We had quite a bit of discussion yesterday. Of course, we did have a rather nice interlude from the translator. But, you know, Giulio asked about or mentioned about intention. And I would say that we're born with built-in attention. which is first of all to stay alive, as I said. And I think when we see our life as a personal evolution in which we are the main participant,

[01:07]

It's good to consciously recognize that intention to stay alive. Even to make it a vow. And a vow that it's not just As I say, you're not going to stay alive if you're successful, or if this happened, you're going to stay alive no matter what. There may be exceptions when it makes sense to decide to die intentionally. It's quite common for Zen teachers, I'm not making any predictions, to intend to die at some point, slow their heart down and, you know, pop off.

[02:17]

But I think this birth intention is an infinitely dividable intention. And you touch it by coming back to what Suzuki Roshi said, your innermost request. And to discover and feel, act within your innermost request. would mean that all of your intentions are rooted in that initial stream of being alive.

[03:37]

And I would say that probably when your intentions are socially derived, culturally derived, et cetera, and don't touch that basic initial stream of attention. These intentions rooted in comparisons with others and jealousy etc. tend to make you sick. At least that's my observation. Now, my intention is to have more discussion. Because I really don't know what to do unless I feel it with you. And when you say something, that helps. But today and yesterday, this topic of breath, body phenomena, has so much power for me.

[04:53]

Because they're not just three categories, they are that. Observable, experienceable categories. But we can also think of them and know them as interrelated, personally evolutionary, transitions and transformations. Transformative what? Categories? No. Transitions.

[06:21]

And it's strangely enough rooted in the depth of the practice of the breath. Locates the body in breath. Through breath. And then locates phenomena within the body. And when that occurs, that's called non-dualism in Buddhism. Now, when I saw this topic and I thought, geez, I don't know. Andreas gets these good topics to appear. I don't know. He says I thought of them, but I don't know.

[07:31]

I think he did. He has to approve of it, and when he approves of it, I think, oh, yeah, maybe that's okay. Then here in what I call central Germany, he says it's northern Germany. He gathers such an extraordinary distillation of beautiful people. then I get excited. How can I make this topic work? And then my intention just pushes me right past discussion. So let's have some discussion now.

[08:33]

Hold my intention back. So what I've talked about yesterday is breath as a passageway or doorway into the autonomic nervous system. And a window into the mind. Yeah, and an anchor in awareness in for our inner posture the an an actualizing inner posture. So none of these things are difficult to understand.

[09:38]

But if you're trying to relate them to your own experience, that makes them a little difficult to absorb right away. Because as ideas, they're fairly simple. But as real possibilities for us, they're They're world-changing. They can be. So with that minor introduction, does anybody have anything to say? I can depend on Rainer. He will have something to say. There's so much I have to restrain myself and please tell me if I say too much so that it's only my own... Well, I'll ring the bell if you get... I'll just ring the bell if it's too much...

[10:50]

I mean, I swallowed the bell earlier today, so... First, I would like to say that so much came up. First of all, for me, it's just a sign that there's a particular resonance. I'm wondering where he's gone. So much happened in my head which actually you can't know what it is but then for example you speak about Norbert's death and I just lost my dog and I wonder where did it go? And alongside solved the koanmu. Does the dog have Buddha nature?

[12:16]

meaning no or none of that kind? I suggest when you come to have a new dog, Name it Moo. It's like a lotus that touches me. It expressed something very strong and masterful. To say it in one word, I would say equanimity. I am grateful that you speak about the body. I remember that you once saw how we made kidneys and how it just didn't work.

[13:22]

I think we were shocked about how wrong we needed it. Then you practiced all of that. I forgot the bit, but I know that the posture was a particular angle. Once I found it, it touched me so much that it made me cry. So I believe that details are important to take care of. That's enough for now. When I arrived here this morning, arrived here this morning and sat down, the feeling as if I am constructed or constituted of dice and dice. Of course, like a three-dimensional printer as if I was in the midst of being created.

[14:37]

Oh, sorry. a good feeling. And the feeling to be at the right place. I could see everything you said today. I could find myself in that very place. I can't. I reflect this back with words. I had the thought of... I don't know which one is stronger. I can't say it. I'll just say it like this.

