So, to your information, this morning, almost the whole morning, we have a general concept, what are the ideas and philosophies of the general concept, which is again on the foot of the scale, and we are now at the first scale and dare to ask ourselves what it is in the first place. How do we define it and how do we experience it and how do we understand it? That's where the dream is. And that's where we're going to go now. Just until next week. That's the third scandal. Please sit down. I would like to give you a short example of what I have shared with you so far, but it happens so quickly that I don't even know whether I can classify it in the form, namely the situation in Zazen is really very open and very sunk, and it hits something on my body, but it goes so fast that I get scared physically,

[01:30]

It was a noise, a sound that hit me, but very heavy, so that when I came in, I sat down and only later noticed that it was a distant moment. I don't know if it was loud, but at least there was a sound that hit me, which is first, and then I know what happened. But then I could tell him something, then the broadcast is over. I don't think so. The room is, through the determination, that was the noise now, already opened up again. Yes. May I write down pre-conceptual or non-conceptual or something like that? Non-conceptual, I know, I'm not with civilization, I'm not with any opponent, I don't even know. It can be a breath, I don't know what to say, a breath. Suddenly? How do you mean, suddenly? The example of the Agatha with the baby was very interesting to me.

[02:40]

For me it was a very early experience, where I quickly came into a state that probably describes it. When I heard the angel say, or the scent of the earth, something happens to me that I can't really hear. I was born in May, and it must be one of my earliest experiences, which are very deep, physical, Don't you? So we are in the form, so that also has to do with space, so if you expand the spatial field, then the ego is most likely to return,

[03:51]

and then the things appear somehow more new, in a new way, without evaluation. So, whether you are sitting here or so, that's from the astral plane, it appears in a different way, without evaluation, just like that. And then I had the first feeling that the things appeared. Yes, I can also write to you, Nicole, directly. I just got a question about these Zen stories, where they work directly with the body. I see it now so in the understanding of form-scandals, then it is brought down again to the Forbes scandal, because it was too much somewhere else.

[05:05]

So, for example, if I make an accident, or if I stumble and hurt myself, then I look where I am, why it happened. It happened because it was not in the Forbes scandal. But there I suddenly experience form again. Again here and only here and now. That too as an experience, the treasure of the form scandal. What also helps me is when I become clear about a physicality, that is, where do I feel that I am using the body, or using it, or being compatible with the whole body for what appears. And what you may also know, I only know that from Zazen, when it's quiet and we're sitting and the door is knocking, maybe the bell is a little too loud, then it goes into the body so that you almost make a little jump on the pillow, because this physicality is a different one.

[06:30]

And that's also where form hits me. The form that hits me does something with my body. Much more than on a completely immediate way. If I were to relate that, that was too loud or something like that, then I would take that into my thinking. But if I only feel this physicality, then it is an immediate contact. I would be interested in this example. Why do we have such a reaction? What does this reaction trigger? What is involved? I don't like that. So I describe it as frightening, again with category. Of course, I don't know that. But the body that becomes, is that a scandal? I can say that very, very much. I mean, I experience that almost every day. And it's a resistance like a scandal, because you're right, something is coming at me, something bigger than that.

[07:45]

It's a also as a danger for me, because I have to be careful, otherwise I would be against it, and that is, yes, that goes completely around the body, it is in resistance, it is formed in me, that I say, I have to turn back, It is also known in bioenergy that if you are in a relaxed state and are not focused on something, then it is simply an energetic shock. Yes, exactly. I find it exciting, I also experience it with Sesshi sometimes, and I think Visually, it was a chatting room for me when I was already a rabbi.

[08:50]

In my opinion, when I really sit, then the sound is simply it goes through my body, without me being frightened. But if I only think that I am in Samadhi, then I am frightened. But I don't know how it goes together with what is now my understanding. Sometimes it just goes through, without me being frightened. And I find that, of course, How is it? It's fun, isn't it? Now I'm almost inclined to say it goes through you, that is, it appears directly to you. I take it for granted, but I don't hold on to it. I don't hold on to it, it goes through me. And I'm a little scared. For me, the fear is to pull together and react to it.

[09:51]

Something to do with it. Yes, I can't answer it. It's a question for me. Yes. Yes, what you say, Yvonne, about the members, you expressed it very well. how I practice with this very first skanda, if I can really practice with it, because for me it is something that is very, very original and there is nothing extra. That's how I practice with it. I also try to get access to it by not doing anything extra, by not adding anything to the perception. And I think what Frieda just said, I know that experience well, this feeling of, then a resistance is built on it.

