I suppose we could describe the eight vijnanas as a rather simple system. I'm looking at our beingness, our activity of existence. You could say maybe it could be thought up by one philosopher in one week or a month or two or something. But it's a system that was created over several centuries. Not through thinking, but through noticing what happens when you practice. And they don't go forward with the ideas until there's sufficient, let's say even peer review, that this makes sense and works in practice.

[01:27]

And it's a system that developed out of the details of the practice life of Indians and Southeast Asians. You know, I think it's a brilliant system with immense implications for our lived life? At the same time, does it really fit with the paradigms of our lives as Westerners? We have to feel this out in our own activity and practice. So I think what you did last evening, which is to constellate them, is a good step in trying to figure out how they fit with us.

[02:46]

You have a mixture of a fairly specific idea of what they are about and a rather general idea of what they are about. And the rather general idea may be beneficial in this case because it allows a lot of playfulness and play in how you construe or configure their patterns. And I'm a little embarrassed that I didn't attend. I did have some things I had to do.

[04:14]

But also I find I have a little bit of a problem not knowing German. When I've done constellations with you in the past, I get bodily involved as if I was part of the constellation. And I don't want translation because I want to follow it with my body. And then some points I don't get. Which exactly is that? And then the translation throws me off and so forth. So I get excited and engaged and then I can't really follow it because I get thrown away. Anyway, so please tell me what you learned or discovered or what happened last night.

[05:16]

Yes. One thing I learned is how important each of the senses is and how important it is to let them develop in their own quality. And so that each of them has a place. Smelling will always be connected as you were hearing. It's a permanent casting. The other was to be able to perceive it as an inner dynamic.

[07:00]

And that there can be really different dynamics of how different parts relate, and to have a bodily feeling. and simultaneously at the same time sense a kind of wholeness or the possibility for a sense of wholeness. By wholeness you mean interrelatedness or more than that? How they interrelate with one another that brings forth a feeling which I called like a golden ball.

[08:25]

What do you say? I don't decide. A golden ball? Yeah. Okay. You know, the Buddhism coming out of the Shravana tradition in India emphasizes always what you do, not what you think. And the Buddha supposedly said, you should all study and get to know each of the five senses. No, I can't imagine a question for us for saying that. I'm not telling you what, just get to know, study the five senses separately. And the course that he... Vishnayana is already a development of that approach.

[09:35]

Okay, someone else? I found an interesting complex experience yesterday how the five senses and the accumulated experience and the storehouse consciousness have that all interrelated And then I compared that again to how I feel when I have to make a decision on my own And to try out the different positions.

[10:36]

To have more patience and not to expect that such a process would go quickly. Yes. For me there were several things that really moved me and also to some extent. Last night. Yes, yes, in the constellation. And also surprised me. I stood as Mano. And one was the relationship between Manas, Manu and Manas, and how fruitful it was.

[11:43]

It's difficult with words. There were a lot of possibilities in it. immeasurable possibilities. And the surprising aspect for me was that there was no sense of asymmetry or something, but it was equal. But I felt quite connected to the Alaya Vishnayana as if I was one shape, one version of the Alaya Vishnayana.

[12:58]

Okay. Yes? I was the representative for Manos last night. Oh, well, you've been old friends for a long time. You two have been old friends for a long time. And so I can only speak from that perspective. I don't know about the rest so much, but this perspective I know. And I experienced how Manas likes to join to Manus. And especially likes to be joined to those senses that have to do with the body feeling.

[14:21]

And when this condescending word came in, that's something I don't soil. Schmutz. [...] And from that I found a new way of existing without letting the judgments bother me. And by me unfolding a further process, I can see how models can be helpful in certain situations.

[15:50]

For example, the power of distinguishing what belongs to me and what belongs to the world. And then we get to fall back into being entirely unimportant, and we felt it as a function in the midst of several contextual factors. Yeah. Let me just say at this point that the soil is also, as Virgil Curtis is also used in that sense, because sometimes the Vijnanas and the and the skandhas and so forth are called the soil of realization.

