Did anything I was speaking about seem to relate to constellations? Oh, you seem to be very present today. I'm sort of wondering where I am, and you're, oh, this is good. I feel that you are very present. Oh, okay. And Siegfried said, well, geez, something like he said, geez, I think you're, it seems to me you're always talking about constellations. Maybe so, maybe so. I mean, we have to change Dogen's statement, place yourself fully in immediacy. And consider this the entire universe.

[01:01]

Yeah, but maybe now we should say, place yourself fully in immediacy. And consider this the entire constellation. Why not? Yeah, Dogen needs a little updating. And... And constellation, of course, for most people, it means a group of stars. And I feel I'm here with a group of, well, yes. And the word consider, I mean, you can hear in that, it means to know through the stars.

[02:14]

Considerial is to, in English, means to know through astrology or through the stars. So consider the constellation, et cetera. but you know in some ways maybe I am today I'm feeling embarrassed that I talk so much and I start feeling very compassionate for you and I'm willing to talk less if you talk more Or we can just have long periods of sasen. To think. But of course what I'm trying to do together with you is find ways to notice our experience And by noticing our experience, consider whether we want to change our experience.

[03:38]

And certainly a practice like just this, part of its intention is simply to interrupt your routines, your usual rhythms. But I'm also, because we're here and the concept of constellations is part of our seminar, In some ways, I'm always sort of talking about constellations. He's right, you know, unfortunately he's right. At the same time, I mean, there's a difference between your practicing it and each of you in your own way practicing it. And the theories and ideas I have from Buddhism, and how they relate to consolation practice, I'm not always sure.

[04:54]

So I ask what of the things I've been bringing forth seem particularly to relate to the stars of constellation practice, the starring, the stars, anyway, yeah. And also what I'm bringing forth, what forms, configurations, are useful in your life, independent of your practice, if you have such a practice as constellation.

[06:17]

So now is your chance to stop me talking. Let me have a little vacation and listen. Okay. Kuni, finally, yes. I'm all ears. Do you say that in German? Oh, okay. I'll have to stutter a little bit because it's difficult for me to bring into words what I'm occupied with. Oh, yeah, me too.

[07:18]

I just stutter less. ... What makes it so difficult for me to come in here and sometimes makes it difficult to pose questions to what you are bringing up, I'm occupied with. And sometimes I'm really a little bit embarrassed because my feeling is I'm so very present here. And yesterday I put my attention to these processes that are happening within me while I'm attentive during your teaching.

[08:22]

And Sometimes it happens that you are saying something, a sentence, and it feels like I'm getting lost in this sentence or in what you are speaking. It is like being somehow taken by this sentence, like by this Basho poem you brought up. Or also like the whole body is sitting sasen and not only me.

[09:43]

And there were many others like stars or lights coming out of you talking. And I'm so much taken in by that. Engaged, actually. I'm so much engaged in what you're speaking. Oh, good. It sounds good. I mean, I like this because I'm engaged too right now. But it takes time. And somehow what it takes, it just takes time because it's so far away from discursive thinking. So that questions arise maybe one day or one week later. Now I'll come back.

[10:56]

It is this act, this zwischen, zwischen diskussiven und diesem erfasst sein, So there is this switching, oscillating between this cursive thinking and this being engaged in what you are bringing up that I cannot really go with it quickly. So somehow, in a way, I would like to apologize that I'm not able to do this or come up with things.

[11:59]

Well, you seem to have a very good reason for not doing it, which I accept. And to your question referring to constellation work. My feeling is what we are doing here is a much wider sphere where we can embed our constellation work. For me, for example, the most special And I find a special correspondence in what you say, especially with this specific time in which everything arises.

[13:02]

The fundamental time in which everything arises. So this is always given with every constellation and every person who is representing in the constellation. Or that everything is activity. And it seems like I could take a lot of things that you are saying and also these specific sentences and bring them into a constellation work.

[14:19]

These things would then find space in the constellation work and would penetrate it. That's how it feels to me. It's not a one-to-one correspondence. Okay. You came out. Yes. This is good. Thanks. And Krista? Okay. I signed a paper for her today. Well, I'm happy if I'm present in your work.

[15:37]

Someone else? I don't want to give the impression that I'm a musician. An amateur. But by accident, yesterday I came across a quote from a musician. From Abdullah Ibrahim. It's by Abdullah Ibrahim. Who was called himself or was called Dollar Brand before. And he's one of the most famous jazz pianists of the world. He's an artist. And the quote is, we jazz musicians, we have always known that everything is connected to everything.