[10:53]

In my practice with the skandhas, I do this moment where a resistance is built up and there is some kind of reaction to what appears there. This feeling of resistance, where a feeling being sets itself in relation to what appears there, is what I call the second skandha in my practice. While I call the first scandal a kind of experience from which I myself only have a vague idea, where the feeling is that I am completely negligent. It is a feeling of being negligent, for me. I have the experience of a feeling like a reason, If I really, even in a zazen or in a silent situation, try to express myself or to express myself,

[12:05]

We have to actively deny it, we have to not focus on what is going on, not on what is going on, not on what is going on, not on what is going on. And sometimes I succeed in saying no. It's like a part of a reason. It's like a reason. It says little, but it's like a basic language. I once had a power outage in a situation where I didn't expect it. I don't know if it's because of power or electricity, but it could happen. But I was in a dark corner, and then I got into a really bad mood. And that was also the case, there is such a tension going through the whole body and it is then so detached at the same time.

[13:19]

But such a feeling of a basic tension, I would somehow connect that with form, which does not yet express itself, which does not yet create a peak in any form or something like that. It's also a form of self-defense. In martial arts, you know that if you hit the opponent yourself, or even if you get hit, that's the reason why they scream. The moment you make a loud scream, a tank quickly builds up. A body armor. And that forms a protection. If you breathe in at the moment when you are beaten, then you would very likely have an injury. While if you scream against it, then the injury will not be so severe. The whole test with the meditators and the non-meditators and the teachers, there was one that you just make some noises,

[14:47]

up to the death shot directly at the bore. And what was the result? Both of them heard it. So also in the Sazen it is always very open when it was direct, but the curve that one found, it also goes down very quickly. And with the Noval, she went up and then she got scared and then built everything up and thought about where she was coming from. She was in the form of a scandal, which made it possible for her to go through. still tests. You have the same noises again and again, even a little too annoying or unpleasant, you have measured how people react to it, who meditate and who do not meditate. Interestingly, people who do not meditate, at the beginning everything looks pretty much the same, but then there comes a

[16:00]

a habit, i.e. the outbursts, even with the same unpleasant noises, become less. And interestingly, with the people who meditate, with the same noise it always comes back to the same outburst. But it goes back to to zero. It's not a sound, but it's always at the same level of the output. Always fresh. Always fresh. Always new. Where would you arrange the first skandha in the body? That's a good question.

[17:14]

For me it is form, whatever you have called it, signals, phenomena, appearance or something, it is something fundamental that I also feel at the very bottom. so at the end of the spine or pelvic floor or in such a room, at least down here, totally. And I don't know if I'm not there first from the feeling of the body and then something happens. So I think it's almost like that, but this is new, this is a very new experience now in the last few weeks, that it goes like this, for me.

[18:20]

And this is also really, such a root, this is also the case, there can, there can, actually nothing comes, which now triggers fear. Not that everything is under control, but somehow it feels stable. Yes, the skandha practice is very much linked to the Vishnianas and to the practice of the Vishnianas, and in this respect I think that the first skandha happens in some sense. In this respect, I would answer the question of where it is in the body, that one of these sense channels is activated and from there this scandal piano goes through the 2nd, 3rd, 4th, 5th and then of course other sense channels come along.

[19:43]

But there is always one sense channel that is so to speak primary, where the attraction takes place. and then it goes very quickly that other sense channels are also activated, and that's why the practice was also to practice the skandha for a long time with the Vishnianas, to practice to perceive the sense channels separately at all, because we usually take them all together, or Frida, you are probably the most advanced of us, that you are now simply giving up on one channel. especially the channel directly connected to the consciousness, because seeing it creates the strongest consciousness, so the perception from the front is that I have this holding in the field, and that happens very, or I feel very connected to my ears, yes, although not with the,

[20:51]

but rather something that is around the ear that has been built up over the last few years, and where I don't see anything, I don't see anything, that's why I find it so difficult to distinguish between the first, second and third scandals, because it's more like, as Nicole said, it's more like a feeling, and with that I enter into a relationship, but I can't say that I now actually perceive this form, because then I really do perceive it and I already have a third camera again, so I think that's why it's so important to put everything together like this and to keep this feeling or this feeling in the sense field, that's actually my main goal for years now, there are also a few very great lectures by Moshi, in the 90s and 90s, where he is directly in the sense of perceiving the individual field of vision, the field of vision, that is, this field that is all around, and there in the ears, and that then expands.