[17:07]

Yes, I have looked at it and it seems to me that it is very... I watched and for me it all evolved in a process-oriented way. And then the image of the room occurred to me. which is a loom that weaves itself. And an image that occurred simultaneously was a drawing by Escher. Yeah, in which a hand is drawing the hand and then the hand again is drawing the hand. And these two images also were interweaving.

[18:32]

The image I had was this moon that in the end sees itself and says, oh, after all, no coincidence. Okay, thanks. Only a question. I have a question. So, the manas is this self-theological spirit, and mano the biological. Okay. Good, then. Thank you. Yes. I have represented the Palaean name. I represented the Alaya. That's my name. It's hard to describe.

[19:35]

And almost indescribable. Okay. But somehow in my attention I held the whole and the development of it. and especially the agent of the whole focus. And then I would let myself be inspired by Manu and Manas. And the relationship between those two inspired me in how I was relating to the focus. And at the same time, I was always concerned that the system wouldn't get stuck in any taboo or something.

[20:59]

And in this boldness I would keep, however I could think of, I would keep breaking the taboo. And I think the high point of that was that I would even throw in a judgment, let's say schmutz, that even the judgments I didn't consider taboo. And I felt like a Lucifer-like power. Yeah. Or the yoga. Hey, yoga. Hey, yoga. They're hiding it now. The holy ghost. Holy ghost? No, all of them. Holy food.

[22:00]

Holy food? They hang it, maybe. I also discovered that the selfological mind is better to not make it too important. And that sometimes it can simply rest. But if one wants the system or one wants to go away or judges it with a derogatory sentence, then there can be a tendency that it inflates somehow and that it wants... defends itself defends itself and it makes some difficulties a little bit of a threat [...]

[23:18]

This is Manas. Manas grounded me. I am running the danger of exploding into abstractness. Okay. Okay. Yes, I represented the focus of the exhibition. I represented the focus of the Constellation. And I found it fascinating that I had the opportunity eine ganz eigene Beziehungsdynamik erlebt. And I experienced with each of the representatives a really unique quality of relational dynamic.

[24:32]

Und es war nicht eine ganz bestimmte Beziehung, sondern dass sich die Beziehung jeweils auch nach der Gesamtkonstellation, entsprechend der Gesamtkonstellation stark verändert hat. And so it wasn't just one particular kind of relationship. but that the relationship to each would change according to the overall configuration. And the one aspect that stuck out for me, I guess, There was this moment when as the focus I experienced a kind of thread through the Malo-Virginiana. And it was almost like a bit of a hallucination.

[25:41]

that the Marlowich Neonav was suddenly like a snake that I can't transport. It's the Marlowich Neonav. It was this moment when I sensed the Marlowich Neonav almost like a snake, but I can't control, kind of out of control, and had a real power in the system that I couldn't control, like a scarecrow. And it was what interested me, was that the ship, which made a whole new constellation, came out like Mars. And I found it interesting that there was this one moment when a shift occurred, a shift in views, which was initiated by the manas in that particular case, that allowed a whole new constellation within the system. And the shift was simply that manas said, it belongs to you. And from that moment on, everything was different.

[27:02]

Was there a focus, because it's necessary as part of the process of consolating, or was there a focus because it was assumed that it somehow related to all of the eight visionaries? Why was there this focus? Is it necessary as part of the process or as something that has to relate to all eight vijnanas, as an aspect that is necessary to relate to all eight vijnanas? Because it was like a human being or like our room. Okay. So the person who functions through the eight vijnanas. I see. Okay, you were going to say something. I just wanted. Me to notice her, so both of you wanted me to notice her. No, no, no. I just wanted to. That's okay. I wanted to say the same thing. I wanted to say the same thing.

[28:04]

I wanted to say the same thing. [...] I wanted to say that I experienced the same situation as impressive, how this sentence, this one sentence belongs to you, how that was like an intentional shift. This side of the room has been saying a lot. What about this side? Do we have two resonant fields going on here? I represented a touch or a feeling.

[29:04]

And I'm just sensing how great it is that suddenly everything is quite simple. For the feeling sensation touch, it's not about what the others are. But it's about the how, and specifically about the how of the contact of the relationship. And also the question, how is the other doing? How is the other feeling? And as a measure, qualities come to mind as appreciative, open, and authentic.

