Yeah, so Koan 55, which I talked about recently, now and then, of the Blue Cliff Records. Yeah, it starts out with the pointer, the statement. der beginnt mit dem Hinweis dieser Anfangsaussage, secure and intimate with the whole of relationality, sicher und innig vertraut mit der Gänze des Beziehungsgeflechts, Yeah, secure and intimate. It says, the translation says reality, but really there's no reality, there's only relationality. So secure and intimate with the whole of relationality. Now, if we take these teachings seriously, in the long body, the Native Americans say the sense of connectedness with others and with others in the past is called the long body.

[01:18]

So if we take this statement as a long-bodied statement from the Song Dynasty, Secure and intimate. That sounds good. Yeah, why not? Secure and intimate. With the whole, the allness, the allness of relationality. One realizes right away, or right here. Now, Zen tries to get, Buddhism tries to get rid of all stories, but as I said to someone this morning, there is the implied story of transformation, of realization, of enlightenment, and so forth.

[02:51]

The story is true, but it's also a trick, because if you start identifying with the story, you're in trouble. You're in trouble. You're not in trouble, but you know, you can translate that. Okay. Secure and intimate. Do you feel that way? with the whole of relationality. And when that's the case, realization is here.

[03:53]

Enlightenment is here. And then it says, in contact with the flow, And then heißt es, in Berührung mit dem Fluss, able to turn things around, fähig die Dinge zu wenden, one takes responsibility directly. Nimmt man unmittelbar Verantwortung an. Now, all these kind of statements are kind of code. Well, they're meant to be unpacked. Or, as I said earlier, operated. So, in contact with the flow, that we can understand, I think, pretty easily, that that means in the midst of time, which seems to be flowing. And in contact with the river.

[05:12]

And I think we can easily understand what that means. In contact with the time that seems to flow. Yes. And yet, even though in contact with the flow, we're able to turn things around, reverse the flow or something like that. And then we take responsibility and we take responsibility directly. Now that's a dharmic description of guess what? The title of the seminar. The here and now. Yeah. So here and now is a code for this title. if you're a Dharma practitioner.

[06:22]

Would you like some more water? Oh, you are so kind. See, I've worked for her. Thank you. You're welcome. Okay. Okay. Now it also... There's another statement I've been meaning to bring into our discussion. Outside the gate, inside the gate. Yes. Turning... Turning with... Turning within the luminous screen is difficult. And the luminous screen means consciousness.

[07:34]

And it's so convincing, this luminous screen, And so it's, how can you turn yourself around in this luminous screen, which is so convincing? So these statements are indexed to our time, as I said earlier. Meaning, they're real to us now, they're not old statements. So in what way is secure and intimate with the whole of relationality a description or a code for here and now? So, I mean, here and now has to mean something like immediacy, right?

[08:49]

Yeah, so... And I've been speaking about how we know things which we don't know we know. And how when we know the things we don't know we know, it makes a difference. So I'm talking about things we know, I think, but maybe so that we can know this difference in knowing. Okay, now as I've mentioned every now and then and quite a few times recently, when I was, I don't know, 10, 9, 10, 11, I, sorry to repeat this story again, but I said to my father, you know, there's no 12 o'clock.

[10:16]

He said, oh, that's news. No, he didn't say that. He said, what do you mean? And I said, well, it's a minute to 12, a half minute to 12, a millionth of a second before 12, and a millionth of a second after 12, and there's no 12th. And he said, being an engineer and a scientist, when something is approached and then passed, you can say it exists. And I said, oh. He laughed at that, so I felt a little bit secure, but not intimate with the whole relationship. But this stayed with me as a kind of

[11:33]

Here we are in the midst of time and I went, what is the present? How long is the present? It has no length. So that existential question has been sort of in my activity space for all my life. And the question it turned into, of course, the question is, how do I experience, I do experience the present as a kind of container unit. If it's the case, and it was the case, certainly I could see that I experienced the present as having some duration. And quite a few French and German contemporary philosophers and phenomenologists have written about the experience of duration.

[13:10]

And I've accompanied their thinking as much as I can. But still, I mean, Richard Feynman said, it was on his blackboard, the famous physicist, it was on his blackboard at the time he died, If I can't create it, I can't understand it. So I could, you know, I understood the word duration, but I didn't have any experience of creating it. I mean, I was creating, but I had no experience of creating it.

[14:25]

But this question again of the container unit of the present or whatever, I don't know what words, but the feeling of that was hovering in my actuating space. No, I'm talking about this in this way to not speak about it philosophically, but to try to speak about it as... something we can tangibly ascertain, make certain. So I was standing at the eastern corner of Hotohan, the Japanese building, which is a kind of office in Doksan building in Crestone.

[15:50]

Because my son-in-law, my son-in-law, no, my brother-in-law, The long body gets shorter all the time. My brother-in-law, who built the, really built the, along with Mathieu, the Zendo at Johannesburg, Mein Schwager, der zusammen mit Matthieu den Sendl im Reinshof gebaut hat. And Lenny, Matthieu's teacher, my brother-in-law, built the building for me in Crestone.

[16:53]

And Matthieu's... Japanese wood joinery built. Matthieu's teacher and Lenny, my brother-in-law, also built this building in Crestone. It's also a building that was built after the Japanese wood joinery technology. And maybe, maybe because I was standing beside this building, which poetically I designed and helped build, and I even set up Lenny's training in Japan as a wood joinery carpenter. And I never thought of that until just now, that the fact that I was beside that building may have a kind of resonant poetry. It was a sunny day and I remember standing there and still this question was waiting around.

