Even though you know it's not the whole picture. You're packed within it with a subtlety of knowing it's not the whole picture. That's different than protecting yourself from it. So I'm speaking about everyday life as a kind of sensitivity. Now, you know, everybody says Zen is, you know, often people say Zen is just everyday life. It's not just everyday life.

[01:01]

It's how you know everyday life. And the realm of practice is not just the monastery, but everyday life. And in that sense the monastery is also everyday life. Each situation appears. Oh, you accept it. Is that really the way it is? And You feel this fluidity again of the moment.

[02:09]

Each particularity. and the relationships. The absolute independence of each thing and at the same time its interdependence. And that becomes how we feel the world, not think the world. And what is and could be and should be, might be. At the same time you don't do anything. There's a stillness in this. You recognize this and there's a stillness in it. It's like playing with Sophia. Often I talk with her, I do things with her.

[03:13]

Yes. Sometimes she tries to stand up and falls down and so forth. But one attitude I have is just, I am here. I can't respond to everything she does. But I can always respond, I am here. I don't know if that makes sense, but maybe... whatever Sophia knows, she knows, okay, he's here. Isn't that what we want to know about God, actually? God is here. Whatever we do, we think, well, God is at least here.

[04:18]

So maybe there's some ripeness to that kind of situation. You don't do anything, you just If you really don't do anything, sometimes it ripens the situation. So there's a quality of practicing between people. But the teacher doesn't help you. Or sometimes the teacher helps you. But more fundamental on whether the teacher helps you or doesn't help you, the teacher's just here.

[05:18]

And the disciple's just here. Nothing, no big deal. Don't think something has to be done. Somehow, just being here, something like a tree starts to grow. There's some soil that's created So if you feel God is somehow present in your life, you might feel Buddha is somehow present in your life. And the practice of the most popular form of Buddhism is to continuously call the Buddha's name. With the sense of how somehow this space is Buddha. But we can have that feeling in ourselves. I don't know if Buddha is just here, but...

[06:22]

I'm just here. Can you feel that for yourself? There's also a kind of magnetism to it. You don't have to do anything if you just feel you're here. I'm here. This is here. Something's here. things start to appear. They start to ripen. So we're talking here about enriching or ripening the situation. Strangely, by, I don't know, I'm losing my ability to say something about it, but by not doing anything. Falling into form, but not being caught by form. Feeling the presence of is, could be and might be, feeling it in yourself, but not doing anything about it.

[07:52]

But somehow it creates a richness. You don't have to do anything. You could bring this Buddha field into yourself. In a way that you recognize it's part of the world. That's one of the reasons we practice with the four elements. When you feel the you know, part of just being here in the Rupakaya, in the form body, is to feel the way form is part of each of us. I like the example I've used of doing kinhin, the water element.

[09:10]

I really don't know if this makes any sense, but I'm saying, but I'm going to go on. So, you're doing kinhin, right? They're learning to walk in the meditation of, you're learning to walk move in the mind of meditation. So you lift your foot up. As you lift your foot up, you can feel... I'm going to use this as an example of a lot of things. A lot of things in one minute. you lift your foot up and you feel a kind of energy coming up the back of your leg. And that energy is kind of like fire. But speech is also kind of like fire. We want to communicate, we want to say something.

[10:12]

We want the world to talk to us and we want to talk to the world. Again, Not only does Sophia want to talk, walk, she wants to talk. That's something very basic. That energy or fire is not just speech, everything is speaking. And so partly that, you can feel that coming up, you can feel it lifting into the world. You can call that the fire element. But the more you kind of notice things like that, again, you feel it in others. And when you lift your foot up, it just relaxes.

[11:14]

And again, like a swimmer lifts their arm out and their arm is just relaxed before it goes back in the water. That's the water element, not because you're swimming. Water seeks its, you know, Seeks to just relax. Waves are always trying to relax. They make this big shape and they say, I want to relax. So your whole body feels the water element. Just relax. But at each moment, that was great about Sukhirashiva, at each moment you saw him relax. There was no mental thing holding him in the whirlwind.