[15:43]

Lost. Lost. I lost it. Well, maybe it will come back when he speaks again. Eventually, I hope we can talk about the Five Scandals, which is a kind of printer that I hope that we can talk about the five Gandhas later, who are also a kind of printers. I found two things that I noticed. First of all, what Nicole said about this spirit bubble, I think that's a good picture. Two things that I noticed was, I mean, during the talk, sit and bubble in the head, I think that's good.

[16:45]

And then to, in the talk, and while in the walk, I mean, I'm not, And then through breathing, to go through the skandhas and bring attention into the form. If I practice this in my daily life, for example, before leaving the restaurant, I go to the GDHA. Then I almost can't reach it. I have to walk so slowly for it to work. If I practice that, for example, on the way from the restaurant back here, I was by myself. If I practice that, I notice I wouldn't be able to get here because it slows me down so much.

[17:46]

When I try to completely locate myself in the field of breath, The other thing as a metaphor, I really liked that when you got out your iPhone, neutral observation that gave me a taste. That's really interesting. Well, when you... completely... Enter the field of each inhale and exhale and then head. It does slow your way down. But eventually that slowed down that slowed down locating gets stabilized and becomes just present in your activity um

[19:04]

a slowed down awareness. Comes to rest in the background of your mind. And even rest in the background organs sort of of the body. And then the billboards of thoughts and autobahns and things are in front of that. Yes, Julio? Two things, this image with the iPhone.

[20:12]

It wasn't an awareness of everything. But always only where you would project or hold the iPhone. Yes, I know. And I'm thinking about intention right now. And I can have an intention, for example, in practice, but in the big matters of life, If I'm honest, I can only notice or recognize whether I have it or whether I don't.

[21:18]

Okay. I don't want to sound like I can respond to any old question that's given to me or any new question. But if I do respond, it's in the context of approximations. And using the iPhone as a non-subjective observing a function. It's only a suggestion or an approximation. And of course you're right, it only is observing what is near. But that's true for us too.

[22:31]

This non-subjective observing mind is a location. the non-subjective observing mind is a location not an identity you yourself taught me that well when I talked about it you said yes that makes sense also the non-subjective observing mind is also a place and not an identity and of course you're not an iPhone and of course you're not an iPhone And something more is going on than just pixels. But my experience is, and the assumption in the vijnanas, the alaya vijnana,

[23:41]

conscious or non-conscious, all of our experience is on some level being observed. And the degree of detail, the degree of resolution, the degree of articulation, detail, resolution, articulation, depends a lot on your own evolved capacity. And the degree of detail and resolution and articulation depends very strongly on Excuse me, I can't follow right now. From your capacity? Very good. Are you feeling sick again?

[24:51]

No, I can't yet. I have a different thought that's in my mind and keeps trashing into what you're saying. Trashing? Well, trashing. I kind of want to say it, but it conflicts. You're not a trash-later, you're a translator. I'm sorry, but I'm currently trashing it. I'm really sorry. Okay, so this accumulation of our experience... which is a basic assumption of yogic Buddhism, the degree and articulateness to which it is accumulated has a lot to do with your inner stillness and synchronization, etc., as we talked about this morning.

[25:57]

And then the accessibility to this inner articulation. innerly articulated experience. The degree to which you have access to that or allow it to move you beyond any intention Also develops with practice and with character and experience and so forth. And intention has something to do with the access. And my approximate experience.

[27:04]

And within the articulation itself, there are hidden or built-in intentions. So it's not just your experienceable intention, there's sometimes... Intentions hidden in layers of our identity. And sometimes creativity is to allow those inner intentions that we don't even know why we intend it, allow those inner intentions to come to the surface. Yeah, so that's the best approximation I can give. But you seem... I don't want you to... She can't translate until she tells me what's going on.

[28:20]

No, the last thing you said, that was what I had kept bugging my mind. Oh, well, thanks. But you said it much better than I could have said it. Thanks for planting it in me. Yes. What got stuck for me is the sentence when you said that we Westerners, we tend to plan our future. And Asian people tend to say future comes to me. Of course they also plan their future, but they plan it in the assumption that it's going to go wrong. Or more like that. They plan more for contingencies than we tend to.

