skill, the eye, which can see into a watch. See into the movement of a watch and also the stoppedness, the stoppedness of a watch. And now also you have to see what the watch is and what it could be. This requires some experience and training. And if you're going to be... ride a skateboard, you need to have some skills to stand on it and not fall off.

[01:07]

Yeah, particularly if you're going to go down stairs or even go down the railing of the stairs. The Geländer. The Geländer. I didn't know that. And you have to have a kind of an inner stillness and balance that allows you to see the field and yet stay in the particularity of the skateboard. And if you don't... Well, I think that one reason skateboarding for some people seems to be rather addictive Particularly if you're fairly young.

[02:24]

A little while ago, some of our not so young students were out here skateboarding on the road. Young by my standards, but still, they look kind of old for skateboarding. It's because, I would guess, because it requires an absolute location and immediacy. That is addictive. It feels good. I had an old friend years ago, Peter Schwartz, and his wife led expeditions climbing glaciers. I remember I spoke to her once about it.

[03:28]

I said, she told me, you have to come down in the morning while it's light enough to see, but not warm enough to melt the ice. Ever since I felt this excitement and thrill of being on melting ice with a few thousand feet below. Such things locate us in immediacy. Such practices. Yeah, but it's not so easy to locate yourself in immediacy. And I felt this morning particularly grateful, not unusual, but anyway, to Suzuki Roshi.

[04:47]

So I offered incense to him too this morning. And I carried the stick that he gave me. And because, in a way, he introduced me to immediacy. When I was with him, being with him, looking at me in immediacy, not quite on a melting face of a glacier, but something like that. And I got the feel, maybe mirror neurons or something like that, I got the feel of immediacy from him. I wasn't located in immediacy, but I knew the feeling.

[05:54]

That's something a good teacher can give you that helps you tune your own practice in that direction. Now again, this simple act, which I'm emphasizing, of each hail, attentional breathing, I like the way people are speaking to me about hails now. And there's no such word in English. It's either inhale or exhale, but just hail.

[06:59]

Hail to the king. I just decided on each hail with two H's. I decided on each hail with two H's. E-A-C-H-H-A-L-E. Okay. Ja. You don't have to translate that. But it took me a while to decide on how to spell it. Ich habe eine Weile gebraucht, um zu überlegen, wie ich das buchstabieren soll im Englischen. Jetzt buchstabiere ich es mit zwei Hs. And the simple skill of being able to locate yourself in each inhale and each exhale,

[08:12]

As I said, your life begins with an inhale and will end with an exhale. And then there's the treasure of all these hails in between. which you can bring attention to. And if you can bring attention to each heel, not only are you developing the skill of synchronizing your bodily rhythms, As I've said. But you're also getting used to locating, experiencing kind of an atom of life.

[09:15]

I mean, each halo is a kind of atom or particle of life. Like you experience each inhale as if it was the whole world. You're receiving the world. And at the top, the With the breath you release the world.

[10:16]

So you're simply breathing, but you're also receiving the world and releasing the world. And you're fine-tuning the body physically to be in immediacy. And when you add to that the concepts of receiving and releasing allness or world, You're fine-tuning the mind, the view mind, the conceptual mind. As I pointed out, just as it makes a difference how you hold the brush in doing calligraphy, it also makes a difference what the frame of the mind is.

[11:33]

So immediacy, to enter and find yourself located in immediacy, takes physical skills and conceptual skills. Now, right today I'm emphasizing simply the conceptual skill of being present to each hale. Und heute betone ich einfach die konzeptuelle Fähigkeit, mit jedem Atemzug präsent zu sein. Which is really simply physical training to be in immediacy. Und das ist wirklich nichts anderes als ein körperliches Training in der Unmittelbarkeit zu sein. Now there's the three samenesses.

[12:47]

Und jetzt gibt es die drei Gleichheiten. Related to the four marks. Die in Beziehung stehen mit den vier Kennzeichen. And the Four Marks, I guess Angle Roshi is doing a seminar, a sangrio seminar on the Four Marks, which has prior preparation as part of its experience. Now, as I think all of you know, the four marks are a very useful little riff, Dharma riff. So there's appearance or birth.

[13:48]

There's duration. And there's disappearance or dissolution. And that could be almost a physicist's description of particles and subatomic, etc. But then there's the fourth mark, which is disappearance. Which means these four marks are marking you in the dharmas. There's appearance, there's duration, there's dissolution, and then you wipe the slate clear. And as I pointed out, the tabula rasa isn't a blank slate, it's an erased slate.

[14:56]

And you can't completely erase it but you erase it. And that erasing is in the imaginal space of emptiness. So the first sameness I'm mentioning is things appear from the source field. Things just appear and suddenly they're an object. And all things appear like this, from nothing, from emptiness, from the source field.