[12:15]

He just disappeared from the world each moment. Like the wave disappeared in the ocean. So then when you come down, feel the solidity. And this whole space is evolving from this. So you notice that. I mean, I step here now. And when I sit down, I touch. I don't know what happens, but it's kind of like the water element. But this kind of noticing such silly things, we're talking about what you notice in each moment. If these are things you notice, we're pointing out things that you share with the rest of the world.

[13:19]

Trees, walls, other people. Bones. Bones. Solid things. So. Let's sit for a few minutes. Please. We could say relax into the sound. Yeah. Fall into your breath. Fall into a freedom from bliss or satisfaction.

[14:28]

Fall into a freedom from values. And reappear in each situation. Not on your own, but with others. With each thing. And let this falling into the world shape your world. And let this falling into the world ripen yourself and the world. Anyway, this is something like I'm trying to speak about. What kind of world do we want to live in?

[15:57]

Don't force it on anyone. But don't lose touch with it either. how soft everything is. Everyone.

[17:23]

Each one. So giving a sense of this Buddha-feel, presence. And perhaps I should regret having decided on this topic. But I don't regret.

[18:24]

But it just struck me to do it, so I'm trying. But they say trying to give for practitioners to get a sense of a Buddha field, it's like trying to thread a needle in the dark. You're familiar with the dark, you're familiar with the needle, you're familiar with the thread, but you don't see any reason why you should put it together, especially since it's dark. But when you do, the stars come up. Something like that.

[19:42]

Another image is... There could be one sun or two or three suns and a moon. But there's only one sky. And the sky makes the light of the sun possible. In that sense, the Buddha field makes a Buddha possible. Yeah, I think one of the keys might be the Buddha body is sometimes called the body of communal enjoyment.

[20:43]

One of the keys to this could be that the Buddha body is the body of communal enjoyment. That means a Dharma entertainer. Anyway, I said that the key is to know, unabashedly, do you know that word? Without embarrassment or fully aware of the uniqueness of each moment.

[21:47]

Now you understand I really have a little problem repeating uniqueness so often. But we need some kind of technical terms. Okay, so we know obvious, if you give it a moment's thought, that each moment is unique. We think maybe it's only a little bit unique, but we're willing to concede it's unique. And we're not so sure it's non-repeatable. We always think we have another chance. And in some senses we do. Intention, the power of intention is based on... Each moment we have another chance.

[23:20]

Yeah, but the ability to, you know, mostly we get bored. And you simply don't get bored if you know, if you really feel, are sustained in this uniqueness. You never feel, oh, what should I do? I want to do something. Something's always present. But you can't force that on yourself. Otherwise it really sounds bad. Okay. How to sustain this experience of uniqueness? Okay, one...

[24:26]

One way to look at it is, what is the content of uniqueness? Yeah. Yeah, and I said something about that yesterday. You can begin to give some shape to... to each moment. First of all, the key is uniqueness. It's the key hole. Through which you get a glimpse of the Buddha field. Okay. Now it's a very big word, Buddhafield.

[25:46]

You know, when I was a kid, the guys who hung out in the pharmacy, the drug stores, You hung out? No, the people, yes I did, but the people who were, who hung out at the local drugstores. You don't really have drugstores in Germany. We have Drogerien, but it's not about drugs. And you have pharmacies. But a drugstore is somewhat different. Usually has a A pharmacy part. And it easily has a soda fountain part. And it sells magazines. And I, in fact, was a soda jerk at one time. A soda jerk is someone who works in such a place and makes ice cream sodas and Cokes and such things.

[26:54]

And one of my specialties was zombies. Do you know what a zombie is? Is it black and white soda? No. A zombie is a Coca-Cola with a squirt of every flavor in it. You generally... It was a living death. You generally didn't have... You generally didn't have... Coca-Cola in a bottle. You had Coca-Cola, you mixed. You had soda water and a squirt of syrup, and you'd make your... They did that here? And the two most popular variations were a chocolate Coke and a cherry Coke. You put a squirt of chocolate syrup in and mix it, or a squirt of cherry in.

