Any observations anyone would like to make? Yes, I'm sure. If I look at this here, There is the possibility that I perceive how I perceive. That I perceive. . Or that it's a phone and it has a leather case and black and so forth. So this dynamic process of perceiving just clicks in and then it is something and then it becomes an object. Yeah, right.

[01:08]

And so... Okay. And this moment of it clicking in or, yeah, that moment comes from somewhere and comes from the alaya vijnana or whatever we call this concept that makes that there is this moment of this cutoff point where it just clicks. Yeah, go ahead. This capacity to stay with the process of perceiving without turning it into entities.

[02:15]

Is it helpful or necessary to somehow weaken this force from the alaya vijnana that makes it happen somehow, where that's just roughly formulated? Yes, well, first, the click-in is quite right, that's what happens. Most people don't notice that it's a click-in. They only notice the entity. And they don't even think it's an entity, it's just as it is what it is. As soon as you notice that it's a click in, using your terminology, you've conceptually noticed, at least, that it's a percept object as well as an entity.

[03:53]

Are we together so far? Is that okay? Okay. Now, that click-in does not, if not, would not be understood traditionally as coming from the Elahavijanah. That click-in is coming from associative mind edited by the brain. Now that you, as a yogic practitioner, The craft of practice would be to become more aware of that click-in. And to see if you can find within your own resources a way to separate the...

[04:57]

perceptual field from the entity, entity-ness. And every time you're able to, and the more often you're able to, you're still holding up the building. Yeah, you used to hold it up here. Yeah. Last year, we almost fell down. He says it has come to carry itself by now. Oh, really? I thought we were helping. It has become an entity. Well, it's shifting into entity-ness, yes, but not to God.

[06:26]

Yeah. Sometimes in Zen stories, the column of the temple is considered a Buddha. Manchmal wird in Zen-Tempeln die Säule eines Tempels als Buddha betrachtet. So you talk about a pillar as if it were just part of your field of space. Your pillar, it's a pillar. So I don't know whether you're in love with that pillar or it's just a Buddha in your soul. But thanks for coming back this year. We missed you. There we have a space with lots of animals. And there's a group today. We have to change the place. So I just tried to find out where they could do their... We have to see if it's the sweating lodge.

[07:33]

Oh, okay. Yeah. Don't worry about what he said. It was all in English. Okay. And every time you develop the yogic skill to separate the direct experience from the click-in, you're actually developing the alaya vijjana. Because it's noticing the field of experience that isn't in the corridors of culture in which the alaya vijjana thrives. So I'm just trying to use the configurations given to us by Buddhist practice and teaching. But I'd really rather look at it with a little more attention later in the day or tomorrow.

[08:56]

But noticing that click in and feeling it is essential. And the more you, just as a practical matter, je mehr du einfach, in praktischer Hinsicht, your own presence is a bodily breath presence. Je mehr du spürst, dass deine eigene Präsenz eine körperliche Atempräsenz ist, so you're training yourself, in effect, to feel the world and not think the world. Da bringst du dir im Prinzip bei, die Welt zu spüren und nicht sie zu denken. Now, when Suzuki Roshi was asked again, a classic story for us, what do you notice that people in the West, Americans in this case, Californians, do that surprises you?

[10:09]

He said that you do things with one hand. So if you ask me, why don't you ask me, give me the bell. Give me the bell. I never saw him do that. If now you can ask me again and I'll pretend I'm the executioner. Oh, okay. He'd pick it up with two hands. Bring it into the field of the body, just like when we bow. We bring our hands up through the chakras and bow into it. He would bring it into the field of his body like he was empowering it.

[11:13]

And he would hold it here for a moment, just like if you watch Asian people drink tea, they hold the teacup here, they drink here, they hold it here. Those are chakra points. They're activating. And so this is a perceptual object. It's a treasure of the ability to perceive. And the perception includes the whole bodily perception, including the chakras. So he would empower it with his heart chakra. And I'm not kidding, this is what goes on.