[30:26]

OK. Thanks. I was represented seeing, and for me two things were quite important. One, to have a good distance and to have a good overview of everything. For me it was very clear that the only reason that was happening was because you weren't using me at that moment. May I just say this is so beautiful here and that I'm very thankful to be here even though I wasn't here yesterday in the afternoon.

[31:51]

But it was very important for me to go to the room, and today I'm here. Thank you for coming back. Do you want to say that in German? I just want to say that it's wonderful to be here with you. It touches me deeply, even though I wasn't here yesterday. But now I'm here, and it was important for me to leave yesterday. Well it is interesting, it's kind of like we've taken a living being and opened up the living being without killing it. Opened up the living being and sharing the parts with others. and letting it kind of live in its separateness and then come back together or something like that. And I think that's something like some meditation experiences where you find yourself sort of inside yourself, observing yourself, and observing that, yes, it's somehow me, but it doesn't actually, it belongs to a lot of people.

[33:33]

It belongs to a lot of circumstances. And you can live its parts and then live it together. You see yourself as self and simultaneously also as other. No, shift in your head. There must be something going on. Yes. What was nice was how in both of the sequences that we did, the single pirates would keep coming together and finding their place as a whole.

[35:01]

And I said in the end, which had a final statement at the end, I said at the end, without Schmutz, nothing is worth it. Well, we won't. Yes. I would like to add something, because yesterday when the focus got so scared and I looked at you, I suddenly had an impulse I'd like to add that at this moment when the focus started having this fear response, I had the impulse to join the scene as a plant or as environment or something.

[36:10]

I would have liked the impulse to enter the scene in between Mano and the focus. I didn't follow the impulse, that was just an internal impulse. And then the scene changed. And when Norbert spoke to me, he said that the Seed was not used, but also the natural plant was used. I thought that was funny. How it was all three. And just the way Norbert said that it was as if the seeing wasn't used in its entirety.

[37:18]

I had a feeling too of something's not seeing the plant or the environment does not see. So it was similar. Was there a feeling that some of the individual senses are more connected with Manas than others or more connected with Mano or something like that? Was there a feeling that some of the individual senses were more connected with Manas or more connected with Mano than others? Me as Manu, I had, especially, we had two phases. Ich als Manu habe mich vor allem in der ersten Phase, wir hatten so wie zwei Phasen in der Aufstellung, mit dem Körperfeeling fühlen. Das war ganz klar, ohne das geht auch der Kontakt zum Fokus nicht. So, for me as Manu, there were two different phases in the concentration. But in the first phase, it was really clear that I needed the contact with the touch, the feeling, the body.

[38:19]

As Manu did. And without that, I needed that even to have contact with the focus. Okay. And Manu's... What did you have to feel in that contact, especially with one sense more than another? At first, the contact to Manu was especially important. But Marnot was in touch with feeling. But the feeling not the surrounding. And Manas really calmed down and relaxed once the focus was attached with Manu and with the body.

[39:29]

And this scene where the focus and Manas had this job together, smelling and tasting became especially important. Okay. And the other senses were there, but they felt more independent. I represented the snout. And in my role, I had two different impulses, main impulses. The one was that I felt like a, what do you say?

[40:37]

A scout. A scout, like a scout. A scout, yeah, okay. The other was that I was seeking the facility, closeness to taste. And together with taste felt quite integrated or belonging to the focus. And about your question, Mano or Manas, my feeling is I have no interest in Manas. I'm wondering what if other people were the representatives of the constellation I'm wondering I think the complexity would be the same but I would think that the dynamics would be quite different

[41:43]

What would be the difference between complexity and the dynamics? Because we're hearing different perspectives and different preferences and so forth, what the individual representatives experience and I think that that might be different if there were different representatives. So the complexity might be applicable to other focuses or other questions. Now, is the pattern that emerges from a constellation to some degree independent of who the roles are, or does it really make a big difference who's playing the roles?

[43:27]

I think it's the same question as if we were to ask whether a loom, when weaving itself, whether it would ever repeat itself, whether it would ever weave the same loom again. This is a looming question. My experience with family constellations is that the dynamics are basically determined by who the focus is. The focus is.