[27:57]

You had cherry Coke, didn't you? And a zombie was one square degree. It wasn't too good actually. And I worked actually in a place called, believe it or not, Love's Drugs. Because the man who owned it happened to be named Love, Mr. Love. Yes. The zombie was your invention? No, no, no, no, no. actually no no it wasn't my invention you could do it you know almost with your elbow as you ran the glass down pushing all the spigots down

[29:16]

I was quite good at making chocolate sodas and milkshakes. And I still have a milkshake machine wherever I live. Yeah. In fact, when I returned from Japan, Mike Murphy met me at the airport with a milkshake. He thought after four years of being in and out of monasteries, I needed a milkshake. Okay. So a drug store is that kind of place. I used to read all the books. The ones I didn't work in, I read in. They had book racks, you know, and I would read a book.

[30:22]

No one ever bothered me. I don't know why. And then I would memorize the page and put it in the back of the stack, and I'd come back the next day and pull my book out, continue where I left off. So a person who hangs out in such a place is what's called a drugstore cowboy. So maybe we have a drugstore Buddha field. And I'm trying to make it more ordinary. Yeah, I don't want it to seem too big a deal or it kind of makes you think... It prevents understanding. So what is the content of... of this... field or presence.

[31:46]

One is the absence of unconscious use. The absence of using each moment but being quite unconscious that you're using each moment. It would be like, you know, whether it's artificial light or the sun, you have no sense of the sky. Another is, as I said, there are certain things, certain attitudes or dynamics you can bring in to the uniqueness of each moment.

[32:59]

And one is you usually have to start with some kind of yes or acceptance. Yeah. I mean, if you don't say yes or accept, you don't even get in the door. So you need some state of mind, mode of mind, which always says, ah, ah. That's like saying, oh, ah, hmm. So such things like repeating a mantra om om or mu are ways to Say yes.

[34:02]

Mu, strangely, is a way to say yes with the word no. Because you say no to everything that distracts you. And what's left is there. And then you can have this feeling of what is, that's we're accepting what is. And we can have what could be and might be, as I said.

[35:14]

Do you see that if you have the feeling of not only what is, but you have the feeling of what could be and might be, you've widened the moment? Acceptance is a big space. So if I say that Andreas is sitting here, And I accept him. Why not? So big I accept him. Of course. Kind of hard to not accept him.

[36:16]

So I accept Andreas. And if Andreas feels accepted by me, then he feels some kind of, maybe some space. We're actually planning to steal some horses one of these days. We already stole a couple of cars. I steal them, he pays for them. We ran out of a car. We had no car. Our Mitsubishi someone gave us wouldn't pass the tough. And this tough guy showed up with a car for us. Thank you very much. It works. It really does. A lot of people like it. We take it for granted now. It's like it's always been there. So I can accept, I do accept Andreas, and there's some kind of big space there.

[37:35]

But it's bigger if I also feel what Andreas could be and might be. It's a kind of space stretcher, moment stretcher. Expander. So if I'm always... Responding to any one of you with the feeling of not only accepting you, whatever you are, however you are. But also having the feeling of what you could be and what you might be, should be. That's a kind of invisible content.

[38:42]

And accepting Andreas as he is, is... visible content. But what he could be is not visible. So how do I pay attention to what's invisible? So now In every, each moment there's some kind of ma-point, some kind of activity. Yeah, there's activity and there's the way... All the strings that cross in each moment are where they cross. And that so-called ma-point or whatever the activity of the moment is tends to be a natural locus or focus for our attention.

[39:47]

But that doesn't notice what could be or should be. So we develop some ability to pay attention to what's not there. Yes, we actually always do some version of that. And that's what makes partly this so difficult to speak about because everything I say, you can say, oh, I already know that. But to sustain the big feeling, could be and might be is to sustain it moment after moment is something not usual.

