This is another experiment. And sometimes we also practice for the Sesshin, because we will pass our meditation week, the Rohatsu in Crestone, and that we do in Germany. Yeah, approximately. Something like that. Also ich werde ja einen Vortrag in Creston morgens geben an unserem Colorado Morgen, der dann nachmittags während der Meditationswoche, die Anfang Dezember beginnt, während dieser Meditationswoche werde ich morgens die Vorträge geben.

[01:11]

Die sind dann nachmittags in Deutschland und die Nicole wird vormittags in Deutschland einen Vortrag halten. And because we as singers overlap or explore the connection, that's why we make such a overlapping or common sashin. Ich versuche, Worte dafür zu finden oder auszudrücken, wie wir diese Praxis uns zu eigen machen können und gleichzeitig auch sie uns aneignen können.

[02:18]

Ich stelle mir den Buddha zum Beispiel im Alter eines Studenten vor. I know, but you can hear me, right? There I am. Yeah. So let's imagine that the Buddha is a young man or a young woman in her student age with a way-seeking spirit.

[03:40]

And I imagine all of you who are on the other side of the camera on the other side of the Atlantic Ocean. So it's an experiment, an imagination experiment. Imagine you are a young person, a sattva, and you try to imagine or learn more about what the world is, what kind of world you live in. Du wächst in eine Welt hinein und du erforscht die Welt, in der du aufwachst.

[05:00]

Yes, don't worry about it. Yeah. Yeah. You grow into the world you were born into. And one of the important concepts in this Vedic culture, in Swedish culture, which is still far before the internationally valid marking date of the birth year of Christ, One of the concepts that existed in these Brahminic times in the Swedish culture at the time was the idea that there is neither perception, that there is something that you can neither perceive nor not perceive.

[06:32]

Now imagine that you grow up in such a world in which people imagine or assume that there are things that you neither perceive nor do not perceive. We imagine meditation as something that helps us to calm down or to heal. But in the kind of world in which this young person, this bodhisattva, grew up, And sattva means so much as soheit.

[07:58]

It is a person who feels her own being, her own being, her own so-being. Wir haben auch hier wieder im Hintergrund oder im Vordergrund dessen, worüber wir hier sprechen, dieses Thema, das wir auch in den letzten Vorträgen schon erforscht haben, von der Miene der Soheit. And imagine that this world in which this being, a person who knows her own being, has a feeling for her own being, the world in which she grows up, And if such a person and the other people who have also grown up in this culture, if these people, for example, looked at the sky at night, what they then saw was dream.

[09:25]

A person like that is different, for example, than a person who, let's say, grew up in ancient Greece and who looks up at the sky and looks at the star constellations and recognizes mythological figures in them or imaginations of gods or something like that, which she reads from the constellations of the stars in the sky. And this person of such nature from the end of the Swedish time, for example, the world has not as sexually predetermined, sexually determined, in the sense of how we have it, the Father, the Son and the Holy Spirit.

[10:52]

Also such an idea would exist for a for someone in the Swedish age. In the background of this presentation, which I am now offering and also experience myself, is the concept of foreground and background. And in this culture, in which such a person of this kind would have lived at that time, there is the background that lies in front of us and not behind us. For us Westerners,

[12:00]

For us Westerners, the religious concept of God and God the Father and the Son and the Holy Spirit and a belief system that is in the background of our culture is in the background. And maybe it would have been better if the background image would have been shaped by a picture of mother-daughter and Holy Spirit. If you communicate as a what? If you communicate with these concepts that radiate into the culture,

[13:10]

When what is radiated into the culture is this concept of Father, Son and Holy Spirit. And what is communicated at the same time is that in this concept it is not about the mother, the daughter and the Holy Spirit. Such simple differences influence our feeling of who we are. And they influence our identity, our personal and cultural identity. And they also influence where we are in the hierarchy, in the internal hierarchy of culture, where we are settled.

[14:29]

So this person of this kind in India and in the pre-Vedic and Brahmanic times, I had no idea how and could not even understand that in the background of cultural assumptions, a sexual determination has already been made. Whether there is a determination in the background of cultural assumptions, whether it is about father and son or mother and daughter. And I just throw it or just put it in the room so that you or you can take a look at it, think about it, that there is something like a sexual fixation in the cultural space.

[15:58]

And let's say that you are someone, this boy I was talking about, a boy who is looking for a way, someone who is looking for the way of his or her own being. And the reality is somehow manly. Some time ago, Nicole spoke in a way that I found quite convincing about a three-step process, where she talked about the transitions of concepts.

