So the paint hooks his or her feeling and, of course, the material here she used. So now I'm trying to find a way to speak about what does the mug? How does he or she cook? Yes, her quickening. Wie kocht er oder sie dieses quickening-gefühl? I don't know quite how to answer that. I'm trying to, you know, never quite talked about this in this way.

[01:01]

Und ich weiß nicht, wie man wirklich das beantworten soll, weil ich habe noch nie in dieser Form darüber gesprochen. If I approach speaking about something so familiar to most of us in recent years, Paul's particular, if I approach something so familiar to most of us in recent years, if I approach something so familiar to most of us in recent years, If I approach this phrase from another point of view, I find new problems. I am in the midst of new problems. So the new problems are also like cooking, you know. What happened? I put these things in and now it's got too much salt. So I brought in the comparison to the painter and the poet. So I came up with this idea to speak of Mönch, of the painter, of the poet, and also of this idea of the feeling of quickening.

[02:27]

practices this or carries in his or her intentional mind the awareness of Meeting of the three. Again, taking the obvious Dharma practice thing. Looking at you, being here with you. I feel my sense objects. I feel my sense organs, my sense. Then I feel my senses. And I feel my sensorium, you know, something like that, as much as I feel you as people, or whatever you are.

[03:41]

So I just don't have the idea you're there. You're also here. And just simple teaching, prescription of the meeting of the three. Allows me to find myself in the particularity of my senses knowing you. And that I'm not going into too much detail.

[04:45]

Is that all right? Can I continue? Okay. What are you going to say? Okay, so if I... In practicing this over time, over and over again, it just happens when it's in your intentional mind. I feel you in the theater of my senses. And I have to be patient with that. Und dann muss ich damit auch geduldig sein. I have to let that happen. Ich muss das einfach passieren lassen. It's not as quick as the mind. Just, you know, there's people with covers or something. Dann ist das nicht so schnell, dass das aufsteht und sagt, endlich bemerke ich, das sind Leute, das sind Waren.

[05:52]

And what's interesting is some of you appear at different times. Boy, I'm getting too particular, but here I'm going to continue. Some of you appeared at different speeds in the theater, in my sense. Some of you come in very quickly. Some of you come in too quick. No, because you fit some pattern, I already know. So if you're coming in through the Pampers box, then I want to stop and take that away and let you come in more slowly. Darum möchte ich gern, dass ihr... ...dann möchte ich gern, dass das langsamer abläuft, damit ich euch in einer anderen Art und Weise wahrnehmen kann.

[07:06]

Some of you come in quickly because you're open to come in. Some of you don't come in quickly because you don't want to. You're resistant to another person's awareness. So then I have to have some patience and I have to kind of have a feeling in the ten directions there is no walls. And then I have to be patient and I have to have this feeling in the ten directions there is no wall. orders, there's no case. So I find I have a feeling of almost like I'm in a city, which I let the walls down and see if you want to walk in.

[08:16]

We could call this something like deep mindfulness, surface mindfulness. And you could call it something like this, deep 18th in contrast to superficial 18th. And I change the topic a little bit and say that every word is a... Provisional moments in a flow of activity. In the word provisional, I don't know what exactly you're saying.

[09:22]

That's probably French, provisional. Provisional. In the word provisional, I like the word vision. So provisional means something like temporary. So provisional means something like temporary. So even the word professional is a momentary activity that you give some duration to, and then you let it go.

[10:32]

So it's more like even your senses become a kind of... You know, you have, I don't remember now, something like 60,000, can that be? Did I get it right? Miles of blood vessels in you. Another figure, but anyway, go around the world a few times. So here we are in this world of million trees and And our consciousness simplifies the world.

[11:43]

It has to simplify the world for us to function. And there seems to be some kind of algorithmic consistency in the simplification. In other words, the way things are simplified so may normal happen in person. is consistent with the complexity of the world. Mindfulness practice, I don't like the word deep, but I don't know what I would call it. Deep mindfulness practice. We kind of like, as I said, interrupt the rush.

[13:03]

from the stream of the senses. And we're using again to take this break. We're asking the senses to kind of Our senses are usually kind of folded up in our stream of identity. And like this wonderful rabbit, we see a box of our habits more than we see that they're actually normal. So it's almost like we bring our attention to the particular, and then from the particular it opens back up.