[41:12]

But this great feeling of what could be and what should be, what is possible, moment after moment, to maintain it, that is really a great feeling. So in a way you learn to pay attention to what's not present. Yeah, but what could be present. So this is the dynamic of feeling the presence of a Buddha. with each person. Now you understand the movement, the direction is also the Buddha. Now, if I am driving to Hamburg, on the road to Hamburg is also Hamburg. I think maybe you really feel that when you're about to go to a Sashin.

[42:28]

Two or three days before the Sashin, you start getting ready. You feel yourself going into the Sashin. So the Sashin starts before... The Sashin starts. So that's some kind of Zen study. The Sashin starts before the Sashin starts. But it's true. Then the Buddha starts before the Buddha starts. And you're all Buddhas before the Buddha starts. Okay, so that's we could call the seminar the Buddha before the Buddha starts. On a cold morning, turn the engine over, it's hard to get it to start sometimes. But if you park your car in the Buddha field, it starts up. So that since you have the feeling of should be or could be, then you have, like, should be what?

[44:00]

Well, should be a nice person, should be a good guy. Well, the end of that is somewhere is possibility of being a Buddha. And if I have that feeling, you know, about Andreas or about you or you or you or you, it makes it more possible for you, because I feel it. And if you feel that way about me, it makes it more possible for me. This is also a taste of what it means, the body of communal enjoyment. Or mutual enjoyment. mutual enjoyment or something like that.

[45:07]

Now another content of the unique A moment known as unique. It's the infolding and unfolding, the infolding and outfolding of each moment. It's a kind of mandala. And you can feel this idea of the drugstore Buddha field is a kind of mandala.

[46:10]

Now, when I gave you the example last night of Kenyan, this walking within meditation, you know, I spoke about four elements. And by that I was talking about a kind of texture. Someone I know was an employee. They were calling in experts and everything, and she just went and plugged it in. It's so stupid, but people do stupid things. Yeah, so this kind of texture, At this moment,

[47:43]

And I don't know, really I kind of don't want you to practice, try to practice the four elements, but at the same time I should talk about it. But just have a sense of your body, don't worry about the four elements. And the qualities of the body, is it? create space. Now, another thing that happens is that the in-between senses are awakened. And now I don't, I don't know. Again, this is a drugstore Buddha field, not a big deal.

[48:52]

But you begin to feel the world with what people call your chakras. And the chakras only seem to function in any noticeable way. When you are in a... Stabilized or something like that in the uniqueness of each moment. Like your eye will function almost all the time. And it's not so context dependent. No, that's not really true, but it's more or less true. If you listen to music, after listening to music, your ears hear things differently.

[50:26]

If you listen to John Cage and some more contemporary new music composers, the plumbing Radiators start sounding like music. In New York, if you make too much noise, they bang on the pipes in the other apartments. They do that to you? They do that here? Oh, yeah. Everybody in every apartment is banging. Shut up down there. Anyway, it's a kind of music, I suppose. And Paul and I know a painter who...

[51:36]

Michael Sawyer who painted with a brush with three hairs or six hairs or something like that. You could get a magnifying glass and look and he'd paint things and they'd have eyelashes and everything that you could only see with a magnifying glass. And he learned some technique of relaxing his eyes. So he could see it with amazing detail things and he'd go outside, he could see the craters on the moon. And he was able to see such amazing things with this technique, that he was able to go outside and really see the moon crater. So your eyes are also context dependent. They adjust to the dark and so on.

[52:44]

But they mostly function in a variety of situations. But these, what I'm calling in-between senses, really only function in a world of recognized uniqueness. They shut down in some kind of repeatable sense of the world. And you don't always have the same kind of choice over which... I really hate using the word chakra. Which chakra begins to scrutinize the world?

[53:54]

I don't like using it because tantra and chakra and so forth have come to be so charged words American Europe and so all kinds of fantasies about them. But you do, you know, if you practice meditation one of the first things that happens is you begin to feel an itching and... sensitivity at the top of your head. It comes and goes. Sometimes it's more present than others.

[54:55]

And after a few years of practicing it may actually hurt quite a bit. Well, it feels like somebody hit you on the head and then scratching you. I'm not making it sound very attractive, am I? Boom! Get away from my head. But you notice it appears in only certain circumstances. You know, it might in a sashin or sometimes be there all the time.