[44:57]

The focus is. The representatives, they don't determine the dynamic as much. That's the focus. But the dynamic is set by the focus. Now could you tell me what the fear event was? The focus also is a representative, that was our question. There's a person who's giving the job. So what he means is not so much the focus, but the person who's giving the job. The sculptor. Yeah, but he says that I do not share that experience. Okay. I think the archetypical dynamic is greater than the personal or self-referring dynamic.

[46:04]

Yeah. So there's something, you could have two or three different... constellations with different people, but if it was about the same situation, variations of the same pattern would appear. Kristina? It depends on what kind of constellation is done. As my experience of yesterday, we did constellation in order to explore something. And Nicole took the job of the focus. And my experience was, by the way, it's also my experience that I was representing something that on the one hand had a general, was a general, maybe, she said general dynamic.

[47:22]

I also had this feeling of archetypal. There was some archetypal elements in there. but at the same time there was a personal aspect. And as for the representatives, because it's also my experience that it's quite colored by the person who's making themselves available as a representative. But that one can also rely quite well on the basic statements and the sense of the basic facts. We have oftentimes had to replace somebody because a role was too difficult to bear for one particular person.

[48:33]

And then another person would come in and maybe was more capable or maybe better able to bear the role, but also experienced something very similar or the same thing. Christian? I wasn't part of the constellation yesterday. But when I'm listening here, a central question arises. In relationship to senses. I think we all know an experience that can be described as a heart. So there is like a contraction and there is some opening and in my experience the opening transcends the five senses.

[49:38]

What's the relationship? Do the five senses take a different role when there is such an opening experience or they don't exist or what's that? You're asking me? Yes, please. Thanks a lot. You'd have to give me a little time to sort of get a feeling for what you said. Secret. People come to us in this contraction. In the sense of being contracted. Contracted. In suffering. And they blame everything for suffering on themselves and on their own story.

[50:57]

And they refer the guilt for the suffering onto themselves or onto their own history of suffering. It's like mental self limitation. It's also Western and societally implemented. that we call, that's called individualization. And that's actually the manas perspective. And the liberation of any kind of opening or opening or so, consists in that I no longer say, this is mine. And the liberation in any constellation is that when I no longer say that this is mine, but it's only mine.

[52:19]

But it's something that is about everyone. And if I liberate myself, I liberate the whole. And in this mental shift, that's really where the help can be found. Society implemented individuation. I like that phrase. If that is To the degree to which that's an important dynamic, it would be a different input into the system of the 8 Virginianas than you get in Asia. Now, several other people have hands up, but we should take a break.

[53:21]

And when we come back, we can continue if you want. But let me say that if the If the practice of consolation has any, to the degree to which the practice of consolation has a mutual validity, the only likely explanatory dimension I could think of as the alive machine. So maybe we can today somewhat speak about how that might be.

[54:21]

Und vielleicht können wir heute darüber sprechen, inwiefern das der Fall sein kann. Thank you for letting me, this old man, sit on the platform. Danke, dass ihr zulasst, dass ich alter Mann bin. Okay, good, thank you. That might change the time we should come back, but let's try.

[55:33]

Well, let me try to enter our resonant field with this topic. There's some things I'm leaving, we're leaving pending, that were initiated earlier, but we can come back to them in a new form or whatever. And I said enter into this resonant field just so that we get used to this as a concept. You know, if you explore And you didn't, I'm half joking, you didn't constellate the four samadhi successions.

[57:37]

I don't know if it's possible. But in any case. When you practice regularly, intentionally? One thing you... Again, I said resonant feel for another reason, which is that I don't really know how to speak about this, but you, the field, helps me or shows me. So I have to start somewhere. So I'm starting with one practice is to end the practice of knowing oneself.

[58:38]

knowing how things are, is to explore attentionally your physical body. One of the most traditional categories in which to do that would be the four elements, earth, air, space, and so forth. Yeah, and that's interesting to do. But it's also to explore it without any categories. And what you find is first of all there's what your attention is drawn to first.