[29:22]

No, contingencies are all the sidelines which could affect a situation. Unwägbarkeiten? Nee, nicht unwägbar. Doch, unwägbarkeiten. Danke, sehr gut. Für unwägbarkeiten. And I think yesterday when I got here, yesterday morning, when I started my trip in Berlin and I was sitting in the U-Bahn, very early, I came in and had a brief eye contact with a man who looked Turkish, or as nowadays we say so nicely, not an organic German.

[30:45]

A non-organic German. Myself and a robot. It is so-called now in Germany to say it like Buhn, or in German. Non-biological German, maybe. Non-biological, of course. That's me, too. Non-biological, I didn't know it till now. Well, okay, he looked a bit like a worker. Er sah ein bisschen wie ein Arbeiter aus. Es war ja noch Freitag früh. Und bei einer der nächsten Stationen stieg ein anderer Mann ein. He had a bag in his hand and put it in front of him and said something to him, something, I don't know what language it was, and then moved away again and sat down somewhere else.

[32:06]

And you could see a large package in this bag. And so at the next stop, he looked like a worker, and it was very early on, and it was Friday morning, and in the next station, a second man stepped onto the subway, came into the subway, and he put down a suitcase, or looked like it was a big package, in front of this first man, and said something to him, I don't know in which language, and he just left it there and then went on to sit somewhere else. Yes. Sounds like a spy movie. Yes. . That's exactly what came to my mind. I thought there are so many things that are happening, there might be a bomb in this packet. It might have been full of money, though, too. You could have distracted him and taken the suitcase and seen what happened.

[33:11]

I had a moment of inner disquietude and an idea that maybe I should sit in a different wagon. But then some inner intention told me that I won't plan for my future, but that the future will come to me. They had some kind of inner trust that maybe I'm at the right place at the right time. And the good thing is nothing. Yeah, okay, I understand, exactly. All of these things go through us.

[34:23]

Yes, Carolina? I've been waiting a long time, a few years for you to raise your hand. What? My experience in the last few months is I have needed to take medication that strongly has a strong effect on the mood. Very strong alterations of mood, but what especially comes up is a bunch of sad feelings. And I had to think of the sentence, trust your own experience, which you said a lot.

[35:29]

But on the one hand, at that moment, these feelings are completely real for me and at the same time I know And at the same time, for me, I know that these feelings are completely real, and at the same time, I know they have something to do with the chemical, they are affected from the outside, so to say. So from that point of view, I can trust my experience. So I was wondering how can I solve this for me? How do I get through the moment? And when I subtracted this and what was left, the only thing I felt I could fully rely on or trust, the only thing that was left was the body.

[36:45]

So it's not about, okay, I fully then concentrate on the body. And the thing is not that I didn't accept these feelings. It's just that acceptance also didn't make them any better. And then it came also, I combined it with the maten, and so simply to concentrate on the body and, so to speak, with every exhalation, as in the body, And I combined this with breathing so that it would roll into the body through the breath. And then one can roll it a little beyond the body and one can extend the moment into make it longer, extend the moment.

[38:05]

So that immediate experience is no longer so limited through my bodily boundaries. And I would now reformulate the sentence, and what works better for me now is to trust my own body. Okay. Good. I'm glad you worked through that. And I could have said easily, trust your bodily experience. But, you know, you have two experiences.

[39:05]

One experience is the experience you can't trust. And then there's a feeling, I can't trust this experience. And you're trusting. We have to look at this carefully. We can't just blindly accept some kind of statement like this. And so you're noticing that you can trust that you can't trust your experience. That's like in the Sometimes you have dreams that you know it's real experience, but you can't trust it in the usual world.

[40:07]

I was really struck by that mathematician that the movie was made about a beautiful mind. Do you remember his name? Nash. Nash. Yeah, Nash. That's right. Something Nash. John Nash, maybe. Anyway, quite a good movie, and I even met the actress once who played the woman in it. And I'd read something and read some some autobiographical writings he'd done. And his brilliance as a mathematician was he trusted certain feelings which led into these mathematical breakthroughs that he's famous for.

[41:14]

But at some point he got rather crazy and paranoid and so forth. And he had the same feeling of trust for those bizarre feelings that he had when he made a mathematical breakthrough. So he went and followed his delusional experiences because he trusted them the same way his insights And he came back into our shared world By developing a craft of what feelings he could trust and what feelings he couldn't trust.