[55:57]

And you can activate it if you want. But often it activates itself strongly. And that's sometimes because your body is, you know, relaxed and pliant and so forth. But it's more because a certain situation is happening. And it's scrutinized or divined or intuited by this kind of sense organ. And I call it an in-between sense. It's a sense. It's a sensing of the world, but it's not a usual sense organ.

[57:03]

And I call it an intermediate sense because it is something like a sense, but it is not a sense in the usual sense, known sense, but it examines the world. Because in between hearing and seeing and smelling. Zwischensinn, zwischen den bekannten Sinn hören, schmecken, fühlen, sehen. And because it notices an in-betweenness. Und weil es ein dazwischensein bemerkt und wahrnimmt. You know, objects are meanings. Objekte sind Bedeutung. This is a bell, but it's a meaning. We perceive it as having meaning. We can hit it, we can fill. It's not just a physical object, it's meaning. And as meaning, it has an energetic presence. But its energetic presence is kind of swept in to how you would use it.

[58:28]

But when you have a sense of uniqueness, there's not a sense of how you might use it, but just how it is. So the energetic presence of the so-called objects is different. Now the words I'm talking about make this sound like it's something unusual. It's really not so unusual. What might be unusual about it is practice Zen practice, a particular practice, puts all this together in a certain way. So going through the keyhole, the needle of a Buddha field, And opening the wide space of a Buddha field.

[59:42]

Which will hold open the future and the present. If we're pushing the present open to include the future, the possibilities, you also diminish the activity of the usual senses. And the usual senses are not caught in speculation and likes and dislikes. And this somehow awakens these, what I just called for the heck of it, to call them something, in-between senses. And they begin to know the in-betweenness of The relationships.

[60:58]

moment by moment relationship that is between each of us, but only exists for a moment and can't be grasped. But these in-between senses start to resonate with these You might be in the forest and the wind's blowing through the trees. And if you can Let's subside past, present, past, future considerations. And let's subside... Yeah, so you're not anywhere at all.

[62:32]

Then you might say start, for some reason, if you can notice exactly how you feel. You might see that somehow you're noticing movement of the trees here. And if some animals you hear in the brush, you might feel you notice them in your cheekbones. It's like if you go through the keyhole into this uniqueness, this non-repeatability, These other senses are awakened. And I think in traditional cultures, hunters and trackers and things like that awaken such kind of senses. As I would say, If I see your body, it's not right.

[63:54]

But your body is part of a context. Becomes something like a tuning fork or dowsing rod. And you begin to see what the chakras mean, because you begin to feel things at certain locations. And this is, at least in my own experience, much more clear and integrated as an experience. After my energy, flowed freely up my back and down my front. And that took quite a while before that happened. But for some reason in practice I'm extremely patient. You know, I might notice something 15 years ago. Oh, I can feel... With my breathing a certain way, there's a certain feeling here.

[65:18]

And then I say, okay, there's a little promise. I don't care when the promise is delivered. I actually do not care. I have zero anticipation or interest in anything happening. I don't know why I'm like that, but I'm like that. And two or three years later I feel a little movement up in the middle of my back. But this happened quite early. But then to begin to feel the whole integration of the system took a long time. I'd say about 12 years to get it going and 20 before it was developed.

[66:24]

Sorry. You're all more advanced than me. I'm a slow guy. And I'm still at a very primitive level. But who cares? I've got nothing but time. Or I have no time. And that's the next subject. Yes? Why do you say that you are on a primitive level? What? Why do you say you are on a primitive level? Oh, because I'm like... No, no, I'm technically serious. I know what's possible. The more I realize, the more I realize how little I realize. Okay, so let's sit for a few minutes. Or a moment, and then we have a break. More obvious. centers, funny to call chakras obvious, but obvious centers of sensitivity.

[67:39]

Sensitivity to the textures of the immediate world. And the fabric of situation is not what just seems to be happening. Not just these obvious centers of sensitivity which begin to know the textures of the world. So it's better not to have a system in your mind.

