Now if we assume some shared understanding of this idea of, yeah, awareness. So then let's extend the concept a little and say there's a field of awareness. Now would we say sort of in Much like Christoph might say, that there's a field of awareness we can... decide to or find ourselves functioning in. And though sometimes with others and in many situations we can't function in this field of awareness. So could we say that sometimes we can

[01:13]

bring on this field of awareness. And sometimes even if we tried, we can't bring it on. So that there's two rather separate, if you have a feeling for this field of awareness, there's two rather separate territories in which we can participate in the world. And with ourself. Would that be the case? Do you agree with that? Christoph, I don't even know if I alluded to him. Now, why aren't you so sure?

[02:35]

I wouldn't separate those not so separate or different realms. Okay. I can't believe that... What does it mean when I open this field of awareness on the basis of my conditions, What meaning would that have if I open up this field of awareness before the background of my limited experience or my conditioned experience? If my conditioned being in the world is the basis for opening up this field of awareness, then it is sort of connected.

[03:47]

If your conditioned experience is... Basic. If the way you experience the world... Is the basis for... If your conditioned experience is the basis of your being in the world. Is that what he said? No. He said it's for opening up this field of awareness. Relate to what Christoph said or what I experienced from Christoph. Occasionally this opens up this field of awareness. Then there are certain basics being in this conditioned world which I have experienced, which were there before. And if it becomes difficult because of my discursive perception, then I can't do it.

[05:07]

But when it's difficult because of my difficult discursive experience, then I can't do this, I can't open up this field. So my wish is actually, how can I, regardless of how the world appears to me, My wish is, can I, independently of my experience of the world, be able to open up this field of awareness or not? Can I or can't I do this? Is this possible? Yeah, this is a good question. Okay. That seems a contradiction to me. We can count this open up because I'm the word, I open up the world.

[06:10]

That seems a contradiction to me, what he says. What's the contrast between I open up the world and what? He said, also er sagte, wie sich die Welt erfließt. He said how the world opens up. Yeah. The world opens up. How I open it, it's me. It's nobody else. Yeah. But other people participate. Yeah. You can't just open up any old world you want in every circumstance. I don't think, unless you're Houdini or something. Nobody knows who Houdini is. Okay. I mean, what's a common parallel example?

[07:30]

No. That's one question. Now another question, which I'll answer. What am I doing here? I mean, not in some big sense. What am I doing here? What am I trying to say here? I'm saying, if you really want to understand Buddhism, with any depth, you better understand your own experience first. And even if you don't want to understand Buddhism, it's good to understand your own experience first. Okay. So what we're doing here today is I'm kind of enjoying, because I learned so much, Exploring in some detail what I have talked about often, think about a lot, notice a lot.

[08:34]

I drove here last night from Freiburg And I decided to drive at night partly because I had a lot to do yesterday before I could leave. And I thought I'd avoid rush hours around these big cities. Many of you know my favorite quote about Staus. Somebody had written outside of Münster on an empty billboard where there was a big construction project for several years.

[09:52]

And it said, you think you're in a stow, but you are the stow. And it said, It's always the case we think, but actually we are. Unwillingly. But I forgot about the slow hours in the middle of the night. And there was some construction project between Frankfurt and Kassel I mean, I was two hours or something in a stow. It was okay. There were thousands of trucks. I mean, I'm not kidding.

[10:53]

Thousands of trucks, like walls of trucks. Anyway, so... So what is a common experience we have that's similar to what we were just talking about? Well, waking up in the morning. And you've been dreaming. And you want to go back into your dream. It was really sweet. But how do you go back into it? You've got work to do. You've got things you're supposed to do. The dream is you, but you can't just produce it if consciousness has started.

[12:01]

The other question is, can we unfold the mind that dreams inside of consciousness? This is a very basic, I think, extremely basic question most people never ask themselves. And could awareness be something like opening up dreaming mind in the midst of consciousness? So that we're simultaneously, while being conscious, we're simultaneously dreaming. Well, that's a possibility. Yeah. Did someone else want to say something?