[17:27]

And the concept here means to hold something tight, like a zepter, to hold something. So the transition from a concept into a percept and then into something that she called no-cept. And I found that very interesting, because what she went through there is a process of holding on to something, to let go of the concept, into the percept, into something purely perceived, up to something where nothing is held back anymore, into a concept, a no-cept.

[18:29]

Thank you. And what I had started to say is that we should consider meditation as a form of gaining knowledge, a kind of knowing or recognizing. And maybe even a kind of healing through knowledge, but a kind of recognizing the world, recognizing its essence. Ich habe so eine Bildrolle von Suzuki Roshi geerbt.

[19:47]

Und ich habe das neben meinem einklappbaren Bett in dem Turmzimmer, da wo ich wohne, aufgeräumt. So that when I fall asleep, I can see it in the periphery, in the eye angle, in my nightly meditation. This is a very finely painted picture of a fisherman. which sits on a saffron or saffron made of grass, so that it sits firmly in the meditation seat.

[21:04]

And right in front of him is a fishing hook, so a fishing hook with a fishing hook on it is set up there. And the fishing line rages into the water and maybe with a hook, or as Paul Rosenblum said yesterday in the lecture, maybe with a straight hook. I really liked Rirtan Roshi's lecture yesterday. We talked about the thread or the fabric of trust and also about the feeling that it is always 12 o'clock.

[22:18]

So this fisherman who sits there, on the one hand he is completely in meditation and at the same time he has thrown this fishing into the world and with the throwing of the fishing into the world there is also a kind of search for knowledge. I'm frozen. And this is also a concept from pre-Buddhist times, long before Zen school, where there is a basic feeling, something that you can neither perceive nor not perceive. And let me see if I can represent this metaphorically in a slightly different way.

[24:07]

So we have a concept of food. And then we might have a perception of a carrot. So we have a concept of a food and a perception of a carrot or a beetroot. And I now use Nikol's Tatsudo Roshi's interpretation of this three-chain concept, per-set, kein-set. And now. Und jetzt diesmal füge ich aber die Idee von auch einem im-zept hinzu, so wie im im Sinne von im as in non-movable, non-graspable.

[25:27]

Mm-hmm. Also, nichtgreifbar, ein Keinzept, ein nichtgreifbares, etwas nichtgreifbares, ja. Ich könnte sagen, nicht wahrnehmbar. Aber was ich meine mehr, es ist nicht so sehr nicht wahrnehmbar, sondern nicht greifbar in der Wahrnehmung. And I sometimes say that too, so I think of new words here to say that we have to find language for it ourselves, for exercises of this kind or for areas in the rooms of experience of this kind and have to stretch words to find words for it.

[26:45]

Especially if you want to imagine yourself as this young student in India in a pre-Buddhist era. And you try to imagine, what should it be? An area, an area of experience that is neither perceptible nor not perceptible. And from the perspective of brain-generated consciousness, such an area of perception is not imaginable. So let's... Lass uns nochmal zurückgehen zu der Steckrübe und schauen, was dabei auftaucht.

[28:16]

In classical Greece there were the four elements earth, water, fire and wind and air. And for a few millennia, these four elements are now in the background as the basic building blocks from which the world was built. We can imagine that the basic building blocks of the world were designed as these four elements, that the world is composed of these four elements, fire, water, earth and air.

[29:41]

And In this construct, God is something like the builder. That is the one who is responsible for what is being built there. but in the culture in which we grow up through practice, in which we grow up through practice as such a student of such-and-such, a student of such-and-such. There was also this concept of the four elements, but they were understood a little differently. Da gab es jetzt eher sowas wie Erde als Festigkeit, Wasser als Flüssigkeit, Feuer.

[31:00]

Und dann statt Luft Wind, also die Aktivität der Luft. And in this concept of the four elements, it was a concept not of elements, but rather of totalities, of wholesomeness. So how you could or can practice with these four elements as wholesomeness, is by feeling the firmness within yourself. And you feel the firmness of the world. It is all mutually related, mutually dependent firmness.

[32:04]

And how you have practiced this is that when you feel your own strength and when you are together with another person, that you also develop a feeling for their strength. And you can do the same with the feeling of fluidity, of quality, of being fluid in the flow and also with the other elements. Now let's go back to the construction site. There are now some bricks on this construction site. But the time of creation is not somehow laid out backwards in one and based on a creator god in this culture.

[33:22]

But this is a construction project or a construction process that constructs itself all the time. And the stones that we might use, and maybe because everything is thought of as temporary or as changeable, the stones that we use are part of the earth element. But the solidity, the earthiness of the stone is not understood as the thing-ness, not as the entity of the stone, but rather as something that simultaneously, as simultaneously, can you say that again?

