Yeah, I'd like to finish my riff on this koan. Really more about using metaphors and extending how we know. Yeah, because what I'm trying to do is introduce you to what has been introduced to me. as a way of entering into our world and our lived life, that happens incrementally and we can do incrementally. So I'm trying to give us examples of how we can enter feeling the world, which often requires actively not thinking the world.

[01:22]

Which means also not feeling the world and then confirming it in thinking, or letting it just stay and feel it. So in this koan, the Saushan, this is the main case. Saushan is the source of the so in Soto. And To, To is the source, is sourced in Tozan, Dongshan or Tozan.

[02:38]

So in Chinese it's the Sao Dong school, in Japanese it's the So To school. Auf Chinesisch heißt das die Sao Dung Schule und Japanisch Soto Schule. And even though Dung Shan was Sao Shan's teacher, To Sao doesn't sound so good, but Soto sounds better, so his name comes first. So this is, you know, at the center of our particular lineage. So Saushan says to somebody called Elder De, D-E, stands for Germany, Saushan said to this old German guy, the Buddha's true reality body

[03:59]

Now we know that true reality, we know from what I said earlier, that true, there's, it's not a good word. And reality, there's no reality. Maybe there's actuality. So that we can say something, let's say the Buddha's actuality body is like space. That's a metaphor. Hmm. What does it mean to say the Buddha's actuality body, activity body, is like space? Well, activity creates space. Activity needs space to be active. So you can start exploring this in your own feeling, not just read it with your mind, but start feeling.

[05:42]

Yeah, is my body like, is my body like space? And you may have to stand in the middle of this koan and feel it as your own experience. So then if you say, yeah, my activity body, well, my activity body includes the exhale and the inhale. And the exhale and inhale are separated by an interval. And an interval is like in music, a kind of space. So, and In every sense, activity requires space as well as simply breathing and bringing attention to breathing.

[07:03]

Yeah, whatever. So that So that you want to just not take it as an idea that the Buddha's actuality body is like space, but is my body like space? When you start exploring your own body as space, And maybe it's not owned anymore. It's owned by space or owned by circumstances. So my body right now is holding a book with the right hand and left hand.

[08:04]

And I can feel the spine as being part of the posture holding the book. And the spine and the book are all space. So anyway, to go on with the statement. The Buddha's actuality body is like space. So now you explore that. We've talked about exploring that for a while. And the next thing it says, it manifests form in response. Manifests form in response to beings. So beings, what does it mean by beings?

[09:30]

Well, as I said earlier, beings is one of the words for being in Sanskrit is bhava. I sometimes say to myself, bhava being, so I have the feeling of both. So being isn't our or Heidegger's idea of being here. Being is something like perceptible realm. A realm where percept happens. Where perception happens. So the Buddha's actuality body is like space. Der Tatsächlichkeitskörper des Buddha ist wie Raum.

[10:36]

Manifestiert Form, nimmt Form an. In response to perceptible realms. Als Antwort oder als Reaktion auf wahrnehmbare Bereiche. It's on both sides of the click, thank you, that we discover beingness. And then Saushan said, it's like the moon in the water. Is it like the moon in the water? The moon. Well, the moon, we don't see the other side of the moon. We only see half the moon.

[11:38]

And half the moon keeps changing every night. But you see the changing moon reflected in a pond or a well. And then you have to, it's helpful to put yourself back into those times. There was no indoor plumbing. There were no flush toilets. There was no faucet you turned and water came out. So saying it's like the moon in the water is not like saying it's an idea. In this case, earlier it says it's like an ass donkey looking in a well. So written in this historically is the feeling of when you wanted water that you could use.

[12:53]

Now this is water that you can use, not water just sitting in a... You know, a river, a lake, but that you dip your bucket down into and pull up, and when you look down into it at night to get some water before you go to bed, there's the moon. Historically, it also says here that if you wanted to have water in the past, you could use it, not just... But why doesn't it say like a person looking in the well? Why does it say a donkey or an ass looking in the well? It just exists there for every form of being. Das steht da einfach für jede Form des Seins.

