So someone asked me, several people asked me, hey, I keep mentioning this Buddha, what about it? Can't you give us a little more tangible description of it? So I'll bring some photographs tomorrow. So for those of you who'd like to, But I'll paint a picture in words right now. First of all, I'm totally amazed that such a thing is for sale. Because it's an early Edo period Buddha. Which is from 1750 to 1850 roughly. And it's usually a Buddha that you feel very lucky to see, even in a temple, in an old temple in Japan. And you'd be very lucky to see it in a museum.

[01:08]

And some of you won't like it, I'm sure. Yeah, it's got fat cheeks and things like that. But it has... But it has a kind of mature face, though. And it's with the stand, which is two parts, it stands about 70 or so inches high. And that's nearly six feet. Seventy-two inches is six feet. Well, how tall am I?

[02:15]

If I stand up, it would be about this high to me. It would be a little more than 180. Yeah, I don't know. Oh, I guess. I hope I don't weigh that much. And the stand is each petal is separately sculpted. And Paul and I, as far as we can remember, used to know it. Because it was in a shop called Shibata's in San Francisco. And we actually, for the Zen Center in San Francisco, bought another statue from Mr. Shibata, which is a standing Jizo Bosatsu, which is a kind of Bodhisattva with a shaved head.

[03:16]

But this Buddha used to sit in the window of Shibata's shop It seemed unattainable because it was so beautiful, etc. And right across the way in the same entryway there was the most popular good Japanese restaurant in San Francisco. So we used to sit eating food And so we sat there and ate. And talked about this Buddha. Because he was right there in the window. So Mr. Shibata, I believe, has long since perished.

[04:19]

And there's a person I know who I've been, you know, rather like and I've been developing a friendship or relationship with him. Because I like him and he has an eye for friendship. for things that we might use on our altar or something. And recently we bought for Johanneshof two red lacquer candlesticks. And I was in San Francisco a few weeks ago For just a couple days and I saw this statue in this man's shop and I couldn't believe it was there and he wanted a price for it that there's no way we could ever afford But the only thing that gave me hope was that he had bought it 20 some years ago and kept it as his own treasure in his house and not shown it in his shop.

[05:47]

So I thought to myself, It was kind of subconscious thinking to myself. He already knows how I think. I thought to myself, if it was so important to him, he probably just doesn't want to sell it to some collector. And he'd rather it go to somewhere where he knows where it is. And perhaps he'd even like to see it in a Buddhist temple where it should be. But I gave up. I gave up. I have a bad habit of going out on a limb.

[07:00]

Like there's a tree and you go out on the limb too far in the tree. Yeah, sometimes I go out on the twigs. So I thought, oh, I'll forget about it. And I did forget about it. Except I woke up a few mornings ago. We have to buy that Buddha. For Yohannesov. It needs to be here. So I just called the guy up. And he said, I thought you'd call. This was some weeks later. And I said, well, how much will you sell it to us for?

[08:07]

We can't possibly afford that price. And he reduced it considerably. And then I reduced it some more. So it was at about half price. So I said, well, we'll try. Supposedly on its way. They're being packed now. Okay. And for me, I don't know if everyone will, I know everyone won't understand. It's the other half of Johanneshoff. Johanneshoff is about helping us practice, but now that we have it, we need some figure like this. And if I'm in fear of sounding schmalzy, let me say, some figure that approaches, dare I say, your beauty. Yeah. Now, what does a figure like this represent?

[09:34]

It's the west of these five directions. And the west is an interesting direction, not only because we live in the west, but the west is the direction of the setting sun. So this Buddha represents Shakyamuni Buddha. The movement through the day. Now, it also represents Shakyamuni Buddha in another sense. Again, let's go back to what is it that makes... made the Buddha awake. We can say it's the We can say it's the Buddha's samadhi.