[14:34]

And we can allow that pause, not just going on next, to open us back into our sensorium, the theater of our senses. And then we can allow the consciousness to arise. And the many quickening, perhaps like a fish swimming in consciousness. So although you drove, here we go, although you drove by that flower, flowering field, the fish are swimming in you. They're not left back in the field. So what I find myself do as more monk than poet or painter,

[15:56]

I let those little fish continue to swim in me as I drive. And they start producing their own ocean. So I find I let that experience ripen in my experience. So lasse ich, so bemerke ich, dass ich diese Dinge in meiner Erfahrung reifen lasse. Without coking them in the words of the poet. Ohne sie in die Worte des Dichters zu kochen. Or the paint or line of the painter. Oder in der Leinwand. Thanks. There is no Fastenberg to say to one.

[17:37]

All a huge job must have been to put in the heat system. All the stone wall. So in Rastenberg, in the castle up there, all these thick walls had to be drilled. We told Sophia we were coming to a knight's fortress. We told Sophia we were coming to a knight's fortress. And then she said, How do you get in then? The doors would have to be so thick to protect. The first thing you want to inspect was the doors.

[18:40]

So would anybody like to say something from what we talked about this morning? You said that you got into the wolves and the crookage. If you had novels and you put everything in the pot, the books, the soup, the poets, the artists make something beautiful to look at or to listen to and select.

[19:46]

But if you don't select at all, What happens if you are in a terrible place? Or if you do not select, how do you know that the soup taste is good? Can't you think of an easier question? Hundreds of years.

[20:53]

But it's velocity when you try to deal with that. Yeah, of course, you make a soup in a pot without walls, you're going to have a mess. Yeah. Or if you have no boundaries, psychological boundaries, you're also in big trouble. I think we closed one of the doors now. Yeah, the boundary's here. Actually, I can't see anything. Okay, so we agree you need boundaries.

[22:02]

Also concerning your soup, to take this analogy again, what you said about making a continuous soup, Well, the fact is that in professional cooking, they do continue soup. Like in a restaurant, they have for days. Even in China, they say they have 100 years old soup. Yeah, that's true. They just have the same pot and they keep cooking all the time. Now, with this analogy, is this also possible in the spiritual way? Or do you have to sort of break it up and put the new stuff in? So the example with the soup. It is the case that in restaurants soups are actually cooked over several days or weeks.

[23:03]

And they have their methods of cleaning soups so that they don't get broken. And in China they even speak of 100 years old soups that are really cooked over a long time. So not the things are thrown away, but they just keep cooking. The question is now if you can do that in the spiritual field too. How is this question important to you personally in your practice? The idea is new to me to sort of stop at some point and start over again. So for me, practice is something very continuous. So maybe I just understood you wrong, but that's how I understood your remark. .

[24:06]

Why don't you hear it? Is it the microphone? No, these are the microphones. Those are microphones? Yeah. So my speaking is going to your ears first and then back at the same time. Those are microphones? Those are microphones, yeah. Those microphones are receiving my voice. Right. I mean, this is all... It's a system of... It's called... In English, it's called dummy head. It's used the head as a... Kunstkopf. Kunstkopf, not Dunckopf. Dunckopf is something else. Yeah. And you were going to say what? That's how these microphones work, actually. You wear them in your head and you use your head. The recording is exactly what you hear when you sit here. But you can hear it. Yeah, it's just foam. It's just foam. I hear you perfectly. Did we have these?

[25:26]

Or you brought them? No, to be honest, it says in the manual that they were constructed this way. We found the manual. Oh, is it yours, though? Well, no matter how convincing my analogy was, we are not... Okay. And so we do get kind of, our pot does get kind of clogged up. And so usually some kind of renewal happens. treat, yeah, with seminars. But this practice continues. Yes, but it depends what you mean by practice.

[26:52]

I think that in general, and I'm speaking to your particular situation, you want your attention To be continuously present. Möchtest du, dass deine Intention, dein Willen kontinuierlich gegenwärtig ist? Of course, even if it, yeah, I think it's possible to be continuously present. Und ich denke, es ist möglich, dass er bestimmt gegenwärtig ist. Sometimes he'll be more present, sometimes less present. But I don't think you want some sort of concentration or conscious intention kind of forced into some kind of continuity.