[14:06]

And then Zhaoshan says, how do you explain the principle of response? Und dann fragt Zhaoshan, wie erklärst du das Prinzip der Reaktion, das Prinzip des Antwortens auf? What is this response of response? This body is like space, but it manifests, it responds to form, it responds to perception. So to proceed with a koan like this, you kind of really have to metaphorically imagine, And in historical context, imagine the whole thing. And maybe I should say actively imagine. Because, for instance, right now, if each of us sit here in some kind of whatever posture you're in,

[15:10]

And imagine, you know, we're talking about the actuality bodies like space. Let's imagine, maybe with your eyes closed, that somehow we're like space. Maybe kind of feel space inside you. Space just isn't outside you. See if you can get a feel. If your body is like space, it must feel like space from the inside. So this koan is asking you to evolve the imaginal body, which is like space. The posture of Zazen. So it assumes that the rest of the koan will be read, studied, observed from the imaginal body, which is like space.

[16:52]

So first of all, we have to discover the imaginal body, which is like space. And maybe we can feel space somehow inside us. And maybe even feel the starting point of space is inside us. And maybe you can feel that the space can start up the spine. And maybe you can feel almost like you were blowing up, pumping up a balloon. You can fill the body with space.

[18:16]

You can fill it out with space, out to the tips of the fingers. You can imagine the body is everywhere filled with space. Yeah, and then you can imagine the space around you as well as arising from within you. And then you can feel the space incorporating, incorporating means to embody, or include the person next to you.

[19:21]

So in my case, I can feel on the right side, and you know, this is like the kanji, there's a right, left, and up, and I can feel on the right side, Nicole translating or just sitting there there's a kind of warmth right now I recognize there's a field of warmth between us In the Zendo, when I do the morning Jundo going around the room, And when I bow to someone, I can feel the warmth of their forehead and body lean toward me when I bow to them.

[20:34]

And I can feel the bump of a kind of warmth and smell of each person as I go by. And I'm not walking in a mental space or speed. I walk at the space, at the pace at which I can feel the warmth and fragrance of each person. And sometimes depending on the person I stop for a moment in the field of their warmth and fragrance. Because the fragrance warmth bump of each person is different, so I sometimes acknowledge the difference.

[21:54]

And now I feel the kind of space that Mikael is to my left. And Gerhard is also to my left, but more toward the center. And can I feel their warmth? Well, not exactly, but I certainly feel something different in Michael's area and from what I feel in Gerhard's area. So I'm beginning to articulate the body that feels like space. And then I can imagine the space incorporating all of you individually and all at once too.

[23:10]

And it's almost like I'm feeling I'm sitting on the bottom of a swimming pool. And as if I move my head back and forth in the water, the entire swimming pool is affected by my moving my head back and forth. Now the koan doesn't say anything about sitting in a swimming pool and moving your head back and forth. But it says extend your knowing through metaphors. Aber dort steht weiter deine Erkenntnis aus, indem du Metaphern benutzt.

[24:34]

And the metaphors, when you extend, that's how Einstein discovered things, when you feel the metaphor, it extends into further metaphors. Und so erforsche ich das. Wenn ich die Metapher ausweite, dann folgen neue Metaphern. Now, this body I've now established, this spatial body I've now established by starting with spaces, starting from within me, requires a certain gentleness, I can't rush it or think it exactly. So now I have to breathe and sense and spine the imaginal body in a way that the imaginal body as space stays present with me.

[25:48]

Now, as I get the skill, the attentional skill to stay with this imaginal body, which is now like space, And responds in a perceivable realm, a realm of perceptible realm that's now based on this space body and not my usual physical thought body. Yeah, so now I can explore the rest of the koan from this now imaginably realized spatial body. Now, Alfred Korzybski said in, I think, 1931, the map is not the territory.

[27:11]

He credits a mathematician named Bell with saying something similar when he said, the map is not what is mapped. But then we have Marshall McLuhan, the philosopher, sociologist, who said the medium is the message. Now that is to say the map is the message. Now the map has become the message in contemporary cell phones, televisions and so forth. And then we have...

[28:29]

Now we have the imaginal body that we realize and evolve through the koan becomes the territory, the medium through which we explore the koan. Okay, so now we can... go back to normal. But you didn't close your eyes. You think I wasn't watching. I forgive you. I don't think most of us realize what's really going on in koans and that this kind of reading is expected.