[11:09]

So there's this historical person and from this mind of emptiness or mind of concentrated on itself and I say signless minds Because there's many dimensions of signless minds, it's not just one thing. It sounds funny to say there's dimensions of signlessness, but let me leave it at that for this evening. So the kind of understanding is that the historical person who was the Buddha also has a

[12:16]

unobstructed subtle body unobstructed by ordinary affairs or let's call it the somatic body or let's call it when you're sitting sometimes I don't know why, one feels sometimes totally refreshed. And your skin even sometimes feels like a baby's. And your body feels something fresh and new. We can even say, we could call this your original body. We could say that that original body

[13:35]

Or that reborn refreshed body. Or sometimes when you're sitting still, suddenly your posture comes together and you just feel completely upright and clear, you know, etc. That experience, in the fullest sense possible, is what we could call the Buddha body. And the sculptor tries to sculpt that Buddha body. So the So there's the historical Shakyamuni Buddha.

[15:00]

And then there's this pure, unobstructed body that we can call the Buddha body. And again, it's understood that that's what's past. And that, when you meditate, is also coming into you. Not just when you meditate, but that's when we get the sometimes the strongest taste of it. So a statue like this that we're getting, hopefully, a poor cresta for our Johanneshof, is meant to awaken us to this body of Buddha. It's almost like you can imagine This is the historical Buddha.

[16:08]

And this is you. And the Buddha body is up here somewhere. Perhaps at the zenith. And you can participate in it as well as the historical Buddha. So the teaching and practice is meant to make that possible. And the statue, ideally Buddhism, represents this. And it's even represented in the hands. Because the hands being brought together is to represent one thing, Buddha, Dharma and Sangha. It's like your hands are very closely related to your mind. We human beings are hand-minded people.

[17:14]

So the Buddha's hands are to bring this true human body together here. And this is also a kind of cosmic circle. So you can also feel this in your hands. You can feel this presence we bring together. When you hug somebody. Or just when you're sitting, your hands kind of orchestrate your field. So you bring all this together in your hands. So in Zen we often say, put your mind in your hands. So the last thing I would like to say is I'd like to talk a little bit about... see if I can speak into something I don't know how to speak about.

[18:51]

When I was... You know, as I said, I'm trying to feel into this particular moment to speak about Buddha Dharma Sangha. The situation of our being together this weekend. So again, I'm driving with Herman and Paul this morning. Sorry, they're helping me find out what to do today. So Herman mentioned that we'd been in Japan together and Bali and so forth. And then he said, I wish I'd been in India with you.

[19:53]

And I knew he'd been talking to Joe. Joe Muscles. I call him Joe Muscles, but our Joe Knatzer. And Joe is an old buddy of mine. He's the kind of person you steal horses with. Don't you have such an expression in German? Absolutely. You steal automobiles as well as horses. And he's our trainer. He's training us. So anyway, Joe and I went to India together along with some other people. So I thought, I was sitting in the car and I thought how also Paul and I were at Tassajara together in the 60s with Suzuki Roshi.

[21:12]

So I was feeling how excuse me you know for saying this but feeling how Herman emerges from our shared past and Paul emerges from Here's our shared past. And you weren't in Japan with Herman and myself, and he wasn't in Tassajara with Cedric. So there's something hidden in the situation. So here we are in this unique moment. And what's hidden?

[22:15]

Well, the inside of our bodies is hidden. Even if you think of it as an inside-outside Mobius strip, still what's... it's still hidden. It's still hidden. And it's hidden from Hermann the time in Tassajara. And it's hidden from Paul the time in Japan. And each of you have many of your own lives which emerge in this situation and yet are also hidden. And there's a kind of horizon here. And horizon means where sky and earth appear to meet.

[23:26]

And it also means, of course, what's in a circle. But a horizon is where sky and earth are joined. It's not just a limit, it's a joining. And this zenith of the... Zenith is also the Vajracana Buddha. It's also a sense of joining with what's hidden. And many cultures have thought that the dead people just go over the horizon. Where the sun goes out of sight. So there's a kind of... The past is... The past is... is present here.