[27:55]

Aber ich glaube, du möchtest nicht, dass das so eine Art von Absicht, dass die erzwungen wird und auch in die Situation aufgezwungen wird. You want to hold intention and then let that intention do the work. Du möchtest also so eine Absicht halten und dann die Absicht selbst die Arbeit tun. That's what I'd like to say right now. And that's what I want to say in this moment. Isla? Yes. And I also wanted to say that in art, you also put these boundaries. You don't keep these boundaries because otherwise there won't be a cry or an awe or anything like that. And actually, you answered the question already I wanted to ask.

[29:08]

Oh, okay. So also in practice. Okay, thanks. Anyone else? But you also answered this question. But now, my question is, you have this picture, this image of you have a screen of our consciousness and you're moving your hand and stopping this screen and making turbulence. And this kind of moving the hand is a kind of practice and you can... you can identify very strongly with this practice and you can somehow be stuck with this kind of practice because you identify yourself too strongly. And because also what you said in the meeting of the three, we are also meeting on this moving of the hand because this tension is somewhere in the meeting point.

[30:08]

But you already answered this question, because there seems to be a difficulty in practice for me is not to identify the trauma in that, but to, as you said, you hope it and you let it do the work. Yeah. My question was already answered, but I still wanted to ask you how you answered it for me, namely, Roshi talked about this stream, about being aware of how to manage the heart and how to keep the stream with it and what you can do again. And that's kind of the practice. But you can somehow identify very strongly with it and say that you constantly have to do this, you have to do that, you have to do that and so on. And Roshi actually answered that for me by saying that you have this intention, you have this intention, but you leave the intention The rest of you will answer all the questions in the process.

[31:21]

Okay, someone else? Yes. I would also like to point out that the monk with the ala and the altar, in which we are now tested, has been chosen by him. And we understand that I have a question concerning this distinction, or this picture, where you make this distinction between the painter, the poet, and the monk. And then you had this idea that, or then there was this two, the painter and the poet.

[32:22]

As I understood it, with the painter and with the poet, the soup somehow goes outward and produces a book or a picture, or a painting. And if I understood it correctly, then there was the assumption that the soup doesn't matter that she continues to cook in the winter and in the cold. I don't think that it's like that. I think the soup continues to cook even if you make a painting or if you make a book. When you have a book, you have to release it when it's published.

[33:59]

You cannot change it. But in the painting, I mean, you can continue to paint on the painting for years. Continues to go. I don't know. And Krista thinks that there are different kinds of soup. There are soups which are completely different. Don't chuck away under this other soup, you know.

[35:04]

Sorry, I have a thunder soup, and I hope it's not bad. So I'm very happy. Okay. Eric says this is the problem with metaphors. I think they're not as enclosing as a description of the practice in words. And they allow permutations you can feel. But hopefully they're just analogies, they're not. Or metaphors are not the thing itself.

[36:08]

So it's a way of speaking about something that has more information in it than most ways of speaking. Of course, I don't mean to say that a painter or a poet is not always cooking their experience in something like that. But I think there is a difference. what ingredients you choose are.

[37:13]

If you choose words, it turns out differently than if you choose paint and wine. And it's different if you try to And of course, painters and poets to live their art. But also, many mostly put their creativity into their art, not so much into their life.

[38:13]

Not you as a painter or poet or whatever. But of course, traditionally, many monks were also painters and also poets. Yeah, I thought about this enough to answer more detail than that. But if you look at Japanese painters who are professional painters, for example, Even monk painters who are very skillful.

[39:15]

So if you imagine a painting I'm an artist and that's a painting. Say that I'm an observer of a painting. The professional painter, I'm only speaking, I'm just speaking about the case of many Japanese painters. Now, any painting exists in between

[40:16]

The observer and the paint and the canvas or paper. Any? All paintings. Okay. I think there's somewhere in between. Yes. The professional painters tend to do most of the work, and you can see the work of the image on the canvas. The amateur painters or the monk painters tend to make the painting way back here, where you have to do most of the work to see what the painting is about. I think you cannot make this distinction, this sharp distinction anymore.

[41:24]

What's your distinction? So I think nowadays painters are letting themselves be surprised by the painting and what happens. So when the picture is not constructed, so you let yourself think. Painting, I'm not painting, it doesn't seem to be a question, I'm all painting.