[29:49]

We read it thinking it's meant for us. Everything in our culture is meant for the thinking mind. In this yoga culture, the koan is meant to be explored through the imaginal feeling body. And through the imaginal feeling body, the koans unfold. And no longer, as Westerners always say, there's a kind of riddle.

[30:56]

Yeah, there's a kind of riddle if you don't know how to read that. Okay, that's the end of my little riff about this koan. The first paragraph. So does anybody want to say something pertinent or impertinent? I hope you're impertinent. You've been waiting since yesterday to say something. All right. Sometimes when I go for a walk. And I see a cat walking at a farm. And then I stand still and see, watch how the cat reacts to me.

[32:11]

And through looking in the eyes of the cat, I have some feeling, some experience. And Richard told me that you once said that when you see a cat, then you see your cat mind. Oh, yes. And what happens for me is that when I feel the body of the cat, then I feel as if that's my body or as if it's a shared body, and maybe something like a catsonym, that this activates a catsonym in me, or something like that.

[33:15]

The catness in you. The catness in me. Okay. But it really is a physical experience. I have a feeling as if my spine is horizontal. And although I don't, and I feel the muscle tension of the cat, and the muscle tone, and even though I can't predict what the cat is going to do next, I do sense the cat. And now that you went through this koan, which I've read before but have never read like this before...

[34:16]

It became clear to me that in looking at the well with the moon, I felt, I saw, I see my being as a moon-reflecting being. und ich habe eine Empfindung entwickelt, so wie ich das mit der Katze entwickle, für dieses gespielte Rundblick und ich hatte das Gefühl, dass dieser Brummen etwas zeigt, das ich auch wieder verbergen kann, wenn ich einen Deckel and I developed a similar feeling with the reflected moon that I have with the cat and I had a feeling I have developed a sensation that the reflected moon I could also if I was to put a lid on the well it could be shielded or something and then what am I

[35:46]

Good question. I think it's Hongji, the wonderful, seemingly simple Zen master, Hongji. Yeah, I said something like, face the border of thinking. And that would be like something could relate to what Hans-Jörg said yesterday, this click to face the border of thinking. So now when you say, if I put a cover on the well, who am I? That question allows you to face the border of thinking. And now with saying that, my job is over.

[36:53]

Someone else, yes. Yes. You've just led us into a feeling realm that I'm familiar with in my daily life. Katharina and I spoke during the break. And we spoke about how in our jobs we deal with difficult situations and she's a gynecologist and I also have to deal with patients.

[37:53]

And we both each in our own ways, but we've developed ways of how we find entry or access to a client or engage with a client through feeling. And what you just did in the last 10 minutes felt very similar to that. And what I am struck by is that oftentimes a very just brief time is enough to be in contact with a person like this. in order to get a very different image or insight into what's actually going on with the person. And oftentimes that also leads to reactions or behaviors being initiated from that contact that I can't rationally explain.

[39:40]

Und zum praktischen Vorgang von dem möchte ich ergänzen, dass das nichts Auffälliges ist für den Patienten. And just about the practical procedure of what that's like, I would like to add that for the patient, this is not something that they... Obvious? Huh? Obvious? Ja, obvious, or auffällig, auch im Sinne von nothing that they find fun. Nothing, it's not obvious. Ja, ich für mich gehe einfach hin, frage den, wo es weh tut und so weiter, und lasse mir etwas erzählen. I go to the person and ask them where they have their pain and let them tell me something. But really I'm using the time to sense into them and somehow something palpable comes out of that. That can take two or three minutes, including the conversation.

[40:50]

It doesn't have to be longer. It can be as fast as an email gets from one computer to the next. It only takes a real connection for a moment. And that brings me to something I took with me on Friday and I have no comment on yet. And that leads me to something I've taken out of Friday's session and where I have a commentary about. We spoke about how difficult it is in our daily life to bring attention to breathing. And lastly, is that in the end also exactly the way you just described to us? But basically it's in the end the very same path that you've now demonstrated to us. And maybe just for the sake of those who are maybe a little desperate because they keep trying and find it so difficult to stay with breathing for a longer period of time.

