Why wait? Okay, someone else? Yes? Oh, she didn't, can you wait a minute? She has to say it in Deutsch. To meet... There are so many signs in German. To meet in the non-knowing knowledge. Or knowing, this knowing. How do you translate that? It always depends on the non-knowing, in this case non-knowing. Okay, yes. Yesterday we spoke about zazen being a vacation from one's personal narrative.

[03:33]

And what would interest me is whether also a vacation of any concepts, whether that's conceivable or... A vacation from concepts? Yes. A vacation from all concepts, whether that's conceivable and practicable. Well, it's definitely conceivable, but the very conceivable ability of it denies... But something close to that is practicable, yes. Or allowable. And we also have the question, is what we mean by not knowing or a kind of actually allowing, allowing things to happen and not motivated through knowing.

[04:57]

Now my feeling at this point is I've said and we've discussed together about as much as if possible, to absorb and practice in hearing it in these two days. My feeling is that in these two days we have talked so much about how it can be absorbed and practiced in such a time span. So when I start feeling that, I really don't want to say much more because I just want to overload the situation. But I can say a little bit about the ongoing event stream. And we can ask then, what are the sources of the events, the units, the content of the stream?

[06:22]

if the content is arising from associations and karma, then your attentional stream is quite obstructed or conflicted often. But if your attentional stream is rooted in immediacy, then things arise in a more kind of orderly way. then things are kind of like... A friend of mine used to use the word units a lot, Eric Martin.

[07:45]

I love the way he used it for almost everything, like prego. It covers everything. But now I've come to think maybe it's a good word to use. I used to resist it. So, the more the units of appearance are arising within awareness and arising from immediacy. You have a much more orderly

[08:54]

kind of stream of mind and body. Hast du einen viel geordneteren und vielleicht so entspannteren oder wohligeren Strom des Geistes und Körpers. And the vanishing point is emptiness or awareness. Und der Fluchtpunkt ist Leerheit oder Gewahrsein. So things tend to almost disappear into this stream of, more relaxed stream of moment after moment. But when these events or units of your stream of continuity are karmically or regressively or traumatically arising, your stream of awareness gets very complicated and anxious.

[10:25]

And when it simply just arises from one thing, leads to another and so forth, that's also rather problematic. But the more you can allow discover the arising of the content of your stream of continuity from immediacy itself. You have a much calmer state of mind. And yet you can also then think carefully about a topic you want to think carefully about. constructively, carefully, and not have all these associations taking you in all directions.

[11:47]

And all I'm pointing out here is the conscious stream of mind itself, stream of mind itself in consciousness. Is calmer and more easeful when it's rooted in the means. And then you can feel, get used to the shift when you shift to associations leading this way and that way or anxieties leading this or that way.

[12:49]

And then you can shift back. And you can simply shift back by using, as I said, the body points. And you keep getting complicated, shift back, very simple, to your feet, hands. This is a kind of common sense, perhaps focused common sense. Now, I also, and I would have probably, if we had another day, speak about how the skandhas, the five skandhas, are a way of bringing awareness into the narrative stream.

[14:01]

To differentiate your experience in terms of consciousness, associative mind, percept, non-graspable feeling in pure form. Deine Erfahrungen zu differenzieren hinsichtlich des Bewusstseins, des assoziativen Geistes, der reinen Wahrnehmung, des nicht greifbaren Gefühls oder Empfindens und reiner Form. That developing a sense of those specificities begins to clear up your attentional stream. Ein Gefühl für diese... This is a little bit of extrapolation and review at the same time.

[15:05]

Okay, now let's speak about bringing attention to the breath. And that's the most obvious way to develop a continuity within the breath and a continuity within the attentional stream. Das ist die offensichtlichste Art und Weise, eine Kontinuität im Atem und eine Kontinuität im Aufmerksamkeitsstrom zu entwickeln. And to bring the attentional stream into a more bodily experience. Und diesen Aufmerksamkeitsstrom in eine körperlichere Erfahrung hineinzubringen. Yeah. So that... And when I'm... This is anapani sakti practice.

[16:10]

Das ist anapanasati praxis. Which is engaged, is mindfulness engaged with breath. That's what sati anapana means. Und zwar achtsamkeit, die sich in den Atem hinein lässt. Das ist das, was anapanasati bedeutet. And that happens through how you notice your breath. Und das geschieht durch die Art und Weise, wie du deinen Atem bemerkst. So you notice the sequence of breath. So dass du die Abfolge des Atems bemerkst. And very simply, you notice whether a breath is long or short. Und ganz einfach, dass du bemerkst, wann ein Atemzug lang oder kurz ist. I remember when I first read that, I thought, geez, how dumb. They're curious whether a breath is long or short. I was looking for a smart practice. But if you do notice each breath is either long or short, it's a way of, through the particularity of the breath, engaging attention with the breath.