[59:52]

So there tends to be an attentional There are dynamics of the body which draw attention more than other dynamics. So to do this kind of exploration you need this little interior flashlight looking around. Or experiential light. And like I said earlier, the body opened up but functioning, but not in its usual patterns.

[61:10]

To do this kind of exploration you need to free yourself from the image of the body we have as a physical thing you see from the outside. And you pay attention to the heart, for instance, and it turns out you pay attention to the circulatory system. So you may have an image of the heart or an image actually of the kidney or something like that. But when you use the image of the organ to direct your attention, what you see is not what you expect. what you see, feel, experience.

[62:24]

And there's a kind of hierarchy that appears through attention or it appears through energy patterns and so forth. And I said that the body was this physical body that you see in the mirror, but it was also a kind of body that's in space. that has boundaries, but they're kind of movable boundaries. And you feel yourself laid open into space as if there was a spatial body or a spatial presence in which you functioned.

[63:34]

And you feel patterns, like the horror or the tanden, or the chakras and things like that as well. It's almost as if to enter with attention the articulations of the physical body. The somatic attentional body has a different shape than the physical body. Okay, so that's a little introduction.

[64:46]

So the five, let's go back to the five senses again. If, you know, just covering the same territory again, a little more attentional detail. You're in a sense plugged into the world, plugged into immediacy, through the five physical senses. And mind as a source of conceptions and the coordinator integrator and coordinator of the five physical senses. And the integrator and coordinator of the five physical senses we can call mano-vijnana or the physiological mind.

[66:10]

Now there's a reflexive relationship between mano-vijnana and each of the five senses, physical senses. Reflexive, like mirroring each other. They go back and forth. So to make it simple, it's sort of like the senses give you information, and Manu Venjana says, give me a little different information, or add this, look at it this way. So it's not just a thing of like you're knowing the way things are. You're part of how you know how things are. So the five physical senses, by being explored independently,

[67:25]

And studied independently, as the Buddha himself recommended, supposedly. You heighten the way they heighten, intensify, you heighten the way they are connected with the world. In other words, the five physical senses are discovering and articulating your immediate... And the more you can give independent... to each of the five senses. You're creating what in Buddhism is called an ayatana or a field. A field that arises within each sense of attention.

[68:56]

Yeah, okay, within each sense. And articulates immediacy. And the more highly articulated immediacy influences the Manu Vishnana and Manus. Here we have the concept again of the Tendai concept, which is Zen and Dogen too. Here symbolized by the 3,000 coherences. Okay, now the 3,000 coherences are neither prior nor posterior. They uniquely, at each moment, constitute their way to speak about, uniquely at each moment, your medicine.

[70:22]

Sie stellen auf einzigartige Weise in jedem Moment und sind eine Art, auf einzigartige Weise in jedem Moment über deine Unmittelbarkeit zu sprechen. We could even say you're now creating a medium. You're turning immediacy into a medium. Wir könnten jetzt sogar sagen, dass du die Unmittelbarkeit in ein Medium verweigert. You're functioning within this medium independent of past and future. From the point of view of the five physical senses and Mano Vijnana. Now again we have the image of the lotus. Which is again rooted in the mud and blooms above the water. which suggests the ability to have an observing mind which is detached but not separate from the pond and the mud.

[71:36]

But lotus is also, as I said yesterday, used as an image for the fact that there is the simultaneity of the fruit and the bloom. They appear simultaneously, but the fruit is often, or is, hidden in the bloom. Okay, so now this is the concept of that the bloom, that that the bloom and the fruit are co-present, present at the same time, but unrevealed.

[72:57]

Now this is a way to express the concept of the relationship, the underlying relationship of the eight vijnanas. Which is there is an indeterminate interdependence. Okay. So that it's like, for instance, the Buddha is The Buddha is sometimes called an unseen coherence. In other words, our immediacy may be blooming in a certain way, but there may be fruits that are built into the situation that are not yet revealed.

[74:06]

So that's part of holding in mind not only the five senses in their articulation, separate articulation and limitation. But the mystery that that is your only part of the picture and the picture includes includes you to various degrees. So and your way of participating in this articulated immediacy and the mystery that is part of the, an absent but dynamic part of immediacy.