[16:14]

So you get to know that sameness. Now that's first a conception. You have a conception. Yes, this is the four marks or this is everything appears. And the habit you've developed to notice the appearance of an inhale and then the disappearance of the exhale. And this helps you develop this yoga skill or this subtlety to notice each object as an appearance. And physically you feel it as an appearance. First you know it conceptually as an appearance and then you begin to feel it as an appearance. And then you have the sameness that with every object, every appearance, that's released into the source field.

[17:26]

It's a kind of dual vision, like the watchmaker has to see the movement of the watch and the stopness of the watch. You feel the appearance of the object and you feel the emptiness of the object. nämlich dass du die Erscheinung des Gegenstands oder des Objekts spürst und auch die Leerheit des Objekts. So everything appears and everything disappears and you feel the sameness of those two. Weißt du, dass alles auftaucht und alles verschwindet und du spürst die Gleichheit dieser beiden.

[18:51]

Now the other sameness is that mind appears on everything. Maybe the mind eye or wisdom mind eye. At the same moment that you notice the duration of the appearance, you notice that that duration of the appearance And then you notice that this duration of the appearance is only possible through and accompanied by the spirit at the same time with this appearance, that the appearance appears in the spirit. Now there's also another sameness, or we could call it a sameness of eachness, the eachness or uniqueness of each moment.

[20:00]

So these are assumed yogic skills. The kind of conceptual tuning of the view mind. So you can notice appearance and disappearance at the same time. And you can notice mind on duration and that the duration is always unique at the same time. It's a kind of time that's simultaneously stopped time. And that experience of stopped time, I hope this doesn't sound too intellectual.

[21:25]

Because by stopped time, you know, this is a way to say, to look at the world as it can be stopped, and that's your stillness. Sometimes I say instilled stillness. Distilled stillness. Distilled stillness. Finally, stillness is instilled in you, just ingrained in you. And this refinement and tuning of our conceptual view mind Also allows us to locate ourselves on the skateboard of immediacy.

[22:34]

The tick-tock of immediacy. So I can have a feel for it from Suzuki Roshi, but I needed to develop the yogic skills to make it my own. It's funny, we think of space as out there, something like that. But it's when you can bring your experience into your spine, into the spine mind, that space arises as tangible presence.

[23:35]

I suppose, I mean, I'm sure all of you have seen a 3D movie. And if any of you are anywhere near my age, you might have seen 3D stereoscopic cards. When I was a kid, They had these little postcards with two pictures, and you had a little viewer, and you held it up, and you looked at the viewer, and you saw 3D. I found it extremely interesting that this artificially created experience of 3D It felt more three-dimensional than when I just looked around the world, ordinarily.

[25:06]

Well, something happens through practice when you can enter immediacy. That spatiality, and this is what I've been trying to get to, is like a fourth dimension. There's height and width and depth. And depth doesn't start with the end of the object. Spatiality is almost the liquid in which everything floats. It's like the medium in which everything appears and disappears as a kind of fourth dimension of everything you see and feel.

[26:44]

And it's also a sign of, an example of and a sign for the fusion of interiority and exteriority. And as I've pointed out very often, all of our experience really is interior. Where else could it be? It's within our sense field, within our mentation. But consciousness folds that all out just in case there's a tiger around the corner. But you don't want to Think it's only an interior tiger if it does happen to be a tiger.

[28:12]

Even if some of you during Sashin have discovered some inner tigers. Now that's a different skill to capture the inner tigers. So what happens through this, what I mean by this 3D spatiality or 4D spatiality, it happens when you no longer exteriorize what is in fact interior. Das passiert dann, wenn du nicht mehr nach außen drehst, wenn du nicht mehr entäußerst, was tatsächlich sowieso innen ist. And we know it maybe with this third eye or wisdom eye.

[29:17]

And we know it as simultaneously exterior and in fact interior. Wissen wir, dass das gleichzeitig außen ist, So the exterior becomes a projected interiority. And then carries all the subtlety of the whole of your knowing, not limited to just conscious knowing. So maybe you could begin to see why it is the practice of here and now and it's never here and seldom now. It's really such a... fundamental step in realized practice.

[30:32]

And it's kind of referred to in texts as non-duality, but the word non-duality doesn't help us practice. But what I mean by non-duality, what is meant by non-duality is when everything is experienced as an interiority. Experience, felt. And you feel the mystery of it too, obviously, obviously, because it's only your interiority and there's a lot going on outside your interiority. So again we have these three experiential dimensions. The interiority of spatiality. And the interiority of pace, moment after unique moment.

[32:03]

Moment after each moment. And then there's the Uniqueness and uncertainty of each moment. You're fully located without fear in a field of uncertainty. It is in this field that the Buddha held up a flower and Mahakasyapa smiled. In diesem Feld hat der Buddha eine Blume hochgehoben und Mahakasyapa lächelte. And we're not anywhere else. Wir sind nirgendwo anders.

[33:07]

Thank you very much.

[33:14]

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