[42:30]

And that's, I think, true for all of us, too. The more we open ourselves to our complexity, the more craft we need in deciding what we do. Okay, and Julia, did you want to say something else? You started to speak at a moment. No? It's still about intentions. All right. As if intention is also only something I can observe. No, intention functions as whether we can observe it or not, at least in my experience. And one of the things I practice, because I'm a rather simple guy, is I try to make no decisions mentally.

[43:51]

I try to make all my decisions bodily. So I don't decide what to wear or what to do or what to talk about. I sort of like observe what my body starts talking about or what rocks do it picks up and things like that. But I do have to have some craft in deciding when I trust my body and when I think, no, no, you got it wrong, baby. I should trust something else. But I think we should take a break now. Not just because it's time to take a break. But also because I have an intention because of Ralph. To speak about the five skandhas.

[45:01]

Peeling off the brain skin. And I won't have time to do that unless we take the break now. So, thank you. Now the five skandhas which I've spoken about, probably more than any other single topic, in the past 50 years he takes breaks whenever I speak about it and it's the first teaching mentioned in the Heart Sutra Not even, not only mentioned, but explicated in the Heart Sutra to some degree.

[46:32]

But it's an interesting resource for us. I mean, not only is it maybe the most basic of all the Abhidharma teachings, Not the maybe, is the most basic. But it also is a particularly fruitful resource for us in the West. Yeah, because we emphasize a world put together by consciousness. And it... It takes a while, but I think we now generally recognize that consciousness is the designer and is the editor and the designer of the world as it's presented to us.

[47:49]

And one of the easiest examples of that to give is the work, again, of the ophthalmologist He started out as an engineer of Émile-Louis-Émile-Gerand, or Gerand. And, you know, again, I've mentioned this example, but it's the best example I can think of. Anyway, he was an ophthalmologist, became an ophthalmologist, and he studied He decided to study because of a particular disease that ran in his family.

[49:04]

And he tried to study and observe the way the mind, no, excuse me, he began to study and observe how the eye observes. And he did a very simple thing, which anybody could have done for many centuries. In the late 19th century, he lived into the 20th century. He just put a mirror up beside his and watched himself read. And while he was getting a complete picture of the book and the text in front of him, His eyes were in milliseconds dancing all over the place and stopping at certain points in little fixations and then jumping around.

[50:25]

And these little jumps around, he or someone called cascades or saccades. Hmm? Cascade, really? Well, the word saccades comes from cascade. Oh, okay. Something cascades over. Okay. So he noticed that the brain edited out all these saccadic movements. That the brain was creating a complete picture but the eye was doing something different. It was the brain that made the complete picture.

[51:26]

And I began to notice this when I first, before I recognized that I had cataracts. I kept wondering why my headlights weren't bright enough. During the day I could see perfectly well, but at night I couldn't see. But it seems that during the day there was enough information for my brain to put together a picture and I could tell which side of the road a truck was on. But at night I used to... I used to wonder, what side of the train or track or road is that truck on?

[52:47]

Russell Smith, you don't know Russell Smith, but a practitioner in America, he was driving me to the Denver airport and I was kind of annoyed with him because his headlights weren't bright enough. It wasn't that the lights weren't bright enough, or he wasn't bright enough. It was just that... My brain just wasn't getting enough information. The job of consciousness is, as I've said, to present a world of implicit impermanence, of permanence. Yeah, and it has other jobs I've discussed, but in any case, the brain edits the sensorial information and designs the world that we can function in.

[54:01]

And we try to interfere with this picture in many ways, intuitively at least, with alcohol, drugs of all kinds, you know, extreme sports. Painters distracting themselves with a radio in the background and construction workers too, while they do try to... in another way. So the five skandhas are traditionally understood as the constituents of consciousness. And the simplest way that for many years I've described the upward accumulation of these constituents.

[55:16]

There's a form, there's a sound, there's a signal. And then you have a feeling about it. Yeah, you notice it at a feeling level. So that's the first two skandhas, form and then feeling. And then you begin to recognize its music. And that's the percept-only skanda, the third skanda. Maybe someone's walking towards you with a... ghetto blaster. They don't have those anymore, do they? A radio, a portable radio. Did you call them ghetto blasters in Germany?