[34:43]

But rather understood as... Okay, so as the entirety of everything that is the earth element at the same time. And as this quality of firmness, as the wholeness of everything that is firm, as that it is both perceptible and not perceptible. So we still try to imagine these people of this kind, who are you.

[35:45]

gehen wir nochmal zurück zu der Steckrübe. Also das Konzept der Speise und das Perzept der Steckrübe. Jetzt bringt Jetzt bringen wir die Aufmerksamkeit und der Bezugspunkt hier in allem, was wir sagen, ist Aufmerksamkeit. Das ist im Hintergrund, dass Aufmerksamkeit der Bezugspunkt ist. Also wir haben das Konzept der Speise und das Perzept der Steckrübe und jetzt pflanzen wir oder setzen wir diese Steckrübe.

[37:01]

Und wir pflanzen diese Steckrübe in die Gesamtheit des Erdelements hinein. And so this worm becomes an example for everything that is made of earth. Everything that is made of earth and everything else is made possible by everything else, by rain, by the forests, by the soil. All of this combined enables the plug and the plug becomes the instantiation of it, the manifestation of it.

[38:11]

No, wait, give me a moment here. Can you say that again in two parts? You said two things there. Yeah. Yeah. Also, dieses Erdelement... Das Erdelement, das jetzt sich manifestiert in dieser Steckrübe, das Erdelement in aber es stimmt auch nicht, dass es nicht wahrgenommen wird.

[39:39]

Die Gesamtheit kann nicht wahrgenommen werden, aber gleichzeitig stimmt es auch nicht, dass es nicht wahrgenommen werden kann, weil wir können ja die Steckrübe essen und die schmeckt ganz wunderbar, so wie sie in Japan zum Beispiel eingelegt wird. Also wenn Aufmerksamkeit unser Bezugspunkt ist, then our attention does not go to the stars that are configured in astrological signs, but our attention, we direct our attention to the infinity or the totality of everything. or of every single thing, the totality and infinity of every single thing.

[40:41]

So the attention can have a concept of a food. And with the attention we can have a perception of a stew and also know what we have to do with it. Aber wenn unsere Aufmerksamkeit an dem Punkt landet, wo die Gesamtheit zusammenwirkt, und es ist ja dieses Zusammenwirken, das überhaupt erst ermöglicht, dass die Steckrübe wächst. Das ist der Punkt, und das ist der Bereich von weder Wahrnehmung noch Nicht-Wahrnehmung.

[41:42]

And I think, for example, that Romeo and Juliet, and that sounds like I'm changing the subject. I think that Schopenhauer is wrong when it comes to the fact that when you fall in love, it's always just about reproduction. It's much more about getting to know another person, that you get to know another person and get to know yourself. And it's like you're looking for something in there and want to get to know it, which is forever and not just for now.

[42:56]

And when we, people, get married and we buy ourselves wedding rings and so on, with such a feeling of, ah, that's supposed to be forever. And in the story of Romeo and Juliet, they were in the middle of the conflict between these two hostile families. But they said to each other, we see something that is more fundamental or more important than the fight, the war between these hostile families. Did you say it became metaphorically permanent or impermanent?

[44:09]

Both is possible, actually. Permanent or impermanent? Okay. Okay. Okay. Okay, yes. Also, and Romeo and Julia, deren Liebe wurde metaphorisch für die Ewigkeit, zur Ewigkeit, weil sie ja verstorben sind. Und so sind sie nicht. Zehn Jahre später standen sie nicht vor einem Scheidungsrichter und haben die Scheidung beantragt. He or she is basically looking for something that can be forever.

[45:28]

And the word Dharma means something that holds, something that remains. Not maybe forever, but something that is always there. And imagine you have a moment where you wake up and a spirit is developing that is looking for a way. der zu einem wegweisenden Prinzip wird für so einen jungen Studenten oder Studentin, für diesen... What did you say?

[46:45]

Boy-Sattva? Für diesen Bodhisattva? Für diesen Bodhisattva? Ah, okay. Für diesen Bodhisattva, der aus der traditionellen Geschichte heraus dann zum Buddha wird. Excuse me, your audio disappeared for a moment. You're going to have to say that again. Now it's good, yeah. This student is not looking for the stars that are always there, but he or she is looking for the infinity of the space that is always there.

[48:14]

Und diese Unendlichkeit des Raumes ist weder vom Verstand begreifbar, noch ist sie vom Verstand nicht nicht begreifbar. Das waren zu viele Verneinungen. Also, wenn du die Welt kennen möchtest und die Welt so kennen möchtest, dass sie dich auch kennt. Und die Tatsache von der Gesamtheit des Erdelements, die Gesamtheit, die weder wahrnehmbar ist, noch ist sie nicht wahrnehmbar. Das wird so etwas wie die meditative Sphäre der Verwirklichung.