[42:31]

It's both right, but we're basically saying it's practice that makes it difficult. Okay, good, thank you. Don't, Peter? For me, it's really far in this matter, it's by the matter. It's really far that it's designed by the child. For me, in quotes, it's always practice rather than leadership. Yeah, I did find myself involved in the New York abstract painting world in the 50s and 60s. They started with canvas and a brush or a trowel to throw the paint. and some colors, and then they let something happen. But still, for most of the ones I do, and I do some of the main ones,

[43:31]

Art was their point, not their life was their point. Okay, then we've talked about that enough. I think we've talked enough, but I'd like to say something else. I'd like to say something else. I'm interested in the question of the material. Do you have any words? I'm also interested in the material, so I've been asked for the board, the candles and lines, the color for the painter. What actually is the material in your life? Is it art? The art object? Because what I experience is that words have somehow a kind of resistance and

[45:13]

They get against the experience, which are expressed by the words, but they don't fit rightly inside. The words are resistance against which the experience forms itself and becomes particular. And you only give one example with the hand you put into the stream of consciousness and then you create turbulences in the stream. What would be a common expression for what is the material you work with? For instance, what you already said, the meaning of the three. What do you pick up to bring consciousness to?

[46:47]

In other words, you're saying the words, the material of the words creates an interference which produces something. In other words, the words that you use cause a turbulence and leave somewhere. And the articulation, as I said this morning, is uncovered and evolves and emerges. And the painter That paints his way to that.

[48:01]

Or her way to that. Yeah, or as Foucault says, writing writes writing. Yeah, okay. Speaking, one of these, by speaking, speak speaking. Yes, yes. Yeah, then I get somewhere I don't know where I've gotten to. Which is okay, because we've got until Sunday. Except here I know he's leaving, so then I... Don't worry. Okay. And this is very similar to what you said earlier. Why don't you say it again so we're refreshed by what you said?

[49:03]

So my question was, if you imagine this inner cooking pot, How do you relate to this inner cooking pot? And how is this practice of relating yourself to this cooking pot? Do you see this inner cooking pot in a certain way, in any way? And in this relationship to this inner cooking pot, is there a you? Is there a recording part, and is there an episode I may do?

[50:20]

OK. Answering or answering. Yeah, I love the questions. I just don't know the answers yet. OK. To answer, first of all, through just this morning, we've come into a very similar territory, as far as I can tell, together. And my experience is quite similar, even to the ones of you who haven't spoken. But it doesn't quite match. It's not like this, it's like that. So to really respond in any effective way to you, and to respond to the questions you have brought up in me, requires us to kind of reestablish territory, which we can

[51:52]

newly established and re-established territory in which we can answer these questions. And I'm in no way... trying to make, just to go back a bit, trying to make some value comparison between the monk, the painter, and the poet. And in, I mean, that practice is, first of all, I've been emphasizing the last year all my life, especially the last year or so, sent back to some really kind of science that has little to do with religion. But it overlaps into, or begins to include, the experiential realm of religion and a spiritual life.

[53:21]

And it also overlaps into art. It's a kind of art. So it's much more a kind of art and science than it is anything else. But the philosophy for the most part doesn't arise from philosophy, it arises from attempting to say something about practice. And you can see that we recently had readings about the Abhidharma in Johannesburg. And the Abhidharma was work of, you know, centuries and centuries.

[54:48]

Attempting to put Buddhist teachings in sutures as they were understood. Into a way of practice. And to systematize it as a practice. And in the process of systematizing it, they sometimes tried to make philosophical explanations. When they started making philosophical explanations, it gets kind of ridiculous. They said we were trying to establish mental connections and not practices. Weil sie versucht haben, mentale Verbindungen zu schaffen und nicht Verbindungen, die ihr oft Erfahrungen aus der Praxis bildet.

[55:52]

Weil sie versucht haben, ein System zu schaffen, das didaktisch konsistent war und nicht konsistent aufgrund der Erfahrungen in der Praxis. So again, I'm going to go back to what you said. But it's clear that if you're whatever you do, if you practice, it makes a difference. And it's interesting when we take a survey of people who decided to practice. Most of the people have a profession which supports the practice. I really want to take off in a different direction.

[57:16]

But it's my breakfast. It's time for a break. So that's the direction we're going. That of the poet. There's a quickening I feel. pregnancy here in our shared discussion. But now I suppose it's my job to see if I can give some

[58:17]

words to it, or images, or feeling. And I do it because you can do it, too. We can both stop. Now you've missed what he said. Oh, God. I'm sorry. So I'm always close to this, to feel, yes, I don't have to be in this divided world of spiritual material. I don't know how to get out of it. But I can feel in myself The desire to be happy.

