It was a certain kind of tuning out I needed to get hold of the balloons of consciousness again. Anyway, I'm trying to keep with my studying the nature of mind and body. I'll give you a small example of how to understand the nature of the body and the spirit. So, when I fell asleep, I let go of all the strings, all of them. [...] And after I released them, a few minutes passed, suddenly I had the strength again to pull them back into my hand.

[01:14]

And then I was able to drive the next two years. Two and a half hours or so. So what's happening here? My experience is that the release of appearances is very similar to the release of these balloons. And the more you get used to how we hold consciousness together, And how we release it. I mean, when we get kids to go, A, B, C, D, F, G, 1, 2, 3, 4, 5, etc. One of the first ones we teach kids. You know, as I've said before, we're teaching the kids to bring the structure of their mind.

[02:32]

To create succession and front and back and so forth. Those are all mental structures you learn. And it takes a ton of energy to hold that together. And then when you train, you release that, something else happens. But in the practice of appearance, Disappearance, appearance, disappearance. They're really learning a pulse.

[03:35]

Holding consciousness together and releasing. It changes your relationship to tiredness and rest. He brought up the fact that the... The inmost request works in the particulars of our activity.

[04:38]

partly in the particulars of our activity when those particulars are appearances, monetarily. Maybe it's all a little too much for a weekend seminar. But I think it gives you a feel for the richness and the potential of this Buddhist practice. And the reason I give you an example like balloons and taking naps and things like that Is it that this is not, you know, a teaching stuck somewhere, sutras about Buddhas who beam world systems out of their god?

[06:01]

This is about experiences you already have. in most requests can be to put these insights together in a new way of being involved. But I try to avoid the mental hospital. So I'll do it with some caution. Yeah. Okay. Now, trust makes me think of, you know, we just don't have enough time.

[07:17]

I've explored trust in a lot of ways, just finding the most minimal examples of trust, you know. I mean, I'm sorry to be so stupid, but I'd imagine being a dog. Dogs don't seem to have too many problems. I mean, I'm all covered with hair and nose and all that stuff. Well, I wouldn't be a human in the dark if I didn't be a dog. Also, wenn ich zum Beispiel lauter Haare hätte und eine feuchte Nase, dann wäre ich nicht ein Mensch, der ein Hund wäre, sondern ich wäre einfach... Or I practiced with a phrase like, this is also me, and everything I looked at.

[08:18]

Until I felt secure and intimate. And I know the cook really likes us to be on time. We'll try to be close to our time. Yeah. I asked Suzuki Roshi, what is my responsibility? And he said, under your own feet.

[09:21]

And I, of course, my immediate reaction was, oh, we have this English braid, which I guess you have in German, to stand on your own two feet. But I only knew that in Japanese Buddhism you don't have any such phrase. Because you don't, I don't know, maybe you think I'm nuts here, but you don't stand on your feet, you communicate with your feet. And you see it in our shoes. Our shoes are like horseshoes. And even the most fancy, useful, old Viennese ribbons in Japan, Have the toes free.

[10:30]

Your toes are free because they're relating to the ground. And one of the things Kinhin is about, Kinhin is slow walking, is learning how to do heel breathing, breathe through your heel. So there's a So there's a communication from the ground through your feet and from your feet into the ground. That's very basic yogi-buddhist sort of thing.

[11:31]

So there's a kind of trust in that. But the trust in the communication of the ground is right there. So I can't continue now that it's lunch? Let me just say that... So what I would say is that 100,000 bucks... Don't inscribe. But rather create a possible embodiment if other aspects are there. Certainly many people I know who have done 100,000 vows are very passionate But if other ingredients are there, it's a wonderful way to develop compassion.

[12:52]

Now we haven't dealt with a lot of it. Knowing when we don't know. Double perceptions. Thank you. Thank you. So afternoon, and that was a good lunch.

[14:51]

And I think we should go a little bit with this theme. I think we should do as much as possible to deal with this inner desire and nothingness. Because it is so in the center of all serious Buddhist practices. And it's rooted in the idea of appearance. And appearance implies nothing. so much the appearance of the object but the appearance of the mind in which the objects appear.