[49:29]

And this meditative sphere of realization is what emerges through the field, the field of experience, where we neither perceive things nor perceive them. After the end of the lecture, it should be about time. But except that you take part in the meditation week at the Rohatsu Sashin, we probably won't see each other again until February or maybe January or something like that.

[50:52]

Let me go back to the four folds that we discussed in the last Damanau lecture, from the turning sentence exactly this and add a fifth fold to it. Also jetzt praktizierst du mit genau dies. Und vielleicht solltest du dazu Amen sagen, denn Amen bedeutet auch einfach so sei es. So wie Welt ohne Ende, so sei es. I couldn't hear you. Ah, okay. Okay, oder Geist ohne Ende. Amen.

[51:53]

Also wir haben dieses, also wir haben dieses, genau dies, so sei es. Diese erste Faltung in dieser Übung mit genau dies ist einfach hier sein, hier, hierheit. Die hierheit ist ein biologischer Gehirn, eine Tatsache des Gehirns. But here, too, neither the mind is really understandable nor is it understandable. And the second is the pause without form, which is neither understandable nor not understandable by the mind. And then the third fold is that you perceive the fields of senses, what appears in the senses.

[53:13]

And the fields of senses are neither perceptible nor non-perceptible. And also the fourth is the field of the spirit. Also the field of the spirit is neither perceptible nor is it not perceptible. The spirit works all the time. Und diese fünfte Faltung ist das, was ich jetzt nicht wahrnehmbar, kein Zept genannt habe, weder wahrnehmbar noch nicht wahrnehmbar.

[54:22]

Diese fünfte Faltung ist die Unendlichkeit, wenn alles zusammenwirkt, von Gesamtheit. So, here, the formless pause, the senses, the fields of the senses, spirit and not tangible. So be it. Amen. Just this. all right so okay um so let's uh it's now close to five let's give everyone like 10 minutes break and let's meet at

[55:44]

Oh, our tech team called says we need 15 minutes, actually. Sorry. So we'll have to meet at quarter past five, quarter past five. And yeah, yeah. I'm happy to translate though. Okay, good. All right. Good. We'll see you in 15 minutes, everyone. I think people, also alle, die eine E-Mail bekommen haben, müssten dann einen zweiten Link haben. Wo draufsteht zum Austausch, könnt ihr einfach jederzeit euch einklicken. Wir starten das Meeting ungefähr in 10 bis 15 Minuten. Okay. Bye-bye. Das war ein präbuddhistischer Vortrag für alle, die keine Buddhisten sind. Bye-bye. What was that?

[56:54]

I have no idea. It was the same at Paul's, that the camera ticked two or three times. I'm going to restart everything completely, pull cables out of the wall and restart the router and everything else. It's just the camera. Everything else has continued to work. There was no interruption. It's something with the camera and the cable link. I just can't limit it. That's why I have to restart everything completely. It takes a while. Holy shit. Yes. Yes, really. Yes, I'm sorry. I don't know exactly what was there. I'm going to take out all the plug connections here and plug them back in. Yes. I'll explain. Don't plug it in. Aye, aye, aye. I had the first feeling that we had been hacked, because three times there was a recording stand. One of them was Max, he changed his name. One of them was probably Brian, he often gets involved with the recording stand. Who is the third one? It wasn't Olli, it wasn't Max.

[57:55]

And then I had the feeling that it was hacked, because someone has been playing with the camera all the time. So the camera has just been exposed again. Everything else has continued to work. The microphone works, the recordings work, everything. Can that really be? It could, of course, but it's also a bit... I had the feeling at first when the audio soundcheck was gone. When someone logged in and it just disappeared, somehow our password came in or something else, I don't know. I would love to get the password anyway, but I don't know how many people are looking for it. Yes, yes, okay. The one who suddenly doesn't come in will get in touch at some point. But actually, nobody else should do it except Olli and me. Yes, exactly. Yes, just ride a bike. Yes, really. Wow. Insanity. So his audio was insanely bad.

[59:03]

Blasphemy, said Max and Olli too. Blasphemy was their only problem. I just heard him totally interrupted. Blasphemy was my least problem. I had to suck half of the words out of my fingers. I understood him over headphones quite well. Yes? It cracked over and over again. But that was when he bent back too quickly. Oh yes. Only then, because then maybe the Bluetooth was somehow ... I could explain it like that, but otherwise it wasn't that bad. It was a mess, yes. But well, those were the earpods, the little high-pitched microphones. Yes, well, okay.

[59:39]

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