[41:55]

It is sufficient just to think of it often times and immediately the inner posture and the inner sensations or feeling changes. The problem that occurs is not so much to engage with this feeling realm, but just to remind oneself of it. And for that, it is necessary, like you said, to find an object in the world, like to give yourself a signal, for instance, when you cross the threshold of the door.

[43:11]

Okay. Katerina? Oh, nothing to add? Okay. Hans-Jörg? You know, there's so many doctors here. What's going on? You're a doctor. [...] Anybody else a doctor here? Therapist. Oh, you're a doctor. Yeah, that's right. I remember. I thought you were. That's a higher demographic percentage than would be in the United States. So I often study the demographics of our sangha and wonder why in one country there's something, you know, that go ahead and do it. No, and that didn't need to be translated. It was just inner music. All these days that we've been here, I have this association that's always in the background. And since the way you just presented the koan, you said it explicitly, and so I would like to relate to it.

[44:32]

And the association here is to be blind or not blind for causation. the topics you mentioned, immediacy, space, and today, metaphors. Indy, I have the feeling that for me, to talk about it, to bring it to life, has something to do with the understanding of the cause that comes from you, or the company. For me, in order to actually feel these and to experience them, I feel like it has something to do with an understanding of cause and effect.

[45:55]

And I can't explain rationally why I feel this, but it's more a A mood or a... Associative mood. Associative mood. Okay, thank you for your association. Are you competing, the two of you? No. Ushi? Ushi? If there is no truth, then actually there also shouldn't be war. That's true. And if we didn't use truth, supposed truth, as an excuse for making war, we might not be wars.

[47:10]

Wenn wir eine angebliche Wahrheit nicht als Vorwand nehmen würden, um Krieg zu führen, dann gäbe es vielleicht auch keinen Krieg. I would like to add something to Gerhard Ensen. In order to find this contact and hold it, it is necessary to share it with the body. To me, as a secret weapon, as the most important individual practice over the years, I wanted to add to what Gerhard said about the contact with feeling and breath that... Is that my secret weapon over the years has been... Remember, no war. Think about it, no war.

[48:13]

Secret weapons, okay. I need body anchor points. is that it takes bodily anchors. And my bodily anchor is I use the tongue resting on the roof of the mouth. One can always do it, except one speaks or eats. It works during sleeping. Yeah, good, I like it. And in the background, there's always this reminder that the body feels itself and reminds itself of itself.

[49:15]

Yeah, the tongue actually completes a channel at the top of the mouth and inhibits saliva, and inhibiting saliva changes your thinking. Rosa? I also wanted to add something to what Gerhard said in referring to Friday and also I see on my cushion it says Klang und Stille which is sound and silence and And it's always been a concern of mine how I would deal with disquietude and being concerned and so forth.

[50:36]

I've always wanted to accept it. And I think it is especially important that we continue with what Roger said, that we have to accept that we have to accept that we have to accept that we have to. And for me, one thing you said on Friday was especially important, which is that a contact with stillness oftentimes precedes the capacity to accept something, so that acceptance really is based on first finding stillness. Mm-hmm. And how you said about how the tree is simultaneously activity and also stillness, just like the image of the wave and the water. I don't know if it's important that there is a sequence, there is movement and there is silence, but there is always movement.

[51:51]

And movement can also be a source of concern, so to speak, so that Farid can find a point of silence. And so the shift for me that was important was to recognize that there is not a succession of activity and then stillness, but that in the activity, I can find a point of stillness. activity can be my own sense of being disquiet or being concerned or something like that, but that in that I can find a point of stillness and I can also practice this with a tree or something. I agree. I do it all the time. So and then... Yeah. Yeah.

[52:54]

And so then the stress, or I can just apply this to so many things, the stress or the disquietude can remain. It's not I don't have to kill it, but it just can remain and both can be there simultaneously. Yeah. And it's interesting to me, I mean, I often root myself in the stillness of a tree. But when you feel that stillness of the tree awakened in you, you can see a person who isn't still. but you can respond to the stillness in there that could be there, and sometimes the person feels it. To relate to a potential is sometimes to call forth the future. Okay, yes, Andy?