[17:14]

And then you notice that there's a point at which the breath turns, an upper point, and a lower point where the breath turns. And then you can notice that, oh, you can pause at the upper point or pause at the lower point. And a little samadhi can occur at either end. And do you know why we say Gesundheit, at least in English, when somebody sneezes?

[18:34]

Because it's thought that your soul comes out for a minute and is in danger, so you say good health or something. Yes, you need a little protection. And in Japan, I forget what they call, they use a word for it, but a sneeze is a little death because your heart supposedly skips a beat when you sneeze. And in Japan there is a word for it, there is a sneezing as a small death understood, because supposedly the heart makes a sound when it sneezes. So whether it's exactly true, I don't know, physiologically always true, but that's the view in both East Asian and Western culture, that there's some kind of little death involved with a sneeze. And there can be a feeling, something like that, when you pause at the top of the breath or pause at the lower end of the breath.

[19:44]

So even bringing attention so simply to the breath, which is always going on, can be transformative. So you can notice the breath long or short. You can notice the sequence of the breath. You can notice the upper end of the breath and the lower end of the breath. You can notice the movement of the air and the body itself in breathing. Again, you're sort of training attention to stick with the breath. And you're training the breath to be the vehicle for attention.

[20:59]

And you can begin to use the breath as a kind of mind light, flashlight, mind light to explore the body. Now this is a teaching, but it's not a special teaching exactly. It's just making use of what you are all the time. Waking, sleeping, breathing. And the movement of the breath can now be also visualized. And the most basic visualization is you feel that the breath is coming out in a circle, sort of, yes, outside your body.

[22:13]

But it's coming into the body from your hara, from your lower stomach. Of course it's not. It's still coming into the mouth and nose and the skin. But releasing the diaphragm makes that feel like it's happening that way. So you're adding a physiological experience of a kind of circle to the feeling of the breath. Yeah, so the breath feels like it's coming up and going out. And one advantage of doing it this way is you lessen sort of chest breathing and make it more abdominal breathing.

[23:46]

Or diaphragm breathing. Okay, now the more you do that, you are developing this kind of circle. And this circle can be slowed down or increased. Or nearly stopped. And the circle begins to have a physiological presence in the body. And happens the way you begin to feel a breath feeling, a subtle breath feeling light coming up the spine. Now, all that occurs through just bringing attention simply to the actual fact and articulations of the breath.

[24:50]

All das passiert durch die einfache Tatsache, dass man die Aufmerksamkeit zu der einfachen Präsenz und den Artikulationen des Atems bringt. And then you can begin to feel how the pace of the breath that you're participating in, you are allowing to happen, you're just... Breathing is breathing itself but you're still participating. Now, breathing is always just breathing itself. But it's often constricted. You're kind of holding old, dirty air in your chest. And when you have a feeling of breathing is breathing itself, it's a kind of release.

[26:06]

And you can begin to feel your own pace. And it begins because right now I'm speaking with the tongue and the lips, but also with the breath. And even if I'm not speaking aloud, there's an inner speaking, inner chatter with myself that's related to the breath. So if I begin to feel the stream of the breath as a kind of metabolic organ, integrated pace, the interior speaking chatter tends to lessen. And it begins to integrate and simplify or clarify our attentional stream.

[27:40]

And then you can begin discovering your own fundamental metabolic pace as it relates through breathing to thinking to walking, etc., And strangely, on the one hand, it makes you feel you really are where you are as a physical location. But your physical location in the world kind of disappears. It could be anywhere. Which way should I go? I don't know. I'm just happily here. So at each moment, what you do feels like a little surprise, even to yourself and to others. And from that moment by moment surprise, you can also feel the pace of the world.

[29:05]

Because the 10,000 things all have an individual and shared pace. Weil die 10.000 Dinge sowohl eine eigene, individuelle, als auch ein gemeinsames Schritttempo haben. And that you begin to feel yourself integrated with the, as the phenomenal world. Und du fängst an, dich als integriert mit der Welt der Phänomene wahrzunehmen. And you begin to have a more compassionate, integrated narrative stream. And then you tend to have a more empathetic, more integrated, more narrative stream. Okay. That's my advice for now. These are my suggestions. So, yes, Gideon?

[30:09]

I am very happy, because I always have the question with me, because the point of view I'm quite happy because I've always had this question of when locating locating in bodily immediacy I always thought, okay, what about the hair? When you said about all these different body points, I've always thought, what about the horror? So now I'm happy because it's also there. Okay. I'm glad I didn't leave it out. Okay. All right. So why don't we sit for a few moments? Because I like the sound of the bell. I like the sound of the bell. We're all breathing.

[32:23]

We're all breathing along our spines. We're all part of it. and to various degrees sensing a mutual space, field we're making right now. It's not a knowing we can grasp, but it's a knowing we can feel. Es ist kein Wissen, das wir begreifen können, aber es ist ein Wissen, das wir spüren können. Und es ist ein Wissen, das wir aufrechterhalten können als unserem Aufmerksamkeitsstrom.

[33:35]

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