[68:52]

Except a little bit as an aid to practice. Because the in-between senses are much more widely and surprisingly much wider and more surprising than just so-called chakras. The whole body, when the context is also your body, knows things. Practice helps us not interfere with that. Practice helps us to be slightly more aware of it.

[70:27]

this functioning of our mandala in the world. I mean, anyway, if you'd like to hear.

[71:58]

The Tibetan, standard Tibetan word, I believe, for the Buddha is gone, unfolded. It's not spoken about as an entity. particular person, but a way of being. Yeah, so it's, you know, or even in the simplest sense, it's the one who is awake. So, a Buddha field is a way of being awake. Gone, gone, I mean gone, unfolded.

[73:05]

So would you like to, what would you like to discuss? Do you have something you'd like to bring up? Yes. How can you be so humble? How can you be like that if for eight years no result has come? How do you know that you are on the right path? I don't care. [...] I'm interested in results.

[74:15]

This moment is just quite good. What do I care if there's any change? I'm not trying to be funny, you know, I just, yes. It's great. It doesn't change any of it. Yeah. You said before, if I understand correctly, that when a good person doesn't I am aware that it's a unique moment and I also hold the feeling of what could be or how that person could be, but I make it more possible that this person can change.

[75:17]

Yeah, I think that's true. And would the opposite be also true, is that if so, if I have the attitude that somehow, well, this person has this, and that's it, so to speak, that that makes like an obstacle or hinders the person? Yes, you're breaking the first precept. You're killing them. You're killing the Buddha in them. It's true. Do you want to ask it again in German, please? My question was based on what Roshi said. If we perceive a person in a unique way and at the same time My question was whether the opposite is also true when we to see the person as she is and said, well, that's how it is in her life, that we therefore set up an obstacle practically for the person and also for her to move.

[76:43]

And Roshi's answer was, yes, that's true, and it even became even stronger for me that if I have this attitude, that I then break the first covenant and then I would kill this person. The practice of the precepts is to know that you're breaking. If the precepts are something you feel you shouldn't break, Then you hide from yourself the truth of the precepts. If you notice you're breaking them, then you can sort of try to become more sensitive, more subtle. And then you're more compassionate too, because you have to accept yourself.

[77:54]

I'm this fellow who breaks the precepts. And you meet other people who break the precepts. And then you meet other people who break the precepts. And then you meet other people who break the precepts. Which is the first precept? Do not kill. It's kind of basic, you know. Yes. Auf der anderen Seite ist es aber doch auch so, dass man, wenn man eine Vorstellung entwickelt dafür, wie eine Person sein könnte, dass man dann auf die andere Seite des Tötens geht und versucht, diese Person zu ändern.

[78:57]

Ich finde, das ist schon auch eine sehr große Schwierigkeit, da das richtige Nadelöl zu finden, mit einer Person umzugehen, mit der man nicht übereinstimmt. If you don't sort of agree with a person, then it's difficult to find the thread into the needle in that way that when you see the possibility how a person could or should be, it's difficult to refrain from wanting to change, sort of making a change or having an influence. If you don't agree with the person as she is or he is at the moment. This is the other side of killing a person, to try to change a person. That also kills them. How do you feel about people trying to change you? Not very good.

[80:01]

An honest answer. What I wanted to say is that I think it's already a step just to let somebody be as he or she is. Yeah, I agree. We have to start somewhere. So you're always accepting people's starting points. How come your starting point is way down there? Okay, what else? Yeah, I see the same question. That's what Dagmar just asked. The danger in the fact that one always imagines how a person should and could be, for me lies in the fact that one lives in expectations all the time, that one lives in imaginations, that one creates illusions,

[81:09]

about other people, also about the relationship to other people. And... When I think about what my practice has learned in terms of Buddhism, it has led me more and more to accept what is, rather than just letting it be. and to draw less from this field of expectation. For me it is now a certain irritation that I should include this again as a permanent presence. My difficulty relates to that what Dagmar said, that living with expectations, fantasies, also delusions about other people is...