[16:43]

And for me, this makes clear, again, why music is such a good example for perceiving or sensing the world. And there's this bridge to constellation work by this way the child forgets him and herself during play, like what Siegfried brought up yesterday. Because only then you can play together well in music if you forget yourself. And this is also the case in constellation work, that the self has to be forgotten so that the parts can relate to each other. Mm-hmm.

[17:55]

So maybe we could do a seminar together called Jazen. Also, machen wir ein Seminar Jazen. We have enough Zs, so... Yes, Andi. Andi? Andi, ja. Andi, okay. It sounds a little like undie if I say. An undie is underwear. Oh, we didn't know that. Andy Pandy sugar candy. Andy Pandy sugar candy. Well, you'll be embarrassed that I may not forget that. I wanted to supplement another quote from a musician. Duke Ellington, this time.

[18:59]

Everything got swings. Everything got swings. Everything swings, yeah. Okay, let's start. And what I have been occupied with for some time, but yesterday it popped up again, is the term of immediacy. Yes. Because I'm dealing with that also in my work with artistic mediums and with Gestalttherapy. And because the term and work of constellation is very central here.

[20:21]

I also have the need to widen this a little bit in the direction of expression. Because I think expression is really central here when it's getting circular with perception. Because then it can't help leading into immediacy somehow. So if you look at it in a description or picture, there is the circle and the axis is immediacy.

[21:43]

The point in the middle. Okay. So this is something that I wanted to say. This is something which I'm very much interested in our discussion that is happening right now. And the question that came up before, what kinds of other access possibilities are there to this immediacy? And there it starts working within me. So many things are coming up when you're asking the music, painting, theater play, any way or any kind of way of expression.

[22:52]

Expression with others. With others and also by myself. That's both, actually. So both. OK. Of course, it's a different quality together with others or your own expression. Okay, thanks a lot. Yes, Gerhard? Referring to what Ani says, since yesterday I'm occupied with the term presence. As presence as the moment between past and future.

[24:01]

No, you're talking about present with a T or C-E? Presence. Presence, okay. Presence. And at the moment I'm occupied with the idea that thinking somehow joins in with the past. And future somehow starts here. Here, but you did this. Yeah. In walking.

[25:03]

And what brought me to this was your term of precise walking, stepping. Yeah, standing, walking. Okay. Thanks. Yes. Something stuck with me, what yesterday you brought up from Suzuki Oshii. That every part does its own zazen. And as I'm also practicing and doing psychosynthetics, And what we are doing, we are dealing very intensively with what kinds of different inner parts, also personality parts, we have.

[26:26]

So that also what you can do is you can constellate the different personality parts of yourself. And what I find interesting, if I observe myself, I can notice what kind of different parts there are within me. And sometimes there's a lot of contrast between those parts. So there are some parts they just crave for absolute quiet and stillness and they don't want to do anything, no movement. And all the parts they want to, they want contact and they want to relate to the outside.

[27:34]

I could also bring this in this doing music or other kinds of expression. Or I could dive into this absolute silence where nothing happens. Okay. You keep yourself busy, I can see. Okay, and on the basis of this, I would ask the question, what within me decides what part comes out or what part is acting? what part of your body is acting, what part of... What is this freedom of expression in what part of these different personalities expresses itself?

[28:58]

Yeah. And also remembering what Guni just talked about, sometimes it takes a lot of time that there is this kind of decision to express. Sometimes quicker. You might be interested that one basic exploration in Zen practice is to get the skill, develop the skill, and I've mentioned it here before, I think, of bringing attention inside the body So you can bring your attention easily to your fingers, say.

[30:09]

But how to bring your attention to the inside of your hand takes a little bit of practice. So first you develop the skill of bringing attention inside the body. In some way that at first you start with something that's fairly easy. And then you begin to move more and more throughout the body. And you try to move throughout the body without any map. It's unavoidable that you can look for the lungs and the heart and things like that. But as much as possible you try to stay away from

[31:09]

named organs and things like that. And just as if you were in a trackless land and you didn't know what the forest was or what the mountains were and you just found mountains unexpectedly here and there. So you after a while get pretty familiar with having attention inside the body. And it opens the body up to... By exploring the body with attention, you find... the whole body feels accessible.

[32:33]

And it becomes much easier, as I said, if you want to notice a feeling of, what did I say the other day, intactness. You can feel where that feeling is located in the body. Yeah, and there are many fruits of that practice, but that's enough to say. It's just simply, you know, what Socrates said, know thyself. In Buddhism, know thyself includes knowing your interior, your organs, and so forth. Know thine mapless organs. Yeah, it's an old saying. Yes. I feel that somewhere, a little bit, I already got an answer.