[24:39]

And the future is present and we're anticipating it but it's not quite here. And the past is, you know, they're both sort of held back but pressing at the same time. So this isn't just a here and now, this is a very wide sense of presence. The future is drawing it toward itself. and the past is sort of holding on to it. So Dharma again means what appears and each of you again is appearing and each of you is appearing to each of you. And then there's this what cannot be seen also emerging.

[25:51]

So there's not a now here like a fixed thing now with boundaries. There's a great deal here we can't see. Past and present. Past and future. Our own history. So each of us is a kind of emerging as well as appearing. So this unique moment is also an emergence. And an emergence of what cannot be fully known or seen. And to find yourself in the midst of this is also to take refuge in Buddha Dharma and Sangha. Thank you all for coming back this morning.

[29:00]

I'm glad to be here with you. Although we're not sure what this here is anymore. But first here for me is to greet my translator. And to look at you is a pleasure. Yeah. One advantage to having a residential program rather than a seminar like this, is that we have another hour, hour and a half or so together each day.

[30:30]

And there's time then for us to sort of divide into smaller groups and have some discussion among ourselves. And a discussion in German, your own language, which I think helps. Because, you know, the relationship this taking refuge in the Sangha or practicing within a Sangha, means that you should get to know each, it's nice if you get to know each other and have some discussion together how you understand practice.

[31:40]

But since I don't think there's time to do that, at least we can start out this morning with some discussion together, if any of you have something you'd like to bring up. You can't scratch your neck or anything. Oh, okay. But Herman, you had something from the car, of course. The key word was dissolved. I was afraid that this would be something important for me.

[32:48]

And I told him, as I could talk about it here, how good it is, if we can work with it, to solve basic concepts. how we construct our world. For example, terms like above and below, now is also a term, or past, present and future are all quite central terms. For example, above and below, here and there, with which we construct our world. Just let you ask. But I'm just interested in how you can dissolve basic ideas of our world, like up and down, here and there, and past, present, and future.

[34:06]

And how you can soften them, how you can make it more soft and more permeable. That they're not so stiff, I think, are hindering for our practice. But what is the best way to work with it? What's a good way? I think for lay people the best is to contradict.

[35:21]

First of all let me say I don't know. The real answer is you have to let the world teach you. But the problem there is the world that we live in is already deluding us. How do we let it teach us? But the teaching is here. How do we discover the body and mind that knows this as teaching? Yeah, and the teaching has been, as I always point out, has been developed primarily in a monastic type setting.

[36:31]

Where we just eat together and practice together. Some kind of something comes up in that kind of life. But for us who are primarily lay practitioners, let us say adept lay practitioners, so we want to find some way to bring practice, make our by practice. So we want to find a way where we can make our life a practice.

[37:34]

So probably, I think for lay people, we need more understanding of the practice. Even with the danger that understanding gives us a sensation of understanding. And Buddhism won't last a long time. if it's understandable. Science lasts a long time because it's not understandable. So it's something we do. We push the circle forward. But again, for lay people, I think it's best to find antidotes to your ideas.

[38:46]

For example, up and down, and so forth. useful but really quite arbitrary distinctions. Perhaps it helps to imagine the fact Imagine the fact that we're all right now falling through space. Now there's up and down because we're all falling through space at the same speed next to each other. But in fact we are falling. We're whirling in space. very many motions just in our galaxy.

[39:57]

So that's a fact. We can say we're always involved in some cosmic activity. Again, we don't notice it. So it's helpful to remember By creating some image, I think, you can create your own. But this image of us all falling through space at the same time is one I had in the 60s. It's very helpful to me. And you reminded me of it this morning. And you also last night said, you know, it's very nice to pick up the bell and etc., all that stuff, but what about when you're driving rapidly in traffic?