[22:07]

Yes, I have heard that more often, and that also happens to me, because I can really only choose one form, I can only stay in the form when I formulate, Yes, we know about sculpture very well. I also have an idea. I don't know exactly how it fits, but I also miss the sense channel. I lost my sense of smell. But I don't have the feeling that I smell. I only know from my memories how the snow smells or how the roses smell. And then I can get it to myself very easily. I don't smell anything, but I still smell, if I want to. For me it is primarily about proprioceptive sense channels, where I first, when I sit down,

[23:15]

I have made the most of the experience with this form, because I was trying to practice from one contact to the second, and with the feeling of being unpleasant, pleasant, neutral, and there I can best practice with the proprioceptive body, so that I can feel the whole body. And then I also read this text from Roshi, that we can also see something with our eyes, or that when we have placed ourselves in such a sense channel, that also sounds, for example, can then be experienced as physical sensations, that is also physical. and then I thought to myself, how can one place oneself in this pure hearing, because the hearing was always a wave of sound, and now, in the latter part of my life, it is time for me to start with the hearing, with the field of hearing, and then I have the feeling that a pain or something that is in the body is also in the hearing,

[24:40]

Well, at first I didn't think it was possible, but it is possible. Or with the eyes, that you can only feel the eyes, and what Peter Zipser described quite well, I think, it really appealed to me, yes, this description, that these fields of the mind and then everything else that appears also appears in this field. Yes, or also the mind as a field of thought. We don't have to define it as something that is heard or seen. There is this very common question in the choir, how do you call it, in the eyebrows, that it is to become attentive without using a very special sense to become attentive, but simply to keep this attention in the field of the spirit.

[25:52]

And the first skanda, the front skanda, somehow has something to do with the third eye, with something, if I ask myself what hits me, then I can somehow keep an attention here quite well. What hits, because then we have the feeling that first of all it hits up here, in the belly or in the chest, something else hits. These are more specific senses of perception or attention. and up here I can let it go again, and up there there is no holding back. So, you are saying that you need a head, and you can't do anything about it.

[26:59]

I was just thinking, as you said, that it needs a sense field, but if you just sit there, for example, and have such a feeling of space, then there doesn't have to be anything to listen to or to smell or to see, but this alone, this field of the spirit, so to speak, is also space and actually form. Yes, but that makes a lot of sense. Okay, that's what I wanted to say. You can only describe how I feel. It is not only one sense for me, but several times, but then it is not the sense, but it is an out-relaxing feeling, when you sit down and then you are more and more relaxed, and only when you are very, very, very relaxed it is possible, otherwise you are stuck somewhere, and then I switch it on, so really sense, sense, sense, and then out, so that I no longer

[28:17]

but at the same time at the same time. Letting it fall out is where it should happen. Maybe I'll say that now, all the time, to write it down. It seems to me that this is actually something that Roshi has been talking about for a long time, that he uses the word common sense. And then in English it goes very well with common sense, which is actually a term. And he says, a sense that's common to all the senses. Can I write that down? I hear that from several people. Common sense. I would describe my experience in this way, I didn't know that it could be called that way, in the sense of all senses, that was not so clear to me, but it is the same for me, where do you have it in your head, because the head doesn't work for me because of thoughts, I had to get out of my head first, and that's why it's more like that for me, yes, almost, almost, I already had it in my whole body, I had it in my whole body,

[29:38]

And what I can describe in my reading is that I can't assign it in any sense. That's true. It's often sound, but even that I can't assign or assign, but I feel it, when I'm on it, from head to toe. Sound would also be a step in the right direction. Yes, I had to explain it to you, because I had to explain it to you. But in the experience it would be a step in the right direction. I tried to sort it out somewhere. away from this just an open film and I am amazed that at all who and something appears in it. Yes, that's why I have that already, he needs it before, that's why I said I don't have only one form, I have to feel more and more at the same time, because otherwise I'm already in the beginning, that's my, my, my Schicksal.