[33:36]

Oh, good. I won't take credit for that, but yeah. Yesterday you said the twin of the trauma. I wonder if anybody noticed that. So I was quite occupied with that. And within me there was this During the night I had the image that life is somehow like this fabric and the threads come together from different things from parents and

[35:03]

And maybe trauma is like, like, do you know? And this fabric is quite, it's white, but if you are nearer this where it's torn apart, then you are somehow tumbling into it. And what somebody said yesterday, the trauma is always now. And you said wisdom is also always now. And something is quite close between the two because both lead you to the border, frontier of your existence.

[36:25]

And through this gap you are looking somewhere. And I have a book, which I didn't read, but I like the title. I have a lot of those. trauma and spirituality okay so um it's camps How is it possible to grow out of it or above this? What makes it what makes it gelingen? Nourishing instead of destructive.

[37:27]

Okay, good, thanks. A big question for all of us. Yes, Horst. I would like to tell a little bit about what I'm dealing with in the past time and what kind of problems I encounter. At first, I think Guni encouraged me to talk about because from my work as speaker, I know how important it is and how much you crave for the participation of people. And how much I am joyful about and it enlivens me when this happens.

[38:32]

And it's hard for me when I'm in the position of the listener and it's so difficult to bring my contributions. And this question, when do I succeed with this and when I'm not succeeding with this, it connected me with this fear of ripening time. So I feel that what is needed is an inner ripening that allows something to arise out of me so that it does not stay closed within me.

[39:57]

And it's important for me to recognize that this ripening not necessarily has something to do with quality. Oh, yeah, good. Sometimes ripening is a form of spoiling. Oh, yeah. so what I am dealing with recently and I also need my breaks for being with that what occupies me And my feeling is the breaks are much too short. Sentences like time is activity. I am activity. And I am time. So what I'm doing is I'm building kind of intellectual crutches that take me across this.

[41:26]

So for example, I can perceive that I am activity. So if I am activity and time is activity, then that's the way I help myself intellectually to an understanding. So and the question, it doesn't satisfy me though.

[42:29]

And so the question immediately arise and how can I feel it? Where am I feeling this? And how can I experience it? And the recognition. And this ripening in time is an activity. And if it's ripening within me, I am activity. And there are some little helpers, like when you talked about banana time yesterday.

[43:30]

So I discovered here my fly time. The fly is visiting me and if it leaves me, it goes to Hana. And my experience is before the fly came, I was here in Horst time. And then I perceived the fly and yes, this is fly time. And then the fly came and I discovered it's not only fly time because there is also host and so it's host fly time. And then the flight went to Hanna and this was Hanna's flight.

[44:41]

So this kind of simple examples help me to experientially get an access to this interdependence and swimming together in this boat of experience. So this is my path to find out something. Yeah, it's exactly the path of practice much of the time. You start out with intellectual forms and if the teaching is good the intellectual forms are presented in a way that you... can't really quite understand them. So it means to try to understand them you have to practice them.

[45:55]

Or you say several contradictory things and then you say, but you have to practice. And that's what you're doing. So within the Zen world you'd be a star student. Yeah. Okay, I think it's time for a break. But we can't let, we have to have a spouse. But we'll have time after lunch, after the break, yeah. For me Eva's question was very important. And you said this is a big topic.

[47:06]

The connectedness of trauma and enlightenment. And I wish for an answer. Now you're trying to present things that I can't understand and then I... Okay. And we also, we're going to take a break, but we have a problem now because the STAR students said the breaks are too short. But I always like the breaks to occur in contextual time and not clock time. So let's see in contextual time how long the break is. Okay. And Michael, I remember.

[48:18]

When Gerhard talked about presence, and I always had the feeling that the presence is somehow wedged into past and future. And at that moment, I somehow came into contact with that connectedness. And actually, I don't think the word connectedness is so fitting. And for myself in German, what is more fitting is a kind of immediate closeness. And at that moment I had the feeling that it is like you can't reach its end.

[50:10]

And the other thing, the presence being wedged between future and past is like only a construction. What is the German word for immediate closeness? Unmittelbare Nähe. What does it literally mean? Unmediated close. Okay. It's not this, it's this. Okay. The only one is my better friend or I'm... Also... Yeah, yeah. Okay. Because, you know, I mean, almost all words aren't quite adequate.

[51:41]

I need help and suggestions. Okay. Of course, the idea that the present is squeezed between the past and future is a mental construct. But the experience of the present as I've often pointed out is a sensorial construct. There's no dimension to the present. But we experience the present as having dimensions.