[59:36]

That's what Sri Krishna by inmost request. You know, we feel ourselves in a world separated, as I said earlier, this big world in which we can't find at least space for ourselves. A little space. A little space is really the way we want our life to be and the world to be. We don't just ignore that or crush that. We trust this inmost request, this belief in nothing from which form and color appear. Maybe if someone said to you, what is your innermost wish?

[60:44]

You might say, I'm always close to it. So security tried to bring together these two. Samurai minds and Buddhist minds and American minds. And the Japanese congregation mind and these kind of hippie and picnic American students. With a certain number of crazies. You know, really, too. He would speak about we share this inner request. How can we live together this inner request?

[61:45]

which includes our personal life, our personal history, but underneath Buddhism and underneath our personal history and our psychology, we can feel this inner request. This quickening. This presence of something that wants to come to life. So sankh, or our practice together, is to try to live this inmost request together. That's enough, don't you think?

[62:57]

Why don't we sit for a moment, and then we'll stop. Eric wants to translate some more. You can translate. That's something before form and color appear. Maybe each of us sitting for a few moments now can be that nothing before form and color appear. This is not before form and color appear. And if form and color do appear, as thoughts, anxiety, whatever, just take it.

[65:04]

Form and color. Feeling. There is nothing from which it appears. Whereas these birds sing. To us, and for us, and for no reason at all.

[66:10]

We started with this sentence. We played with it as we reached here. We can try to pause within the beauty. Now, this use of phrases like this, you know, I can remind you, you know, but I remind you, come out of a, you know, an attempt of Zen to turn a thousand years of And to take particularly cultivated, literate, urbanized Chinese folks.

[68:12]

literate, städtische, civilisierte chinesische Leute zu nehmen. This is our question, sir. That's fine. Because, you know, they're not going to study all of Buddhism and that sort of thing. They just need something to bring into their already developed culture. So you want something that a kind of distillation of many teachings. In a phrase like, to pause for the particular, for the pause, is the assumption that everything is changing. And that not only is everything changing, but everything is an activity. And attention isn't just like a camera you're bringing to look at something.

[69:51]

Attention is an activity. For a good photographer, that means. camera is an activity. I saw again an example of a camera being an activity. Imagine. I recently saw Michelangelo, Antonioni's movie, Blow Up. And it's actually very interesting. So this is, um, this, uh, um, He takes pictures of a man and woman who don't... Have all of you seen the movie?

[71:18]

Some? Yeah, some. He takes pictures of this couple... who don't want pictures taken of them for some reason. But then when the pictures are developed, one of the first things that's interesting is the pictures that are developed are not pictures from the places where he took pictures in the film. So already Antonioni is playing with what's written. Because, like, they started taking pictures from here, and then they developed them, and they were taken from over there.

[72:23]

And most people watching the movie wouldn't notice that. If you look at the movie carefully, you realize these aren't the pictures he was taking. And then when he takes the pictures, he has a quickening. He has a feeling there's something in the pictures that He can't see. So he blows them up and blows them up. And he takes pictures of the blowouts and then blows those up. And then he sees there's a body lying in the grass. Then he goes out to the place and the body's gone.

[73:26]

It's okay. It's a movie which... I have no idea about Antonioni. He's a great movie maker. But it's an exploration of ideas that are just saying this and this. Even if you develop a megapixel of megapixel mindfulness, But you do enter into the complexity of the world in a new way. Christina asked, what is the eye here?

[74:48]

What's present in this cooking, something like that? Well, if I give a camera to a machine, instead of a camera just to take pictures, How random. Most of them wouldn't be too interesting. Well, I've seen photographs taken by Down's Syndrome. Not in any framework of meaning for us. So clearly, we take pictures and we take them in a frame of some sort of medium.

[75:57]

Not that I know of. You know, people do experiment with setting up cameras. You just beat them for a while and see what happens. That's a famous Japanese photographer. I don't remember his name, but he took a picture of a drive-in movie. And I don't know if the shutter was just left open, but anyway, for the duration of the movie, the camera's taking it. And there's detail all around the screen, but the screen itself just becomes a big rectangle of white. And all the movement eventually cancels each other out and turns into white. So what if our sense is taking a picture?

[77:22]

So how do we find ourselves in the mind of a poet or a painter?

[77:42]

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