[54:00]

Yes. Yes. For me, the way you spoke about the koan, and also your reference to Magritte, called forth a fantasy in me, which is I felt myself in the donkey looking into the well. Mhm. And the donkey goes nearer to the sauseur, and no longer looks at the man, but at the second donkey. And the donkey then looks into the well and suddenly doesn't see the reflection of the moon.

[55:07]

It sees you. Yeah, that's what he said. But it sees the reflection of itself, and then it thinks, oh, there's a second me. And then there is the myth of Narcissus, who sees himself in the water and falls in love with himself, but then actually he drowns in the flood. If I refer this back to what you said before about the water and the wave, And it's always about bringing the surface into movement.

[56:17]

That which calls me out of stillness. And it's always about bringing the surface and creates an illusion like the moon mirrored in the water or one's own face. Thank you. But that really only happens if I actually feel myself in the donkey or in a person that's part of the imagination. And it doesn't happen just by thinking about it. Channel 4.

[57:25]

I would like to ask the following question. Notice and perceive without thinking. And when you sleep, then the consciousness is switched off. Does this mean that when you dream, a shift also takes place in the home? I would like to ask the following, perceiving and noticing without thinking, and when we sleep, consciousness is switched off. So in dreaming, is there also a shift that happens? You mean, is there a shift into a, like there's a shift from consciousness to, to dreaming or sleeping, is there a shift from dreaming to something else you mean? No. So what do you mean exactly? Do you mean, is there a shift from consciousness to dreaming, or between waking up and sleeping?

[58:29]

Or do you mean, is there a further shift in the dream itself? There are dreams, and it is important for me Well, I dream very intensely, and the question is whether there's anything relevant happening in dreaming relevant to conscious being. I think the question is really, is there anything happening in consciousness that's relevant to dreaming? Because in a personal sense, dreaming may be more fundamental than consciousness. Because we're always interpreting dreams as if they were in the service of consciousness.

[59:35]

As if they were about consciousness, and sometimes they are sort of about consciousness. But as you develop my experiences, as you develop I don't know how to say it exactly. Let's say as you develop a traction and immediacy which includes traction and dreaming, which is something like lucid dreaming, then dreaming becomes a way to extend your thinking. Then dreaming becomes a way to extend your knowing. I would say I do 60% of my real thinking dream.

[60:52]

Ich würde sagen, dass für mich 60% meines wichtigen Denkens im Träumen stattfindet. If I want to explore something, I'm more likely to explore it in depth during a nap or in the early part of the morning. Wenn ich etwas erforschen möchte, dann ist es wahrscheinlicher, dass ich das während eines Mittagsschlafs oder ganz früh am Morgen vorm Aufwachen erforsche. Now, you who are a doctor, I forget your name. Yes. Susanna, right. And you look right now like the reclining Buddha. And does the reclining Buddha have anything to say? You're enjoying it, all right. Yes? Yes? I have something which is very strange, but I really enjoy reading my kind of philosophical literature, connected to relativity or connected to physical, and I don't understand a word.

[62:28]

And I love We did. And it's kind of, I realize it's internal pictures or images of what I'm living, which I can't explain. But I realize it changes something in my understanding of the world, which is very strange, because we're talking about outside borders of things. I realize it's a feeling. I love reading what I don't understand, too. Kannst du dich selbst übersetzen? Yes, the rule is Deutsch first. But I forgot. Okay. I didn't speak a single word.

[63:33]

Everything was very difficult. But I still read with a lot of enthusiasm from my heart. And I had a lot of experience with my younger children. I could see clearly that I could never scream. But I still had a lot of experience with the explanations of the world. Thanks. Should I translate you? . I have, and I think we should thank Susan Keating for this, that I have developed

[65:02]

little capacity to go in difficult situations and where there are difficult decisions or hard decisions to be made, to go into such an instance. But it's a very wide place, actually. And it's connected to something which is a very . And it's very helpful in everything. Well, I've been able to help you in your everyday life. I'm very grateful. Even a little bit. No, we might say that. Okay. Yes, hi. The map and the territory. The map and the territory. The map and the territory. Something that occurred to me about the map and the territory is that on a map you always see a point, like a city, and then a street connecting it to another point, but not much is said about what's in between.