[75:40]

You were participating in immediacy. By heightening the articulation of each of the senses. Including being opened through indeterminacy, inner independence and so forth. You will allow the absence, which is dynamic of presence, to also be present. This is a very dynamic process. And it's like... you're establishing, as sometimes it's said, a local coherence.

[76:50]

But that local coherence has discoherence or decoherence built into it. So there may be a harmony on the other side of disharmony. So if you cling to coherence and you need everything to cohere, you try to exclude decoherence. But it's not just words or a kind of philosophy to say that coherence and decoherence are a shared dynamic. We could say that enlightenment or insights are a fruit of decoherence.

[77:57]

So Manas, as a dynamic of this pattern, tends to gather that which leads to action. So, and Mano-Virginiana tends to gather that which leads to another. What word to use, what I'm using right now is contemplation. And Mano, though we don't want to turn these into things, it's the case that the Manas Vijnana as an activity and a dynamic in a way are expressions of the two truths knowing the world as

[79:43]

relative, comparative, predictable, and so forth is one of the truths, so that you can take action, function. And mono, which gathers more of the experiences of timelessness and non-comparisons and so forth. and doesn't try to organize things and allows things to be rather, you know, ready to deteriorate. Okay. Am I being fairly clear?

[81:07]

Yes. Okay. So, again, going back to what I was speaking about yesterday, we're not looking at this as if this... Yes, we have definitely ears and eyes and nose, but what happens through those is really up to us. In a way we could say it's up to us how we do each sense. And I believe that neuroscientists say that a musician has the parts of the brain which relate to music, sound, etc., more highly developed than non-musicians.

[82:21]

So what you do does have physical reality. But what you do... And how you think about what you do, what mental postures you take, are part of what creates these eight vijnanas. Okay. Okay, now let me just speak about fields.

[83:24]

I think we have to use the concept of a field. And there's no question in my mind that the field of mind and the ability to notice the contents as separate from the field and to shift your identification between them is an essential part of practice. Now, as I often say, as a yogic, a truism of yogichara buddhism, As a reminder. All mental phenomena have a physical component. And all sentient human physical phenomena have a mental component. So it means, largely, maybe not 100%, but largely, anything you think, you also feel.

[84:44]

Now part of the skills, attentional skills of a yogi, is that they've attentionally explored and also then opened up the body to attention. like exploring a forest until you know most of the paths, where new paths could be. Okay, by opening up the body to attention, by using attention to explore the body, You then begin to have the potential skills to notice simultaneously a particular mental phenomena and its physical component.

[85:57]

Of course, if I explain this in words, it's always idealized. But to significant degrees, practitioners can do this. and what's important even if you haven't practiced enough to do this if you know and really probably believe that it's possible that in itself starts letting you notice when it happens to you dann lässt das selbst dich bemerken, wenn dir das auch widerfährt. And the more you engage in daily meditation and mindfulness practice, the more this becomes your bread and butter.

[87:18]

Und je mehr du täglich meditierst und dich in Achtsamkeitspraxis biebst, desto mehr wird das dein Brot und Butter. Bread and butter in English means how you earn your living. So that was a wrong image. But what the phrase in the koans is, the ordinary food and drink of the... So you get so that you can locate but either way physical and mental mutuality. So this is all part of engaging the senses with enemies.

[88:30]

So again, What's happening here is the 3000 coherences or the dynamic of your own personal immediacy becomes more and more the experienced presence of each moment. And if that's the case, immediacy is now telling you more and more things. You're articulating immediacy. by these practices, and immediately he's articulated you.

[89:39]

And one of the experiences that lets you know this is happening to you, as I've said, you notice things in greater clarity. Now, it's kind of funny you say, well, I always thought it was hanging there fairly clear, etc. But it's somewhat destined to be crystalline, but especially clear. And you feel what's happening is happening in you. And you feel a greater complexity. You look at one of these great trees around here and you feel microclimates in the tree in different patterns of movement, etc. And you don't see generalizations, you don't see words.