[17:57]

Why do I experience the present as a unit? And this somebody, I don't remember who, was standing to my right and I was speaking with him. But while I was speaking with him, I was tracking an insect that was flying around in the space. And I suddenly realized, realized that this was the container. That this insect moving around was part of my tracking the insect That tracking activity was what created, sensorially, the feeling of the present.

[19:18]

Yeah. Yeah. And then at some point later, a year or two later, I came across the word psychotic, and then that Emile Jabal, the French ophthalmologist who in the 1880s, I've told you this often, put a mirror up beside his eye, and he watched his eyes scanning. He thought he was just looking at something, but when he watched his eyes, they were actually scanning. And then a year later or so, I encountered the studies on the saccadic eye movements. And I've already told you often how Emile Javal, the French optician, held a mirror next to his eyes in 1880 and observed how he observed something, where he thought that if you see something, you just look at it.

[20:28]

But when he held the mirror next to his eyes, he saw that he was doing these search movements all the time. I don't know if anybody in, say, the 14th century, say, just picking a time, if they'd had a good mirror, would have even noticed such a thing. The poetry of Émile Giroir, noticing it as a kind of scientific observation, was part of living in the 1880s. And um, And I think what we're doing right now, making use of phenomenology and Buddhist phenomenological practices, is part of what's happening in this time period that we're living, this time period in which we're living.

[21:39]

And as Susanna said earlier, who's inspiring whom? We're all inspiring each other. Okay. Okay. So I took this kind of stuff together, all these various... streams flowing into my actuating space? Well, make it sound better. I could say the space of my activity, but that's kind of neutral. I'm looking at activity.

[22:50]

Actuating means you're making things happen. To actuate is to make things happen in English. Okay. So I began to explore, experiment, try experiment, try various ways I felt this durative presence And so I started to try and experiment with all the different ways or situations in which I could experience the duration of the present. You know, the durative present, you know, like Vicky felt sitting on the top of that little mountain.

[23:54]

Yeah, a little mountain on top of a big mountain. Yeah, so I got, so I could see what tuning of awareness and consciousness, what tuning allowed me to feel myself in this durative space, durative time. And it's like just normal things one does. You stop walking home at night and look at the moon or something like that. Or somebody, you said you slowed down your experience of the same unit of time.

[24:56]

The more you're The more you can bring your attention into a moment, the longer the moment feels, because you can simply experience more in that moment. So then again, secure and intimate with the whole of relationality. So this means to this kind of dharmic telegram From the past.

[26:09]

Says, it's talking, saying, how are you in immediacy and feeling secure and intimate with it? Das stellt dir die Frage, wie kannst du in der Unmittelbarkeit sein und dich darin sicher und innig vertraut fühlen. So the first point I'm making here is that there's a sense of duration. You start experiencing the present as a sense of duration which you are making. You're letting happen and you're making. The first point I make here is to experience the feeling of duration. You let it happen as well as you make sure that it happens. Excuse me, did I forget something? Perfect. A. Plus. A plus.

[27:10]

Okay. Can I go now? No, no. You still work for me. No, I work for you. Okay. Now, an earthworm, an earthworm knows its environment. It's kind of going along with the dirt and feels the dirt going by. I'm secure and intimate down here. But our environment is air and space or invisible. We don't feel it really. Aber unser Umfeld ist Luft und Raum und wir spüren das nicht wirklich so. So I've been trying to get ourselves to find ways to speak about feeling our... Okay, here's this durative unit of the present.

[28:21]

Also, hier ist diese Dauereinheit der Gegenwart. Okay. And so, yeah, but that's a conception. And, you know, I feel it. I have some experience of it as a conception. But really, how can I make it more, give it more texture? But that's actually just an understanding. I can know that I have such an idea or something. But the question really is, how can I feel it? And how can I give it more... So I came up with three, what I call the three tractions. Well, you know, like snow tires give you more traction in the snow, things like that. And so the first was spatiality. So I'm sitting here, I'm getting up, just sitting here, I feel, I feel this space of this body.

[29:44]

It's not just an idea, I actually feel this, I feel the gestural space. And I can't... The gestural space behind me is not as rich as the gestural space in front of me. I guess if I was a... If an engineer was trying to build a robot, I'd have to think of the gestural space of the robot. But I began to feel the spatiality that I'm making all the time. So then I began to feel, I mean, here and now, space and time, I better bring in some time here.

[31:03]

But I can't use the word time because it just goes by. You try to grab time and it's gone. Aber das Wort Zeit selber kann ich nicht benutzen, weil Zeit einfach vorbeifliegt. Du versuchst das Wort Zeit mit der Erfahrung zu greifen und es einfach weg. So the made up word I use in English is pace, pace, patiality. Und das mir ausgedachte Wort, das ich im Englischen benutze, ist patiality, was vielleicht so wie Schritttempo. I began to feel the pace of any moment. There's the pace of breathing, the pace of the heart, and so forth. So I began to feel the pace of the body and the gestural space.

[32:09]

So I worked with those two tractions, let's say, to give me a feeling of occupying this time unit. Now the word immediacy means no middle, no medium. But we're trying to give it a medium. I'm trying to create a medium for immediacy. Now, I have remembered that you've been sitting since 3 o'clock. And I'm seeing more knees in the room than I did when I first came in.

[33:38]

Maybe before we get to two, three, and four of the dimensions of immediacy, we should have a break. Is that all right? Sometimes I know what's going on. Okay, let's have a break.

[33:57]

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