[66:24]

So I think in this periphery in between the tension happens. It also reminds me a bit of, actually, as you said, how the body works. These are not dots either, but these are piles of molecules that get denser and thinner at some point and where you can never really say where they end. Because the skin is not yet finished, there are still smells or hair or whatever, heat radiated. And it reminds me of how we spoke about how much there's happening in the periphery, like the body is not one thing, but it's molecules and all this activity and how it doesn't end at the skin, but then there are still fragrances coming off the body or warmth or hair or something. Which we'll then... And like you said before, like with a tree and how the spaces then overlap and actually a shared space or a mutual space arises.

[67:34]

And then I thought, because I have nothing to do with choirs at all, I found it interesting that this is also a dream language for me, or a language of light, because you also said that it comes from dreams, that something swaps into the language. I found it interesting, I don't have anything much to do with koans at all, but the way you spoke about it was like a dream language and you did say how dreams sometimes overflow into language. In a dream I found it interesting that a question about dreaming just happened and in dreams we can see what kind of imaginative potential that we feel like we're in of reality but we can feel the imaginative potential.

[68:46]

Yeah, thank you. I described a tree yesterday or the day before as treeing. And I said just a moment ago, along with Hongji, to face the borders of thinking. And borders and boundaries are very interesting. And borders are interesting because even when there's no door, borders are doors. Because a border always is reflecting both sides. And can you intuit both sides? And I think I've mentioned quite a few times that The Sufi poet Rumi's poem.

[70:30]

I was knocking on that door and knocking on it and I knocked on the door and finally it opened and I found I was on the other side. Schon so häufig das Gedicht von Rumi erwähnt, wo es heißt, ich klopfe an die alte Tür, ich klopfe an die alte Tür, an die uralte Tür und als sie sich endlich öffnet, da bemerke ich, dass ich schon auf der anderen Seite bin. In trees, treeing, there's a border between treeing and not treeing. But the not treeing is part of the treeing. And if you think that way, you begin to notice the tree differently and newly. Und wenn du auf diese Art und Weise denkst, dann beginnst du, den Baum auf eine neue Art und Weise zu bemerken. And a tree is always foresting.

[71:34]

And a tree is always trying to become a forest. Even when it's all by itself, it's a forest. Ein Baum versucht immer zu einem Wald zu werden, selbst wenn er ganz allein steht. So when you meet a person who seems lonely or upset or depressed or whatever, you can ask yourself, hmm, can I see their foresting? Maybe a therapist wants to look at a person and say, yes, I can see your foresting as well as your treeing. Maybe a therapist can look at a person and say, I can see how white you are and also how you bloom. Yes, Christa, Frau Riewöller.

[72:36]

Yes, Christa, Frau Riewöller. Andy has brought me to an association that also brings me to a boundary. The mirror image. A human being deals differently with its image in the mirror than an animal. Yes, we are usually. Normalerweise. Some animals do notice it's a mirror and explore it. A miracle. When I watch my cat, how she deals with her own image in a mirror, then it's always been to me like a riddle or like a miracle.

[73:55]

I've been wondering what... A mirror troll. What's happening with her? Mm-hmm. She does not perceive herself as a different cat. Does she notice her image? Does she notice her image? It so doesn't matter to her that I don't have a feeling that she thinks that it is her. Or what it is. She may not think about it at all. Yes, with all this experience, I can say that I also want to eat a little.

[75:10]

I then wonder, I mean, I try to feel myself into that. What would it be like to sew in, what's the word? . Indifferent, thank you. To so indifferently walk past my mirror image, which sometimes I do. I hope you do sometimes. Otherwise, walking down the street, you'd be always looking in every store window. If you don't know that, you'd stay in front of every window and close it. Going shopping would be difficult. Come on, let's get going. Okay.

[76:18]

You know, at Green Gulch we had a peacock for a while. Oh, what's a peacock again? A fowl. A fowl, okay. In Green Gulch we had a fowl for a while. And peacocks are very proud and very male and they... And we had to get rid of this peacock, finally. Because it fought with its rival in every hubcap. A hubcap is the middle of a tire. Oh, oh my goodness, okay. And it would literally be strutting along, you know, and it would see its image in a hubcage, and it would go, ha, [...] ha. Ha, ha, [...] ha.