[30:42]

Only that. I would like to add something to that, because you say that the head is open, but you spoke of the third eye. These are two completely different things. The third eye is something that ... He spoke of the eyes, of the head and the eyes. He focused on the third eye. So I have that in me, I understood the eye, and that has nothing to do with the head and thoughts at all, but rather has something to do with a field where I can point my gaze inwards. If you say several things at the same time, then I find it easier. If you open yourself to several things at the same time, you also continue, you open a field. This is, I think, inseparable from what you find.

[31:44]

And because of that, you do your work. It's a form of carpet, which is better for me than a form of carpet. Yes, but it's also a good form. It sounds better. Yes. I recently had a completely new experience. My eyes are getting worse rapidly at the moment. All of a sudden. It was a moment when it was a bit surprising. Glitz. I was in front of the computer and I had actually stretched my eyes for a long time and then I could suddenly remember, wow, everything hurt for a short time and since then I can only see blurred. It's always really exhausting to close my eyes all the time. And then they hurt a little. And recently I had a long train ride and studied it a bit, so that my field of vision has changed significantly and radically, with one cut at a time.

[32:55]

And then I just examined it. Now this field of vision, with which I was always confident in a certain way, is now different. And then I distanced myself from it. How should I put it? Disidentified with seeing. And then I knew, when it suddenly happened, who knows what happened. I then thought of Frieda, for example, and thought, yes, it could be. Who knows, maybe I have something with my retina and it's just getting worse and worse. And then I disidentified myself with my eyes and with seeing. And then I had a very interesting experience. Suddenly it was as if the seeing appeared in the eyes. Only a feeling of innerness. I didn't have the feeling that I was seeing, but there was only seeing, and the eye was part of it.

[34:06]

And to this question, where is it in the body, what happened to me there, is that somehow this, the body is a bit shattered, as in all cells were equal. So eyes were cells, ears were cells, heart was cell, legs, feet, all cells, all breathing cells. And all cells were equal. And in that happens seeing and hearing. In this equality of cells. And there I first had the feeling of having a physical experience of what I would now call form. For me, that was now physicality, because there would now be access in this special experience. There are certainly many ways in which you can experience it, but in this special experience the physical aspect was for me the equality of all cells. So it was equally distributed from the feet to the rest of the body. I would like to say again that what I have located down there with the stability is an unbelievable silence, a real silence, it is a stop, it is really a stop and that's why I can't say I hear or see or smell, that can be in everyday life, I have already experienced that now that I suddenly

[35:48]

doing something in the apartment, or doing something else, or I am on the way, that the senses are not sharpened, this is also experienceable since this practice. that I have always put a lot of emphasis on hearing, but that's different now, but when I sit, I can't say that it comes over the nose or over the ear or something like that, it's an inner standing, and then This silence is what I mean by stability. And then I don't know where it will appear. I can't say where. There is something that helps you, because through this practice, I can't explain it to myself, but somehow I have a different focus, a different intention, a different motivation, it is concentrated in such a way that it was not all the years, with all the Qur'ans, and of course with breathing and Vipassana, it was always quite good, but then the Qur'ans came and then

[37:14]

I don't know, cramming in the moon or whatever, or sitting with the walls, but now it's much stronger internally. Yes. Yes, it is a reminder that it can be much easier if there is a spiritual temple than just a single spiritual experience. And I think that if we would all talk to each other now, I don't want to understand anything, but I'm still very well in the Vimaskanda, in consciousness.

[38:19]

I'm just ... the Vimaskanda is overwhelmed, because only someone speaks. and I am so aware that I do not filter out the meaning of the sound, but simply hear the sound as sound, then I know that something is happening to me. I am not sure if the sound of the carpet really It can be the first form, it can simply not be a requirement for the system to function normally. But it can of course be the entry point, I notice that, right? Yes, it is. I would never say that this is the only effect. For me personally, it is easier than conflict.

[39:21]

I think it is good, for me it also applies to the carpet, that it gives me a kind of the inner space that I also experience from the outside, so if I concentrate on the carpet, it can be a body-feeling carpet, or a hearing carpet, or the rest of these two, or then I can also try to be in this spirit carpet, then it is more like a sea in my head, what I experience, a silence in my head, and then some things can strike waves, but I have to open a room somehow, and I think that this is what happened to me through practice, through practice with the individual vijnanas and through really sitting and this silence here,

[40:37]

with this triangle to feel it and to let it rise. I think we are all at a point where it is common sense to experience it, but somehow to practice it separately is easier for me when I am present to discover something. Especially these transitions from the form to the feeling, I find that very difficult, I really only found that out by looking at physical sensations, for example, this appearance, these thousands of body-proprioceptive experiences, Yes, there can be such a cloud-like feeling that it feels rather unpleasant or neutral, or something like that.