[15:59]

Now, I said earlier lists of stages of practice. And as it starts with, you know, the precepts and reviewing your personal history and so. And with the tenth stage, After these first stages, including the practice for Pjanas, 10th stage is knowledge and insight. Knowledge and insight into the nature of mind, into the nature of the body, and the distinction between the body and mind.

[17:16]

And the eleventh is the ability to call out. A mind-made body. Okay. Now, this isn't entirely her question. Yeah, but he used her. And your experiments tend into the distinction between the mind and the body and the nature of knowledge and insight into the nature of the body.

[18:18]

Yes, it's your work to do that with people and for yourself. And when I first started practicing, There weren't all these martial arts, I mean, not in the West, body practices. People thought yoga was supposed to be nuts. So we already did a very different work. And one thing that forces you to bring attention to the breath is actually to bring attention to the body. And through that attention to weave the mind into the body.

[19:29]

And that's a mind-made body. And you really, if you practice, you begin to find the physicality in everything. My words have a physicality to them. There's a mental quality to them, but I am making these words with my mouth and breath and so forth. And they're not just mentally received by you, they're also physically received.

[20:35]

And when your mind is free from form and color, momentarily, often, And you know, Sophia decided she wanted to play the violin. It was her idea. But it wasn't her idea that it required practice. This is something that's become Marie-Louise's job to encourage. But it's interesting for me to watch the process. Wow, it's such a physical issue. For the first time, the violin is such a physical instrument.

[21:51]

You're holding it. Oh, gee, this little box is vibrating. So, you hold the violin on the... here, on the screen, on the wall, and this box, this box vibrates. And she's getting a feeling for the note with her body, not just by hand. And she gets for the notes... And the hand position is related to the note and the vibration and so forth. You know, I have mindless musical ability. But I like to dance and sing. No, not sing and kick it on, but do that. But my father was a very talented musician with several instruments and so forth.

[23:08]

So he used to take me to the symphony when he could get me to do it. And, you know, I, as a teenager, I preferred classical music. Yeah, and that really impressed me about being in the in a concert which is different than hearing a record CD or something as you hear them warming up so they all fiddle around and And there's a kind of, you know, people look at each other and they tune their instruments with each other.

[24:19]

And then at some point, the conductor, you know, creates a pause, and there's a pause. They all have to pause to start together. And then the conductor comes and at a certain point they all stop. There is a break so that they can start playing together. identical virtually to Zen Buddhist rituals. And I see it in the way of Japanese, Chinese teachers, of course, like Amy in Freiburg. And I see it in this Japanese-Chinese teacher that we have for Sophia in Freiburg. Her name is Jamie.

[25:23]

Anyway, she met Dan and I. She was Chinese and Japanese. And Dan and I said, we both want to. And we met her. She said she's Japanese, Chinese, and we said we'd like to see that, too. I said, too bad, I won't do it. But she said, too late, I won't do it. She actually said, I'll leave it to the spirit, you know. But she, the same way, she has to get Sophia to stop, and she has to stop, and there has to be a kind of, there's lots of pauses to get to that. And the rituals of Zen practice are meant to teach you very similar pauses.

[26:30]

You bow to the cushion, you try to run and bow and so forth. And you get the habit of doing each thing in little units. Yes, dharma practice, you're articulating dharmas. You're telling the world exists moment after moment. And you're bringing your mental and physical habits into some kind of mirroring of that. Mm-hmm. So, you know, related to my, as I emphasized in the poll update, you pause for the particular.

[27:43]

On each low section. the duration of the particular. And to, as I said, the pause in the pause. And the pause is somewhat different than for the particular. Because it's like you're waiting for It is as soon as there's a pause waiting for you to discover. And one thing you discover in a situation with a lot of people is there's a flow of still points. It's the... There's a lot of noise and stuff, but there's often a momentary still point.