[77:21]

And it was too much, it was banging at tires, and the visitors would see their tires being attacked, so we took the peacock away. But I felt more like your cat when I was with my daughter, Sophia, we took her, I took her, it's a kind of American... parental ritual of goodbye. And they're next to last year of high school. You take them to visit colleges. And I don't know about Austria, but in Germany, the colleges are, you know, how do you apply?

[78:30]

But in America, the colleges are quite different, different campuses, different atmosphere in the campus, et cetera. In average colleges in California are better than average colleges elsewhere in the country. Because if you have a choice, say you want to go to Harvard, you could be a Harvard professor, you'll choose Berkeley because it's nice to be in California better than Boston, Cambridge. So the California colleges attract good faculty easier than Midwestern and East Coast colleges. Because everyone likes to live in California. And it's almost impossible to get in the good colleges now because the global competition is so extreme.

[79:42]

Just to give you an example, it used to be if you're in the 90th percentile, you could get into most pretty good colleges. But now, MIT and places like that won't even accept you unless you're in the 98th percentile. They won't even look at your recommendation. They get 40,000 applications. Anyway, so I took her around mostly myself because Marie-Louise is head of the school and in Crestone, and so she couldn't do it with me most of the time.

[81:03]

I think it was in Chicago, looking at the University of Chicago. I was sitting in a restaurant for breakfast because every day, I've had 12 colleges in 14 days, every day it's a new motel and a new rental car and a new... I'm still, the whole trip's on my credit card for the rest, next half of the year. I'm still... So we went to a restaurant and she chose the male seat in the restaurant.

[82:05]

Meaning she sat so she could see the door in case there was an enemy or a tiger. So I had to sit in the feminine seat with my back dangerously to the door. And there was, the whole wall was a huge mirror. And I felt like your cat. Because Sophia would say, such and such happening, and I could see it in the mirror, the content, I could not feel it. And I'm assuming your cat is much smarter than my peacock. If she can't feel it, your cat, if your cat can't feel it, it knows it's not real. So whenever Sophia would explain something to me that was happening or mention it, I had to turn around to feel it.

[83:30]

I could not feel it in the mirror. And that's one reason I've decided on no YouTube teachings. I'm happy to be here and a scapegoat but not on Skype okay it's about time for lunch anybody Want to bring up something for a few? Yes. I wanted to say something about the koan and the donkey that looks at the well and the reflection of the moon. In experimenting with this koan, I noticed that for me, when I feel myself into the donkey, that it makes a big difference how deep the water is.

[84:37]

How far away the water is. The depth of the well, not the depth of the water. That it makes a difference in my feeling when I imagine that the well is very deep than when I think, and I look at the surface of the water, than when I think that the well is not so deep. Yeah, that's all implied in the koan. although the same image is seen. All das ist impliziert im Koan. Yes, that's implied in the koan. Because people who went to get water in the well would know the difference between a well and... Weil die Leute, wenn sie nachts ein Eimer Wasser hochgezogen haben, dann kannten sie den Unterschied und wie lange sie den Eimer ziehen mussten.

[85:50]

And the darkness, the darkness is dark. So to look into the darkness is implied. Okay. Oh, yes, please, I've been waiting for you to say something. Tell me your name. Martin Luther King. Maximilian, Max. Yeah, I'm Max. My father-in-law, Max. Max. Max. I just wanted to say when we did this exercise about feeling the space and extending the space, how well that worked.

[86:50]

I really felt a lot. But then what happened is that at some point I got afraid, I got scared, like reaching a boundary or something. And I stayed there, but I did have an unpleasant feeling about it. Try it again, once a day for a week or two. Try it again for a week or so, once a day. And explore. The fear is interesting. And then talk to the fear and say, who are you? Why are you visiting me? Okay. Thank you very much. Thanks again for translating. And I guess we're supposed to take a short plunge. That means don't eat so much.

[88:03]

Or what does it mean? It means instead of coming back at 3 o'clock, we'll come back at 2.15. All right, 2.30, 2.45? All right. He's the boss. It's good. Yeah. And he's the organizer along with the greasers.

[88:24]

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