[13:13]

Who has my lights? Go ahead. I noticed something that was very helpful for me. First of all, I have to notice in which spirit I am. Shortly before I found what's helpful to me, I have to notice in which mind I am. Before I notice that, I'm normally in my discursive mind. I'm identified with what I think. And for me it's helpful with the help of breathing and sitting. I think what's helpful then for me is with the help of my breath and with sitting, to get a bodily aspect of myself, feel a body or sense a bodily aspect of myself.

[14:15]

alluding to a koan, what you call the world. I could think this sentence, but what I do is I try to slow it down and I try to feel the sentence without wanting an answer right away. This is for me kind of a bridge to notice within everyday life this connection. So let me say what I hear in what you said. That if you're in discursive, let's call it discursive mind, and you're identifying the world that discursive consciousness presents to you, In such a consciously...

[15:43]

consciously identified mind, identified world, let's just say consciously identified world, it would be difficult to open up, say, dreaming mind, because dreaming mind is not what we identify with. So if that's the case, a yogic skill would be to withdraw the sense of identification from the world as consciously presented. And that is a yogic skill. Are we all together on this? You were knitting your brow there. Okay, second thing I heard.

[17:06]

Das zweite, was ich gehört habe. That you accomplish something like this. Du erreichst oder du bewerkstelligst so etwas wie dieses. By shifting your identity from a mental identification to more of a physical identification. Du verschiebst also deine... You shift your identity? He shifts his identification from the mental to a more physical. That's also a way to do that, but it's another territory one can explore. And third, you use a phrase. And you use a phrase that links the two minds. And it becomes a kind of bridge you can go across.

[18:09]

Yeah, that's three. And the fourth, I'm adding a fourth. You have chosen a phrase which asks a question which you which you refrain from, defer from answering, and by deferring from answering, it produces another state of mind. And the thing is that you use a sentence from which you detain yourself, so to speak, a sentence in a form of question from which you detain yourself, to answer it. And this refusal or to contain yourself, to contain an answer itself, already reveals another state of mind. Okay. Again. Anything I missed? Okay. Now, if you can do those four things, you can have a feel for those four things, that's quite good.

[19:15]

And yoga skills, there's something like that. And I see Valentine here, and I think of the skills musicians have to have. And I see Valentin and I also see the abilities that musicians have. mind that your instrument draws out of you, maybe something like that. And then into the mind or something like that, which playing with others draws out of you. And... And then when the conductor or the music comes together a certain way, there's even another place you have to let yourself go into.

[20:20]

A lot of musicians, I'm guessing. Yeah, I have a, as you know, I have a little daughter who's five. And she decided she wanted to play violin. And she plays the violin. Yeah, but she doesn't like to practice. And she even the other day kicked the teacher. This is bad behavior in America as well as Germany. Okay. But she's paying attention to this. She's not learning the song.

[21:20]

She doesn't want to practice. Suddenly she just picks up the violin and her body does it. Her body just learned it, and she just does it. When she does that, we then don't give up on her continuing to play. And in the middle of the night driving, I always find much more interesting music than people play during the day consciously. And the disc jockeys, is that what you call them in German? They're always more wild and strange. And they play the weirdest music. And when you're in style, you know... But last night they played Jascha Heifetz.

[22:32]

He must be one of the greatest violinists ever. I was, I mean, excuse me for this. waxing incoherent, but I was struck dumb. Struck dumb, is that how you say it? Struck into awareness, struck dumb. Each note is so unbelievably precise and out there all by itself. And for the same part, inseparably part of the whole piece of music. It was like he just picked me up and put me into his mind. Yeah. That makes sense to you, Alan.

[23:44]

I remember something he said. People thought that he used to practice in 10 hours a day, because he was such a good violinist. But he said he never played more than three hours. I'll tell my daughter. Yasha says. He included in that the time when he was looking out the window or drinking tea. That was also practicing? That was part of the three hours. Oh, I see. He said that he heard every note that he played. Yeah. When he played, he heard every note. He heard every note, yeah. And that's what you picked up. Yeah. Deutsch. One of you, Deutsch. Deutsch. I remember what he said once, that he would practice the people's names for another ten hours. And he said, no, no, I practice for at least three hours. And in those three hours, tea drinking, looking out the window and everything was already included. But he said, when he plays, he sees every note, he hears every note. That's it.

[24:55]

@Transcribed_UNK
@Text_v005
@Score_71.16