[29:04]

And in the virtual world, And individuals and the group together often turn on those still points. And in conversations, if you can feel the still points, the conversation has much more subtlety if it moves within and from the still points as well as from the words. Und wenn du ein Gespräch führst, dann kann das Gespräch viel subtiler sein, wenn du dich nicht nur von den Worten leiten lässt, sondern auch von diesen ruhigen Punkten. In a sense, the pause is also emptiness. So if you practice with a little phrase like this, you're beginning to educate, to train the mind and body.

[30:10]

To notice everything. Or do you notice feelings? Mm-hmm. Yeah, so I practice sometimes with the phrase. I spoke about it in the Boulder seminar. Yes, Christian was there. I sometimes practice with this sentence that I just took part in a seminar with Christian. Just take a few minutes. And a careful question while you're waiting for your soup or your

[31:15]

I just look at a person and feel that mind appears. Or just appeared. So you're looking at somebody and you feel what you're seeing is just a... A momentary appearance. And then you let it go. Or you can erase it. Why would you do that? And if you do that a little, it really begins to penetrate.

[32:18]

Your habit gets underneath your habits. It begins to be the foreground of your habits. And the tender is good, of course. They set aside two or three weeks or a month just to do this all day long. Until they built the habit of seeing parents only, parents only. Won't you see, given the habit, that every appearance is equal? More and more, they're just appearances. And they have an equality.

[33:31]

And that's variously called sameness, suchness. And strangely enough, when you get in the habit of it, So most of the time you're seeing appearance. It really cuts right through, cuts away comparative thinking. And you're really following the precepts automatically. Most of the time we're engaged in our daily life, of course.

[34:34]

Practice is to, in a, I say sometimes homeopathic way, to add these little doses of practice into your daily life. Well, there's a Tendai practice called, which is much in the background of Zen teachings. And the Tendai school, Tendai and Jais and Zen are all attempts following the Abhidhamma. The Abhidharma was an effort to systematize the teachings of the historical Buddha.

[35:55]

And then Tendai school and so forth. And Sengon school. And the Tendai school. all tried to then take that systematized teaching, turn it into single practices which covered all or many practices. So the threefold single thought is such a practice. Einzige, einfache Gedanke, ein Versuch. Ein einziger Versuch. Okay. And that's called emptiness. Und das wird genannt.

[36:56]

Leere. Positional appearance. Well-off mit der Erscheinung. And the parasignature. Und die beiden ins Gleichgewicht bringen. Ausgleich. Emptiness, we can say, is just a notice appearance. But it's a momentary appearance. As I've said in this room a number of times. And as I have often said in this room, you can practice in simple mechanical ways. Like I can look at Paul. And then did it happen. And it was different. We both changed in that moment.

[37:58]

So just by doing mechanical things like that, I noticed appearance. As long as you all know, the job of righteousness is to produce Implicit permanence, predictability. Consciousness tends to notice continuity. You have to train consciousness to notice discontinuity. Man muss das Bewusstsein trainieren, damit es diese Kontinuität bemerkt. And what I'm emphasizing here is how much this practice is a craft. Und was ich hier betonen möchte, ist wie stark diese Praxis ein Kunstwerk ist, eine Kunstwerklichkeit, und nicht nur ein Erlaubnisleben.

[39:01]

You can also practice this craft of interest. You can also open and close your eyes, and there is no difference between the different until you begin to notice uniqueness. And as you know, every moment is unique, but we don't notice. So all of that is the category of emptiness and appearance and it's really one thought. And the balance. And the balance you can call the middle way. So you get used to It's a momentary existence-metting.

[40:14]

Balance means to settle the body in one identity. No, I started to say the insight and knowledge of the nature of the body. And this you can practice, I tell you often, just do something. the process of waking up and the process of going to sleep. Or notice the power of your Speaking when the speaking has the body and the breath in it.

[41:25]

That's what is meant. That kind of observation is what is meant by the knowledge and insight. into the nature of the body. And notice even when you're thinking, somehow occurs with the physicality, the nature of the body. Another funny example that I had the other day, driving two or three bulls, actually, Und ein anderes lustiges Beispiel, oder merkwürdiges Beispiel, das ich bringen kann, ist, als ich vor kurzem von oder nach Dolde gefahren bin, weiß ich nicht mehr genau. Also so.