[41:43]

I find that really, really difficult, so how do you get from this pluppondaga to this second level of feeling, to examine these transitions, I just can't think of a way to do that. Yes, as a mystic, it is our practice first of all to accept something special. And this carpet of information and the ten thousand things, that is of course something, but it is more of my experience first of all, Theoretically, this is always there and it is easier for me to notice that I actually, if I keep an attention field and use the mind as a sense organ, that it is much easier or it shows that it is simply only a sense organ for something special, for one detail of the whole.

[42:56]

And all the other ideas, but there is this and that and that and that is still there, these are ideas where I somehow put them back into categories again or where I already know again that everything is actually there. But this concentration on one perception or on something that doesn't hit me, then it's just the one thing that doesn't hit me. But what about the others? Yes, that doesn't matter to me. No, no, no, no, no, no, no, no, no, [...] no I can't do it. [...] Yes, you are right, what I was about to say, I saw Petra, she was talking about different methods of metal holding, and what Belger-Roschi said a few years ago, and I think that is exceptional, because it is actually a method of metal holding, there is something being done,

[44:34]

There is a conclusion, there is an intention to maintain a neutral attitude. And then, what I would like to do, what I would like to do, is to maintain this attitude and to explore the matter in this attitude as immobile as possible. I think that these spheres of attention Yes, for example, to create this sphere in Sazen, where, as you said, this attention is kept. Yes. Maybe again, what you did not say, that does not mean that this is a conglomerate, because that is what we saw in the Theatres.

[45:43]

or something like that, but I just come into contact so quickly that I just don't get in there when I can change quite quickly, then I might better call it that, because there are different phases that then always occur, and besides that, I can only say that I perceive them individually, but I don't become aware of it. but it's not so much about that noise, but it's the one thing that's whistling, I'm not allowed to say birds now, otherwise I wouldn't have named it. So there are different things that are actually and it will still be there as a single thing, but I must not stay with the individual. As soon as I stay with the individual, I immediately become permanent. Only if I immediately jump there, unconsciously, I don't jump, but if I feel like I want to jump to the next sound or something else, then I can stay under permanent. Dirk, and if you do that, then that's right for you, right? Yes, yes, you won't break my form.

[46:52]

I don't want to destroy your playing time. I would like to see what you say, what Marie-Louise says. A couple of terms that help me with this are the form and the background. For me, it's quite similar to pause for the particular and to release, to remember the individuality and then to let go of this individuality back into the field. And that's a bit like how you just formulated it, with your individuality on which you keep your attention. That would be the question for me, if you describe it that way. I can't imagine it any other way, what happens to me when I try to go through these scandals. And again and again to leave the attention to one's own dynamic.

[47:58]

That's a process for me. I would describe it as one thing for me, to make the attention less and less, and more and more to leave the attention to one's own dynamic, so that at some point the attention is just attentive. And then it has such a spring-like quality. Yes, a little bit like that. And that's the question for me, how you describe the dynamic there. How do you do that, that you keep one thing, because I can't do that in this process in which I leave the attention to myself, but new relationships are always showing up. I can't keep one thing, so to speak, if I leave the attention to myself. Do you understand what I mean? Yes. It is not so much the attention to leave to oneself, but it is also the feeling that attention is not there, I somehow have to generate or keep attention, I have to produce attention.

[49:12]

I can't sit here and say I leave everything to myself and what comes out of it. I keep coming back to the question that has been raised here, is it actually always there and I don't like it most of the time, or is it due to attention that attention arises, or is it due to attention that you direct it somewhere, and for me it is always the same, for example, to give attention to the spine, then the spine appears. Of course, I could say that it is always there, but I still had the feeling that at that moment I was creating something like a wormhole. I create this appearance, or I give the appearance of the wormhole into space, into my mind, and at that moment it arises. And then I no longer have the feeling that it is always there, but it is really an active doing.

[50:25]

And that is what creates this attention. And then it's easier for me to say, I just stay here and notice the appearance of one thing and I see again and again how it appears, and if I don't notice it, it's gone again, and then I let it appear again. But then it's different, then it's not the same thing, right? Yes, it is something different. It is no longer a good radio, but it is something different. This is important to me. It is something new, something new that is happening. And this form calendar is also very well suited to mark this whole activity.