[41:05]

For me it's the same. It's not that everything you do everything slowly. It's that everything goes slowly, although you do it at the same speed. It's not that you do everything slowly, but that everything goes slowly, even though you're doing it at the same usual speed. Yeah, but it's not also just the way the steering wheel feels. It's being present to the bloom of each moment. Yeah, there's a car over there or street light or something.

[42:09]

You give each thing a kind of space. And, you know, they say that a person's whole life sometimes passes or they have the experience of their whole life passing before their eyes when they're in a dramatic accident or before dying or something like that. There is a kind of non-linear sequential space in which an immense amount can appear. So by practicing mindfulness we're also opening ourselves to this all-at-onceness.

[43:13]

Why there isn't an internal crowdedness or pressure. Yeah, and I'd like to take our discussion today more in the direction of of practice itself. But first, is there something else? Are there many other things? Yes. As a mother myself, my daughter is now 12 years old, and I don't have any massive problems with the environment.

[44:19]

and also my own life, my own being and my own practice is of course not as I imagined it to be or as I would have liked it to be, so I think that leads to a bad understanding of stupidity, but the children will not grow up until they have a better practice or a better future, so all that remains is love, and now I have actually, when I am at when he talked about the best way to go about it is to tell people that they are doing their job now. Would it now be translated as, I should just let my daughter go on a trip, if I let her go on a trip, would she stop again, or should I now go into teaching?

[45:34]

Is there something special, Buddhist, that I could not even understand? I'm looking for a straw. Are you drowning? When you're drowning, you grasp at a straw. I would like to hear something about education. My daughter is 12 years old. My practice isn't so developed that I run around sometimes with a bad conscience that I'm not more perfect, not better. I read something in Suzuki Roshi's book about when you are in a leading position, that you should let people do their even non-satisfactory things, just watch them. And so my main question is what shall I do with my daughter, for example, if I find cigarettes in a desk or should I just let her do her thing or should I, in what way could I... What?

[46:52]

I stopped because I was shocked with my daughter smoking. In some of the holidays, I stopped when I found in her bag, I found cigarettes. It might be too late. Vielleicht ist es zu spät. Well, you know, I think practically speaking, sometimes we have to say to our child, they can't do this, or they can do this, and so on.

[47:57]

And I think in the And some things you can't influence them on, you can express how you feel. I don't like this, but I can't stop you. But I think if you have a clear idea, two important things that I feel from bringing up two children and also in a way more and also being part of a life with many children. is to develop two very clear ideas in yourself. One is a very clear sense of what kind of person you expect her to be. And you work on that more in yourself than you actually work on it in her.

[49:08]

And the other is, you, as deeply as possible, become the kind of person you'd like her to become. And then in all the small ways, one does in the way we make lunch here, take a walk or go shopping or something, you express these two views just in where you are and what you say. And children reflect our mind.

[50:17]

But knowing you, I'm sure your daughter is going to turn out okay. Okay, yes. My question relates to your use of the term Dharma because of your use of the word Dharma. I had, in the course of yesterday, developed difficulties integrating the various meanings that you gave to that term. I come from a tradition where that is quite simply defined as the teaching. A lot of different So could I.

[51:31]

Well, at the same time, the use of the term Buddha and the use of the term Sangha is fairly stable, so to speak. The notion of Dhamma became more and more ungraspable for me. Not that it wasn't clear what we were saying at each moment, but I just wondered, is this your... How much of it is your pleasure in the election, playing around, so to speak, and making a term transparent and flexible and all the rest of it, for which there are reasons, and how much of it is based on the Buddhist tradition? What is etymologically and traditionally the core meaning of dharma? I'm living in a simple world where I have a fairly clear sense of what I'm addressing when I'm using a cell phone.