[42:27]

Teil. Und ich war müde. Ja. Teil. Bei Autofahren ein How can I describe this? I was tired, but not really sleepy. But I noticed that I was losing a grip on consciousness. So the relevance of the cars in front of me and the street signs was beginning to weaken. But I wasn't really sleepy. But I was tired enough not to be able to hold consciousness together. And I have a personal rule, is that since I once ended up on the other side of the center strip, 19 years old, in the middle of the night, falling asleep.

[43:54]

Luckily, no other cars were coming at the time. Yeah, so anyway, so now I always take a short rest, or a long rest if necessary, and pull out the rope. Also, wenn mir das passiert, normalerweise, dann nehme ich eine längere oder kürzere Pause und fahre zum Straßenjagd. So I pulled out the rope and I stopped it. It was hot sun, it was very, very light, I guess, or south, well, south, where is it coming from? South Park, yeah. This is in South Park. This is about 10,000 feet. 10,000 feet or something. And this is 910,000 feet. What's that in meters? 3,500 meters. And it's, you know, bare. Lots of sun. So I looked for a shadow.

[45:10]

I found a shadow in the corner of the room. I don't know, so maybe it's maybe a restaurant. There's only two. We build them. So I pulled. So I pulled into the shed, yeah. In my truck, also in my truck. OK, so how do you pay to finish your half-mask? Yeah. But it turned out I was parked right by the door of this building, whatever it was, and people kept going in and out and in and out and opening the door and looking at this guy sleeping in their shadow.

[46:12]

So I got about maybe less than 10 minutes of a nap. But I actually know that probably even two or three minutes would have done. So it wasn't sleep. It was a certain kind of tuning out I needed to get hold of the balloons of consciousness again. It was a certain kind of tuning out I needed Anyway, I'm trying to keep with my studying the nature of mind at one point. I'll give you a small example of how you can let go of the nature of the body and the mind.

[47:23]

So when I fell asleep, I let go of all these lines, the balloons of consciousness. And the problems went in that direction, and the roadblocks flew away into the other. And after I released them, people asked if something had the strength again to pull them back. And then I was able to try the next three years. Two and a half hours. So what's happening here? My experience is that the release of appearances is very similar to the release of these balloons. And the more you get used to how we hold consciousness together,

[48:26]

And how we will listen. I mean, when we get kids to go in this EDFG 1, 2, 3, 4, 5, etc. When we were kids, we learned NC3567 with the EDFG. One of the first things we teach kids. That's one of the first things we teach kids. We're teaching the kids to bring the structure of their mind. Before we start with that, To create succession in front and back and so forth. Those are all mental structures you learn. When you train, you release that, something like that.

[49:36]

But in the practice of appearance, Disappearance, appearance, disappearance. They're really learning a pulse. Holding consciousness together and releasing. I mean, it changes your relationship to tiredness and rest. Why am I talking about this? Because literature brought up, when I looked at instances of his use of .

[50:48]

He brought up the fact that The inmost request works in the particulars of our activity. Partly in the particulars of our activity, when those particulars are appearances, more terribly clear. Maybe it's all a little too much for a weekend seminar. But I think it gives you a feel for the richness and the potential of this Buddhist practice.

[52:09]

And the reason I give you an example like balloons and taking naps and such... Und der Grund dafür, warum ich euch Beispiele gebe, die Luftballons und ein Nickerchen machen, is that this is not, you know, teaching stuck somewhere sutras about Buddhas who beam world systems out of... Weil es hier, wenn ich euch zeige, dass es hier nicht darum geht, um irgendwelche abgenehmenden... This is about experiences you already have. And in this sense, your inmost request can be to put these insights together in a new way of being involved.

[53:16]

And indeed, Okay. Is that enough for this seminar? And should we go on to... I don't know. What? I just never... That's a sweet compliment, and I'll show everyone in Greece. What? What did she say? So let's sit for a moment together. Thank you.

[54:18]

I can't wait until I see you next year. Or at least as many of you decide to come again next year. But my innermost request would be to try to wait.

[55:58]

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