[56:33]

You don't have any ghettos in Germany, though. We do have. Oh, nowadays, yeah. Like me, yeah. Also jedenfalls, wenn jemand zum Beispiel mit einem ghetto blaster, die es heute nicht mehr gibt, auf dich zukommt, And so then you begin to, oh, that's the song Temptation. So at the point at which you perceive it and then you name it, you're in the third or fourth skanda. And then you remember that your mother used to listen to that song and cry. And so then there's the associations, that's the fourth skanda. And that comes together in the fifth skanda as consciousness. And the fact that your mother and your father separated Your mother cried at this song and so forth.

[57:58]

That sort of whatever is becomes part of consciousness, but you also have things to do, et cetera. So it's only part of consciousness. And at every moment, every fraction of a moment, there's these signals which turn into percepts, feelings, percepts, associations, and consciousness. And conceptually understanding this at least allows you to recognize that consciousness is a construct. An accumulation. And the degree to which consciousness can be reconstructed is not clear, I think, just from the conceptual understanding of the five skandhas.

[59:16]

But you can begin to practice this in this movement from form to consciousness. But just noticing when you hear something, what happens, what associations occur and so forth. The practice of the five skandhas in any articulated way depends on your having developed the aspects of breath practice I mentioned earlier. You've sussed out and developed a non-subjective observing mind. And in noticing the way in which breath and states of mind and feelings are interrelated,

[60:29]

Which is, you know, more thoroughly this is noticed. Noticed. Just really noticed. I'm trying to emphasize, don't think about it. It's just noticed. You notice it over and over. Over and over. Your skill at being present when there's a signal or when there's an association gets more and more. Deine Fähigkeit, präsent zu sein, wenn da ein Signal ist oder eine Assoziation oder so, diese Fähigkeit nimmt immer weiter zu. You have this analytic skill to investigate experience as it happens. Du hast dann die analytische Fähigkeit, die Erfahrung während sie geschieht, zu untersuchen. And the more you're fully located in immediacy without anticipation of futures or exaltations from the past...

[61:55]

You know what I need. Exaltation. We could say association from the past, but exaltation means some of the past associations were kind of exalted. Okay, let me translate and then we have a problem. Associations from the past. Exaltations means something really special happened in the past, keeps coming back. I'm just trying to be positive. It's a kind of joke. But nobody except you gets it.

[62:57]

Yeah, but it's my own joke. I enjoy my own jokes. Okay. Assoziationen oder die freudigen Ereignisse, ich weiß nicht was er sagt, freudigen Ereignisse der Vergangenheit, sich in die Unmittelbarkeit einmischen. And it also has associative puns involved, like exhumed, which means risen from the dead. But I didn't want to go that far. So, I mean, I'm speaking in a context and only telling you some of the words which I'm streaming together as sentences. So it's a special yogic skill really and a kind of important yogic skill to really be able to hold, to have your attention not forced into immediacy. And it is a certain yogic ability that you

[64:15]

You're not trying to force yourself into the here and now. Although here and now is important, it cannot be in the here and now. That's the wrong approach. It's your... engagement with the present is so full that it's almost impossible not to be in the here and now. And that's part of what the five skandhas can offer you. Okay. So with these skills developed through attentional inhaling and exhaling practice, intimately aware of

[65:24]

how each breath affects your bodily movements and emotional movements. It's like you've slowed down time and space, as if you were a kid lying in the grass for an hour watching a blade of grass. This pace of time and space which we lose usually as we grow older. And meditation practice gives us the skills to move in and out of different modalities of time and modalities of space.

[66:44]

But it means you're reframing and re-experiencing yourself through the dharma body and not the karma body. Und das bedeutet, dass du dich neu begreifen kannst. So you have these skills now through simple, regular meditation practice, which we're all gifted with to various degrees, but the gifts are enhanced with practice. Now, in some ways, the upward movement from form to consciousness is like going up the stairwell in an apartment building.

[67:53]

Yeah, you're just going up and consciousness is the result of this accumulation. But it's like a comb. An upside down cone. But when you go downward in the five-scan, this is like a regular cone. It's almost as if you go upstairs in the stairwell, and when you start to go back downstairs, there's no stairwell, and you have to climb in each apartment on every level. And each skanda is a different apartment. Even domain, even world. Now experientially, it's much easier to start with consciousness.