[90:54]

You see the tree as almost as if it could reach out and embrace you. And this is a word sometimes used when trying to translate things where the experience of non-duality is that everything seems to embrace you. Okay. So let me say that when you become more aware of Mano Nisnana as a particular physical field,

[92:04]

as a physical experience and a modality of mind. That feeling and modality of mind tends to gather what doesn't fit into timeframes and so forth. And while the physical feeling and experience and modality of mind, which is manas, begins to gather, does gather in its very presence things that are self-logical, as I say, or

[93:22]

to make the world predictable, comparable, etc. Now you can shift between these. And one of the main teachings in the Soto of lineage is the five ranks. And the five ranks is a way to look at and expect one to be able to make these shifts. So let me give, okay, a field. So I started speaking about that. If we're going to say that somehow this is about a field, Then we have to look at what a field is.

[94:42]

A field implies borders and connectedness. And everything is an activity, nothing is an entity. So it's an activity. What would be its activity? I think we have to assume it's going to be some kind of oscillation. Some kind of vibratory oscillation. And you know, I'm always interested in the background of words. And the word oscillation actually means little mouth. That's the etymology.

[95:50]

Or a little face. And it comes supposedly from the image of Bacchus, which were hung in farmer's fields to protect the crops. Of what? Bacchus. B-A-C-C-H-U-S. Yeah, and I guess these images of Bacchus, they used to swing in the wind, so it became a salish, full of salish. Full of salish. So I like to think of this field, and you are generating through the skandha, but the five and six vaginas, with the 3000 coherences of immediacy you're generating a field which is an activity and we can describe that activity I don't know any other way to describe it as an oscillation

[97:05]

And I see it in my mind, my feeling, as a kind of way the world speaks to us through the little voice. And you can change the amplitude. And what the Vijnanas are about is changing the amplitude. And then immediately it speaks much more loudly to you. And if you're nervous and upset and angry, it dampens down the oscillations. And I think some people, because of the way they develop, have a presence which really oscillates.

[98:29]

I'm just trying to describe what I experienced through this practice. Now just one little simple example of what I see as how the alaya dhyana functions. I have, because of my unhealed heel, I've got a cane so I can imitate Paul Rosenblum. He looks so great and dignified. So I brought a cane next to the hotel rooms to hang him here. And the guy put a little rubber tip on it.

[99:35]

It was the only fairly simple cane. All the other canes I would have had to hold Franz Josef in my hand. And this little schlock. Schlocky? Schmaltzy. Schmaltzy. All right. So anyway, the guy put a little rubber tip on the end of, you know. So when I was coming up here the first time with it, of course it's wet and the ground is soft, and the cane kept disappearing into the ground. And I cut across where you're not supposed to walk, I cut across because it's softer, and I took a shortcut to ruin it.

[100:44]

In the last couple of years I've been following the rule, but this year I took a shot. As I'm coming up the hill, I think to myself, whoops, this is soft ground, this rubber tip is going to disappear. So I thought, well, it's going to disappear, but I'll be careful. And I kept, and I went up the hill, and several times the cane disappeared in the mud. And then I looked at it, and the rubber tip was gone. And then I thought, well, I'm going to be careful. And then I went on. And I checked it all over and over again a few times. But then all of a sudden I noticed when I got to the top that the rubber tip had disappeared.

[101:53]

And one test of my willingness to keep traveling is that I can keep track of a thousand things that I pack. Or hundreds. Believe it or not, wouldn't you say it's quite a few? So I thought, I have to go back and find it. And I thought, I have to look in every hole. I thought, this is probably unlikely. Even for me, I usually don't give up. It's gone, but he didn't give me an extra one. So I continued up the path. I decided, I thought, you have to be rational now and accept that it's gone.

[103:05]

So I got up here and then yesterday I'm walking up the same path. and of course in my background it's wondering where is that thing and I came to the point where I thought to myself I couldn't lose it And I looked down in there. So my thought that I could lose it was the fact that I did lose it. Oh, I thought I lost it. Consciousness thought I lost it later, but the alive is now new where I lost it. And later, without even thinking, I got to that spot and I said, oh, this is where I thought I might lose it. And there it was. So that's a very simple example.

[104:20]

But it is amazing that these two layers are working simultaneously and telling us different things. And how to listen to the Mano and the Manas both. That's my introduction. Thank you very much. And we're only five minutes.

[104:52]

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