[53:04]

So I would like to hear that, if it's possible, at least say where they are. and clarity is, so to speak. Okay. In German. In German, please. In German, it's very short. [...] and then to clarify what, so to speak, is a specific ingredient for what, let's say, the Buddhist canon tradition says. So whether the canon is relatively clear, or does it actually have a specific meaning or practice? Well, one time a friend and person who's been practicing with me a long time said that sometimes I paint six fingers on one hand.

[54:17]

Yeah, that might be true. But maybe we need a hundred fingers. Yeah. But I think that in this case, I'm pretty traditional in the way I'm describing Dharma. I mean, in many ways, Buddhism could be better called Dharmism than Buddhism. And the largest sense of the Buddha body is called the Dharmakaya. The Dharma body is the largest sense of Buddha. And what Buddha discovered in his practice was the Dharma. He didn't discover Buddha, he discovered the Dharma. And there are just many, many Buddhist terms that mean everything.

[55:31]

Yeah, particularly the main terms. This is Buddha. This is Dharma, we can say. Yeah, so you have to But the context is different every time. So the meaning is not in the word but the meaning is in the context in which the word is used. But there is the particular view of Zen Buddhism Now, there are various, first of all, before I speak to that, there's many ways to teach and to practice Buddhism. And some teachers teach in a way to try to make our society a better society and people better people.

[56:46]

And to some extent I of course would like to do that too. But my main aim is to speak about practice in ways that you can know yourself. And if you become a good person, I want you to become a good person through knowing yourself, not because of some idea of a good person. Now, the particular view of classical Zen... is that everything is here. So the Buddhist teaching, although the word dharma has come to mean

[57:53]

generically the Buddha's teaching. From Zen, strictly speaking, for Zen that's not very important. That's a kind of popular form of Buddhism of teaching a book you look at. So... Dharma has to be, for a Zen practitioner, your actual experience. So what makes this actual experience Dharma? Mm-hmm.

[59:01]

So this phrase I've been working with off and on for the last couple of months. So Dogen said, coming and going in birth and death is the true human life. We discussed that. This is coming and going in birth and death. But the coming and going and birth and death is where ordinary people drift about. And I think that the word drift is maybe the best translation for the word samsara. To drift about from moment to moment is samsara. So This is where we drift about, but it is also exactly where sages are illuminating.

[61:45]

What makes the difference? What are sages? Where great sages are illuminating. What else happens to great sages? They drift apart. They do that. Where great sages are illuminating. This is interesting. How is this the field of illumination as well as the field of samsara? Of course this is the practice of the teaching that nirvana and samsara are the same thing. Or form is emptiness, an emptiness form. I like the wisdom of the word trivial.

[62:55]

Because it means three roads, tri-via. So it means in every trivial thing, there's a choice, a road divides. We also have a saying in Buddhism when you come to a fork in the road when you come to a fork, take it. This means you have to have some wider perspective. But this wisdom hidden in the word trivial is also the teaching of Dharma. It's in the details. If If the word Dharma means our actual experience of the phenomenal world, which is really what it means, we could say that Dharma is a word for form that leads to enlightenment.

[64:10]

Karma is a word for form which leads to suffering. So what makes this dharma or makes this karma? All the teaching of Buddhism revolves is to answer this question. Yeah, and generalizations don't help. You have to have some specific way to be present. Is this a Dharma gate or is it a Samsara gate? But I think my my expression of what Buddha is and what Sangha is is actually consistent with how I spoke about Dharma as well.

[65:31]

Okay, so what I did yesterday is I tried to give you a I tried to interject And one of the basic ways to practice in Buddhism is to interject, that means literally to throw something in, to throw a monkey wrench into the works. Or to intercede, that means to interfere or stop, to hold back. In your habitual thinking. Yeah.

[66:43]

Dogen said again, the problem is that we people attach to something that's not real. And we forget what is real. And I'm trying from my experience and practice trying to point out what I find at least to be real. And I think if I point, my feeling is if I point it out in various ways, often unrelated, They may help you notice your own experience when it's a wisp of smoke. A wisp of smoke or a mist.