[69:35]

And that's the process of zazen. It can be the process of zazen. You can use zazen as a way to explore the five skandhas. So you, whenever you start Zazen, you are probably reasonably conscious. Of course, if you're getting up at 3.30, and you're not up at Crestone or Tassel or Yonasov, You may be arriving in associative mind and not in consciousness. But generally we start out in consciousness. We got through the door, we sat down, we found our cushion. And then as soon as you sit down, the more experienced you are, the brain skin begins to peel off.

[70:54]

The brain as editor and designer of the world begins to take a break. And you find yourself in an associative field and you are in an associative field of all kinds of things that don't fit into consciousness. They're not repressed, they're not unconscious, they're non-conscious. They're just not conscious materials. They're just not the material of consciousness. But they're still part of your experience. Some of them you can be sort of conscious of.

[71:58]

Some of them you can only feel. So you get after a while experienced at locating yourself in what I call associational or associative mind. And it's closely related to dreaming mind. And if you discover how to be present and hold your presence, non-conscious presence, in associative mind, it's very easy then to develop that into lucid dreaming. And so your lucid dreaming becomes a kind of field of activity. which may not be kind of weird things all accumulated from your experience and then distorted.

[73:26]

It may be a deeper level of thinking. It's like I gave you the example of of this pure mathematician I knew years ago who was trying to solve problems that had never been solved before. All he could do was keep presenting it to himself and hope something started making connections. So often the more, and this is all just common sense, Actually, in a more older form of the idea of common sense

[74:31]

In English, common sense has come to mean what's common to everyone. Everyone knows what's common sense. But in earlier centuries, common sense meant a sense common to all the senses, which was like a sixth sense. And as our culture has progressively emphasized consciousness more than other dimensions of mind, Yeah, so now the arts and poets and musicians and so forth are more the people who access these other dimensions of mind. But we have the interesting problem as practitioners now of how to use the highly developed consciousness we have

[75:46]

to access other dimensions of mind. So as we get used to, now it's not like the five standards are already there. The consciousness is already there, the way our culture is developing. But the other five skandhas are just potentialities. And the four skandhas are just potentialities. So you need some kind of craft, practice, you know, something that allows you to notice these other dimensions. When I study artists, painters, you know, for instance, the ones like Matisse and so forth, Cezanne.

[77:04]

When I study artists, for instance, What I see is a person who had interrelated enlightenment experiences, which they discovered through the kind of concentration required for, in this case, painting, which required the kind of concentration, in this case, painting, resulted in exaltations, enlightenment experiences, bliss experiences.

[78:12]

And then they spend their life painting their way back into these experiences. Often successfully, I think, in my experience. And they paint back into these experiences to share these experiences with you because they feel so exalted by them. I felt that spending a week or so with more with Pablo Casals once, the great cellist, Cuban cellist. He found, really he spoke about it through the experience of each note, he found himself in a space that he wanted to share with others.

[79:20]

Yeah, so associative mind opens you to all these associations which are not just contents in a warehouse. Der assoziative Geist öffnet dich für alle möglichen Assoziationen, die nicht nur so sind wie Inhalte in einem Lagerraum. It's much more like a garden or a greenhouse and they're all interrelating and fertilizing each other. Es ist sehr viel mehr so wie ein Garten oder ein Gewächshaus, wo sich all diese Inhalte wechselseitig befruchten. So that's the fourth scan. Und das ist das vierte Scan. Now the third skanda is percept only. And again, these aren't just there. The wisdom of Buddhism says, we've tried out a lot of things, but one thing is focus on associative mind and develop it as a field that you can, like all mental formations have a physical component.

[80:43]

So, associative mind has a particular physical field which you can locate and remain within. And this breath practice is one of the ways you get the ability to tune in physically various modalities of mind. Now, this sounds maybe complicated, but it's the most basic of all Buddhist practices. And as a complex teaching, although basic, it depends on certain developed yogic skills. often and primarily related to breath practice.

[82:06]

Beruht sie auf bestimmten entwickelten yogischen Fähigkeiten, und zwar häufig die Atempraxis. Okay, now percept only. Also, reiner Warnungsgeist. Here, really what you're doing is pulling brain skin off the sensorial body. Was du hier wirklich machst, ist Gehirn, Haut... It's as if you had a sensorial body profoundly open to the world. Which the brain keeps trying to dress in the emperor's new clothes. You think you're dressed, but you're not. So, awakening the sensorial body really depends on getting out of the bubble of consciousness, which Nicole mentioned earlier.