[51:26]

Because the activity is actually only possible if I really consider it as an active process. This marking is an impulse. and I give it a space, I have an attention somewhere and that is an activity, but then I have to go away from the idea that it is somehow always there, there are a thousand units, a thousand things that are always there, a giant, everything is always there somewhere and I go there and direct my attention to something that is there, that is, that works, that doesn't work, it works As I experience it, it works only because I think, now it is also appearing and it is an activity and thus it is created. New, always new.

[52:26]

And there you come somewhere in this direction, it is also a closeness, because it is not something that is there, that is being noticed by me and in that moment it appears. It is an activity and it comes and goes and when it is gone, it is simply gone. What I don't understand is, this activity, all of this, I want to include it in my experience, but maybe you can go on with it, but can you control it, that you say, and now I'll let it appear, now I'll let it appear, is that a will impulse? Because for me, the impulse comes by accident. For you it's a will impulse, you say, now I'll let the vertebra appear. I can pay attention to the sun. Yes, right. I can pay attention to the breath. Then the breath appears as a form, as something that appears in this field of attention. Okay, I wanted to understand.

[53:31]

Or the vertebrae. Or for me it is often also the contact with the pillow, because that is what I always notice. I can go there with my attention, give it a field of attention, and then I notice that somewhere in an immediate way, without anything fitting in between, something appears there that I experience, like a pulse or like a signal. And I can stay there. And then everything else has no room at all. Because I can't put so much attention here and there, I can't put it all away. Then I can keep my attention there. And if I find continuity somewhere in there, it comes and then when I take away the attention, it's gone again. When I think about the logical end, then the answer to the question where is the body, where is the form, is then there for our attention.

[54:38]

You can do that. Where does the impulse appear? The impulse, the signal, this gesture that I can notice. Andreas and then Gisela. I think our body takes out millions of sensory things per minute. Yes, and in effect from these four million things we get something out of ourselves where we are just setting our awareness. Yes. Yes, and you can practice this in particular by pulling out the individual Vishnayas piece by piece and setting this awareness there.

[55:47]

And I am not only doing this with the Vishni Hanas, but also with the sensations of the three tangents. and introduce us to another level, I can perhaps introduce elements that are coming to me from another level, and in these different levels I can build a field in which I can spread this focus of attention. And so I can generate the feeling of a perception that is broader, that makes much more possible than focusing on this one. This is really a 10,000th thing. I don't know how to say it. It's easy to get busy with the ears. It didn't work and I found out that I was so happy to find a direction, so to speak, as if the antennas were going in all possible directions in the room or the microphones were pointing in some direction.

[57:09]

who was very determined to receive something. There was nothing. There was nothing. And at some point, they just left the ears to the attention and the feeling. It felt completely different. I also lied. But I was able to receive something. It was just the direct attention. open attention to what is happening, and not that thin mill. Dorothea, and then we have to take a break, because there are already ten minutes and five hours left from the US. It is also very important to direct the attention to where you are going. And then there is also, simply when you expand the field and then relax in it.

[58:42]

So the open field of the mind holds and in it exudes. And the mind keeps everything open. There can then appear several forms. But then you relax in it. then his attention does not become aware of him. It is also interesting in the field of attention, as it is asked in the choir, to draw attention into the eyes. Even there you can keep a field of attention, although it is ultimately in the physical sense, is not a sense organ, but I can keep a field of attention there. This is also a phenomenon where this field becomes much larger than only fields that are created through ears, eyes and so on.

[59:46]

The spirit itself comes, a state of the spirit, a field of the spirit as a field of attention in which simply something appears. I don't necessarily need the eyes for that. Try it with the eyebrows now. Yes, the eyebrows. Wait a minute, before I write down something that I didn't write down, I have to write down the word. Something that you say has to be on it. It was an important topic, but if you give me a sentence, I'll write it down. No, let's continue at this point tomorrow morning. I think it's always right, that was already mentioned, that we just let it sink in, what we say here, and just have a look.

[60:50]

how does the whole thing sink, how does the water become clear again, how does everything that has boiled down come to rest again. And then we can look again tomorrow morning what is still important to write about it before we go to such an uncontrollable feeling. Tomorrow we will continue with that. You're kidding me.

[61:37]

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