[67:43]

Or perhaps on a cloudy day a moment of sunlight on a flower. Or the flash of light off a car window. Often it's something quite momentary like this. We wouldn't notice unless somebody has given us a kind of permission or pointed out some possibility. So I don't really believe I can teach you much. But I hope I can create a situation where perhaps the light off a car window might teach you something.

[69:10]

So yesterday I again threw out some things which may be will give you an opportunity to notice similar things or other things in your own life. And when you find yourself in the present as presence, you notice it. And you stay with it a moment. Instead of brushing it off and saying, oh, that's not important. Our mind must become very solid. And soft as well. Now, one of the simplest and most traditional ways of understanding this Dharma gate is to live from vows instead of living from karma.

[70:33]

To live from vows It means to interject a wisdom view into your life. And the word vow just means to vote. What do you vote for in your own life? What do you vote for for your daughter? Then you vote for that in your own life. So you take a vow. I want to be such and such a kind of person. If it's a deep vow, you can't follow.

[71:48]

If you can follow, it's not a real vow. Who can save all sentient beings? Or a better, less salvational translation would be to come into accord with all sentience. Yes. Okay. But would it make sense to say, well, I'm going to vow to save three people? Well, good, but, you know, why not four? Now I say four, I'm finished.

[72:54]

Now I can take a break. This doesn't make any sense. The power of the vow is to say all. So you can't be too critical of yourself if you don't follow the vow. But you can be critical of yourself if you lose the intention. You keep holding to the intention. Okay. Yes, please. Please, please. Who knows a good translation for the word to fail?

[74:01]

To fail. Yeah. So when I have these vows or these moods, I fail. It's clear that I fail from the start, right? When I have the intention of being a real good... If I just sit for 20 minutes, that's all right. But if I want to be a real good practitioner, morning, noon, evening, everywhere, then I have to fail because I can't... So my self-consciousness, self... My self-appreciation gets shaky and gets down. I appreciate you. My appreciation of you is not shaky. We get our self-worth, our sense of self-worth too tied up with idealistic images or societal images of self-worth. You don't have to do zazen every minute.

[75:29]

You lose the use of your legs. But you're always breathing, right? So this is always an opportunity to practice. If you forget, it's okay. And if you we really do have to develop a big accepting mind which accepts not practicing. That accepting mind is more important than practicing. And that accepting mind is real practice. And since you say, oh, this is so and then you're just, okay, this is what I am. So let's vote for a big accepting mind.

[76:36]

Just this, you know, maybe it's good to practice with a phrase like just this. Just this. And now, just this is whatever it is, but that practice develops another kind of mind. Yeah. Yeah. Can you explain?

[77:36]

Well, I'd much prefer you to feel it from my body than hear it from my mouth, but... But I'm willing to flap my lips if necessary. Um... Samadhi is one name for signless states of mind. And I think that... Again, the best way to understand it is as mind concentrated on itself. And I think I said enough yesterday about it to at least be an entry. The shift of the identity.

[79:21]

The movement of the sense of identity as well as the sense of location. I'm practicing to move this sense of identity to familiar world, and to breathing. In the right sense, if you move this to breathing, like so. You have no knowledge that your next behavior will improve because there is no sense of repetition. And our normal trust, our normal sense of knowledge depends on experience and repetition. And so I also, I have a simple example of why every day is my bicycle through a street, a very specific part of the street.

[80:34]

And so when I really try to look only on the things in the street to shift my identity to it, it's always changing. It's never the same street. It's every time different streets. And it's a kind of confusion. It causes a kind of confusion in my feelings because there's not the normal way of trusting in it. Yeah, do it. I mean, do it. When I practice, my feeling of identity is placed on my breath or on the elements of the world. This leads to a feeling that my normal idea of trust and knowledge in the world I have to give up, because that's a step I have to repeat.