[83:24]

And then the knowing of the world through the five now newly articulated and open five senses. And not dominated by the brain editor. And not dominated by the visual consciousness which occupies the largest percentage of our brain. You're developing each sense field independent of the others. And then you're beginning to be able to relate them like a quintet could play different musical instruments and sometimes come together to play a single piece.

[84:38]

At this point, the sensorial body knows the world primarily aesthetically and not mentally or conceptually. It's almost like a cocoon, a caterpillar cocoon. you peel off the skin of the cocoon and there the sensorial body is a butterfly.

[85:39]

Beginning to release its kind of sticky wings. wanting to fly in the world in another way. Yeah. Sounds good. I mean, to me it sounds good. And I'm speaking about my experience in some way that I hope is... but this sensorial body which is not the brain mind body needs to have its own because it's so vulnerable sensitive it needs to be sealed from within with an

[86:53]

anchored awareness. And that's also developed through breath practice. And then there's feeling. Second skanda is non-graspable feeling. And now this non-graspable feeling, it's like the ingredients before went from form to feeling to percepts to associations to consciousness. And now in doing zazen, you're undoing, loosening, The structures and strictures of consciousness.

[88:06]

And letting the power, there's a power in consciousness. A sort of like filter into associative mind. not organized the same way, but present in associative mind. And now to this associative mind, you allow this awakened sensorial body to be spread its wings. And that all of this begins to fly in the space, the field, the feel of non-graspable feeling. And that's the second skanda.

[89:15]

And the first skanda is form, but remember, form is emptiness. Und das erste Skanda ist Form, aber denkt dran, Form ist Leerheit. So now the form Skanda isn't just signal, it's signal which arises from nothing. Und so ist das Form Skanda nicht nur Signal, sondern Signal, das aus dem Nichts auftaucht. Or it's a signal which arises from allness all at once. Oder ein Signal, das aus allem auf einmal auftaucht. And now the lying that can arise through non-graspable feeling permeates your experience of allness. You're noticing I'm not saying oneness.

[90:18]

It's a paratactic accumulation of particulars. And all these particulars begin to have a presence in your life. And this particularly happens when your... Und das passiert insbesondere dann, wenn dein beobachtender Geist sich nicht auf Unterschiede und Vergleiche fokussiert. In other words, in a simple way right now, I'm noticing all of you are here, I can feel your physical presence and so forth. In anderen Worten, ich bemerke jetzt, wie alle von euch hier sind und ich bemerke eure Präsenz und so weiter. And the plants outside. And not just the plants.

[91:36]

I mean, each leaf. I'm not looking at each leaf, but each leaf is part of what's happening here. And I'm feeling her feel what I say and I'm feeling her voice. And since I'm not making comparisons and I don't have a mental identity location I have a location that is arising through multiple perceptions. And those multiple perceptions are not just limited to what I think.

[92:43]

Those multiple perceptions are arising through association. They're arising through the now naked sensorial body. And they're arising through the field of feeling. Which indiscriminately contains all the phenomena too. I mean, I hear these sounds somewhere out in the city. They're just part of me, just like the relief and your voice and my own heart beating and so forth.

[93:47]

And when I'm no longer making, And when I'm just in a field of activity, there's no duality there. I'm reacting contextually in a way that includes immediacy. Ich reagiere situationsbezogen, kontextuell, auf eine Art und Weise, die die Unmittelbarkeit mit einschließt. So that's one way to present the dynamic of the five skandhas. Es ist eine Art, die Dynamik der fünf skandhas zu präsentieren. Okay. Thank you very much. Thank you for translating.

[94:53]

I'm supposed to end at what time? 5.30. I'm a little early. Two minutes early. Genius. Check up on my inner processes here and there. Two minutes left. So, thank you very much. Maybe tomorrow we can go a little more into how phenomena is also our medias. And vielleicht können wir morgen noch etwas weiter eintauchen an die Frage, wie Phänomene auch unsere Unmittelbarkeit sind. Vielen Dank.

[95:46]

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