[82:17]

was the main difficulty and my Buddhist practice consisted also in sort of accepting as people are, but my difficulty is to include that what is in that practice. I see a practical danger in this to include this should be or could be in the sense that it leads to expectations and illusions and all these fantasies we have about other people. And so I try to get more and more into this where I just see Or even like Suzuki always said, things as it is. So there's a kind of, I don't know, contradiction in this, to include this again in this should be and could be, so I don't know exactly how to handle that.

[83:30]

Yeah, 100% things as it is. Also 100% things as it could be. But without expectations or fantasies? I mean when you're standing at a street corner. There's a car sitting ready to go. The light might turn orange and it could leave a little early. But it might not. But I walk across the street accepting that there seems to be no traffic between me and the other sidewalk. But I'm aware the car might Start up early or something.

[84:35]

It doesn't lead me to have any fantasies about the car or expectations. I'm just ready. So I accept that the car isn't moving, but I'm ready in case it moves. So I have some such feeling with people, too. I don't have any expectations, but I'm ready. Yes. I thought you were playing Indian. Oh. Oh. Is it that by, when you, this should be and could be, that you sort of create a space for that? In German, please. It is by being this we and wanting to be this we that you create space for it, so to speak.

[85:39]

Another question is, as the Buddha feels boundless, and if yes, which... Where are we? For me, the question also arises, if we define it in such a way that we see every person, including everything that could be, would be, and would want to be, are there any limits in this field of Buddha, and if so, which ones? Well, that... What difference does that make?

[86:57]

What difference does that make? It feels for me like the boundaries of the field. Can you really have a feeling of the field if there is no boundary? Because then... Don't think so much. Please, don't think so much. If I say it has boundaries, what? It loses its practical sense if you include everything. The problem with what you're saying is that there's no concept that can touch what is. So you're bringing the wrong mind to the... you bring a concept.

[88:12]

If it has boundaries or it doesn't have boundaries. Concepts don't apply. So you have an experience that certainly has more locality than not. But it also has qualities of non-locality. But you can't ask of it, does it have boundaries or not? You don't even want to find out. If you think about it, oh, this has boundaries or whatever, boundaries, you're already losing it. Sukhiroshi used to use the term big mind a lot.

[89:18]

Everyone knows it. But he also used wide mind and often wide joyous mind. Wide mind is an inclusive mind. can easily include without expectations all the things I've been speaking about. Okay, someone else? Yes? I want to report of an experience I did and I was at a conference with a man with ties which was sort of fear-inducing. Fear-inducing? You felt tied down?

[90:31]

Because I had a lot of prejudices how they could be... Did you have a tie on too? Disguised. They all felt they were disguised. I had quite a bit of fear and to get against that fear or to fight it I said now here only Buddhas sit. And I approached everyone and I went to everyone and here sits the Buddha with that attitude. And indeed it worked.

[91:44]

Good. Yeah. I got along quite well with them. It was a really pleasant round. It got a little pleasant round. It would have been much more competition, concurrence and so on. I'm glad it helped. Did you tie a tie around your Buddha at home? You might have. Okay, what else? Someone else? Yes? I'm sorry because I was not here yesterday afternoon. Yeah, we noticed. That's okay.

[92:47]

We accept you as you aren't. I mean, as you are. Well, it struck me something you said yesterday about going along with people, what people are doing. And that means it's parallel for me with accepting them, how they are. You said you go along with them even when you think what they're doing is wrong. I mean, it depends on how wrong it is. And before you said about the Dalai Lama accepting, or pushment too, and what Bush might do could be very wrong. Careful, might be. Don't anticipate. No, but these days I thought about this going along, but it's relative that where comes the point where I think, well, that is too long to go along, but what do I do then?

[93:53]

Don't go along. Yeah, okay, it's clear, but... For instance, I work in East Germany, Turin, and I work with young people also. They have friends, guys, 18 years old, and they're hanging around in the drugstore, in the drugstore field. And they are nice and I can go along with them and I like in some way the way they are. They accept me and I know what I have to do to stay with them and not feel.

[94:37]

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