[81:46]

In this case, when I tell my identity from my point of view, I only have a point of repetition. Because if, for example, I completely ignore the identity, I can't, there is absolutely no knowledge or no more trust that the next breath will be so cruel. And that's exactly how I did it with a street that I drive on, on which I concentrate, and with the help of spectators in the street, I try to transfer my identity to it, I see it differently every time, because in my mind every time other details of this street appear. This is good. Don't be proud you're such a good student.

[83:04]

Sometimes. Sometimes a good student. But you just have to get used to it. But what's good is not just that you're having this kind of experience, but that you're open to it. Because it takes some courage to be open to it. Of course. Because this kind of courage, it's really true, the trust, the only trust I have in this situation is the trust to my teacher. Because you, when you said that you, that there's a difference between moving the class of location and being the center of the event, or for...

[84:13]

It makes sense to me even without understanding. And in this world, we only have the trust in the teaching of the teacher. Oh, what a big responsibility. I'll do my best. Auf Deutsch, bitte. Yes, that's a very good point. I don't have any trust in this area at all. The only trust I have is trust in life and in the world. And that is also very important to develop. Yeah, sometimes I'm in a...

[85:15]

very familiar place. Like in a street in Freiburg where I've been many, many times. And I genuinely don't know where I am. It all looks so different. And I might have just been there shortly before. And I have to kind of shift out into a mind which then says, okay, that's that, and this is a street, etc., I really have to immerse myself in a spirit where I can say, ah yes, that was this and that was that. It may be, it sounds like a good excuse, it may be why I don't know German.

[86:37]

I actually have become quite addicted to not understanding and not knowing. I actually love the experience of walking into a German restaurant and not know anything. Whether I should sit down or what the food will be, it's great. For me it's great. It's a good way not to get bored. Yes. It's very interesting because I think that in my life, maybe as a child, I don't know, I just made the decision not to make this, just to make the realizations of the streets much more, very perfect, so that I have always the same situation, what makes my life cool now, in some ways.

[87:50]

But I have this idea, I have a deep idea, if I have a lot of good generalizations of it, then I can be very fast in the world. I don't have fear. And I don't have hate? I don't know. But I think... Yes, in German, please. I think it's always interesting that I, as a child, or at some point, decided to make generalizations of everything. Like from the street, my practice, my house, everything. I tried to generalize everything as quickly as possible. And that, of course, hinders me, for example, to see the light on the car, because I actually only have a generalization, so it's better now with the practice. But let's say that this is definitely a mainstream of the mind.

[88:55]

I never normally, I never allow him to experience that this street is different, as she says. No. No, I don't. It's just how it looks like. I just don't see all the same. So this is, I think this has been enough in German that we don't have to. I think this is a very important point. Because all of us, this is what Dogen would mean when he says we attach to what's not real.

[90:00]

It's not true that the street is the same every time. And we make it the same because otherwise we feel crazy. So we have to get through, to practice deeply, we have to get through past two borders. One is the boredom border and one is the fear we're going crazy border. And there's a word called synesthesia. It is when the senses merge to make a common picture in which sometimes you see sounds and hear... and hear sights. And it's probably what was meant at least to some extent by the old meaning of common sense which was a sense common to all the senses rather than to others.

[91:09]

And that is perhaps one of the very old or the very original meaning of the word, I have to say it in English, common sense. That means a sense, a feeling that was common to all, in all senses as well. And often practice awakens things that we knew as a child but decided against. It doesn't mean we're regressing through practice to some undifferentiated oceanic feeling. But before, if I say ordinary people here, the word ordinary means to weave. And here, the order is to weave. So an ordinary person is woven into the fabric of his societal or her societal culture and life.

[92:26]

And we want to see through that we. See how it's woven. And through mindfulness practice you begin to separate the parts of the basket you see through the basket into some big space. I mean we live in a world woven of generalizations. Wir leben in einer Welt, die geflochten ist, aus allgemein.

[93:20]

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