[12:15]

And then he would pass it, but not pass it like this. He would pass it by turning his body and turning his chakra toward her and then handing it to her with two hands. If you have a realized yogic practice, there's no clicking. It never clicked into being an entity. It was always an object inseparable from him, And in his field, which he was passing his field to her, not just the bell. And to notice that is what's called mind-to-mind transmission. But it's not really, I mean, we translate as mind to mind because that's our idea of how things happen.

[13:46]

It's actually, if anything, a body to body transmission, but it's much more a kind of mirror neurons to mirror neurons or something like that. And this is when a person in their body feels, you can feel practice in their body, it's called shugyo. And a person whose body usually comes from being ground down monastically, days doing nothing but hit the bell in the rain, and you have no choice, and finally you give up, and you're just, okay, there I am, Shugyo. And the body of practitioners, they are normally torn apart from days and days where you have nothing to do but to ring the bell, to stand in the rain and to hit a board or something.

[15:01]

And then at some point you realize, okay, I'm just here. And when you see that, then that means it's over. But, Pasilva says, I try to scrape off the paint that was painted on my senses. I tried to uncreate my true emotions. Ich habe versucht, meine wahren Emotionen zurückzubilden. I try to step out of all my wrappings and be myself and not Hans-Jörg. Ich habe versucht, aus all meinen Schalen und Schichten herauszusteigen und ich selbst zu sein. But I only want to be a Created somehow by everything at once.

[16:04]

I try to forget the ways I was taught to remember. And somehow, often, this has to be kind of, excuse me for saying so, for the practitioner beaten out of them until they no longer think themselves. Where you actually, you have preferences, but fundamentally you have no preferences. You're stuck for a while with having to be alive somewhere, and wherever that is, is okay. Du hängst jetzt eine Weile lang fest, irgendwo lebendig zu sein.

[17:09]

Und wo auch immer das ist, das ist in Ordnung. Okay. Sorry for that breath. Yes, Christina? Yeah, go ahead. I would like to bring something in that you shared with us yesterday. Because that was new and important to me and some of my friends haven't been here yesterday. And also because every time I pass Christiane's picture, I bow to her. And not only because she's part of our being here together.

[18:11]

For sure. And in certain ways, she's responsible. She made us be here together. She talked me into coming here and hung over. And you went to the Outback Conference. And that was one of the predecessors of my coming here. You were at the Altbach conference and that was also the reason why I came here. Yes. And I also bow to her because for me, she embodies a complete woman. And in Johanneshof, there is a picture by Mayumi Oda. There are many. In Hudson House, there's one where a woman is riding on a black box.

[19:12]

And I think she's not dressed very much. She's playing a flute. And I also bow to this picture just because I enjoy it. Yes. Grapers, we found here some black grappa. And yesterday you spoke about that there's a difference, the experience that arises from a woman's body in contrast to the experience that arises from a male body. And for me, you confirmed that there is a difference. And we have one of our habitual phrases is that a difference does make a difference.

[20:20]

And I think we should look at it. And in the session just now, you said that for the practitioner, it's about exploring their experience. And when I join these two, then I'm noticing that that requires a permission. And this is the permission I would like to give to us. Not me as a person, but I don't know. Thank you for your permission. Permission is extremely important.

[21:21]

We often don't do anything until there's an implicit permission. And Mayumi, of course, painted this usually Buddhist or cultural figure which is always a little boy as a woman playing a flute on a black ox. But usually her mount, what she rides in her art, is a bicycle. And do you all know why she would make them ride a bicycle? Until bicycles came along, transportation was by horses.

[22:23]

And it's usually the job of men to take care of horses. They're big, kind of unruly animals. And it was men's job to harness them and get them tied up to the carriage and so forth. And women can do that, but they didn't do it so often as men. So if women went anywhere, they were dependent on men to create the horsepower. And as soon as bicycles came along, they became a symbol of women's liberation. So women could just get on a bicycle, to hell with you, husband, I'm on my way.

[23:39]

So it became, in America and Europe, it became a big symbol of women's lib with the bicycle. And now we have BMWs and all kinds of things, and they're even introducing them to Egypt for women to drive. So women being in charge of their own transportation is a big part of what's going on in our society. And these things interest me because I have three daughters and two wives. Okay, I think it's time for lunch. We didn't get very far but it was okay.

[25:00]

Thanks for translating. You're welcome.

[25:05]

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