[52:58]

We experience it. We experience the present as having duration or dimensions. And so, as we talked before about scanning, eye scanning, psychotic scanning and so forth, So what? I don't know that. You don't, okay. A French neurologist maybe discovered it by putting a mirror up. in the late 19th century, I think, put a mirror up and he watched himself and he saw that he was scanning. Yeah. Well, that could be.

[54:15]

That might be a different person who also just noticed it. Because this person literally put a mirror up and watched himself noticing things. I'll look it up. So our experience of the present is of the durative present, it's a duration in our own sensorium. So we create the present. And so we are each creating, talking about time, we each create a different present, slightly different. And through practice or through being alive, you can change the durative quality, the duration of the present. Like Suzanne, when she's here, roses grow up at her feet.

[55:21]

They haven't been growing up at my feet. I heard it's your birthday. And do you tell us how old you are? You've finished being 71. And so you're starting on your 72nd year. That's not so bad. I hope I looked as good as you at 72. Didn't you use the correct thing about film? There are certain aspects in film which don't realize that it's actually part of it. I didn't, that's the case, and I know about that, but I didn't, never, I don't remember speaking about it.

[56:40]

Okay, Hiltrud, do you want to say something else about what you said? Because we had a break and a longer break because of your spouse's non-contextual etc. Hiltrud, would you say something else? Because we had a longer break because of your husband's contextual needs. Thank you for coming back to me. I have been dealing with what Eva brought up. Yesterday you said something like trauma and enlightenment are in some way they are the same or they have common roots.

[57:46]

I would be interested in this connection and from the point of view of experience. Okay. Okay. Okay. Well, let me percolate that. Basically what I said was that trauma stays in the present experientially as enlightenment stays in the present experientially. And we could say more about that, but that's basically what I emphasized. Okay, someone else want to say something? To protect me from talking too much. Adi?

[59:06]

Yes, refer to what you were talking about. Deutsch, bitte. Start out with Deutsch, at least. Referring to what you said on Monday evening about being connected. Oh, in Cottage Casa. In the Cottage Casa. Yeah, yeah, okay. I noticed, yeah. Please. But still, I would like to make a remark in that regard. Yeah. About music. You've got two buddies there. Three. Or four. Yes. The path of a musician, of a good musician, requires long practice.

[60:29]

But to be able to play an instrument really well for many years, you have to perform a practice which, in my experience, is in a lot of ways similar to a spiritual practice. Yes. And the essential thing is that thinking has to be taken out from making music. On the other hand, music also only happens in the present. And there is, it refers to the past. And it leads into the future.

[61:46]

But what usually is necessary for music... is the connectedness or the immediate closeness of the musicians together. And actually also the connectedness or immediate closeness of the listeners with the musicians. So this is my experience. Yeah, thank you. Did I mention to you last year, I forget, about watching my daughter work with her opera teacher? Opera teacher.

[63:05]

Opera? Opera. Not opera Winfrey. I didn't, huh? Oh, okay. Well, you know, as I've mentioned now and then, I have, for some reason, no musical abilities. When I sing by the window, everyone helps me out. It's a bad joke. When I sing by the window, everyone helps me out. When I first got married to Virginia, I was singing once, shaving, singing away, and I said, Virginia, breakfast ready? No answer.

[64:06]

Virginia, where is she? She was on the floor behind the counter laughing. Laughing at my singing. Really, this was a trauma. I didn't sing. I didn't sing for many years. but I mean I love listening to music and I'm not entirely numb but my father was quite a good musician in many ways and my daughter seems to be a good singer she was the main singer at her college which emphasizes music and jazz and so forth And I introduced her to an opera singer who happens to be married to a physicist friend of mine.

[65:16]

A physicist? You know, like the science of physics. And he... She listened to her and asked her to sing, because she said, oh, yeah, here, you're also a singer. She said, would you be interested in studying with me? And now my daughter is her favorite student. And she just started an opera in California and was reviewed and everything. But because she's about this much taller than I am, she'd be good with you, Norbert. She's often has trouser roles, where she plays boys. But what I've, you know, I watched, and there's a yoga quality, this is one reason I'm mentioning it.

[66:39]

Well, anyway, she has a good voice and everyone likes her to sing, et cetera, et cetera. But when you train your voice in opera, it turns into a musical instrument. Who knows if it has anything to do with the voice? It's like a musical instrument. And I watch you singing and for me it's overwhelming what you can do with your voice. It's just totally amazing. So she's working with Her husband's Henry Stapp and her name is not Claudia.

[67:45]

Anyway, she had quite a career in Europe and was called the next Maria Callas and things like that. She was quite a famous singer. Olivia Stapp, S-A-T-P, S-T-A-P-P. Anyway, so they're singing together. So like my daughter's there and Olivia's here. And she's making a sound. And Olivia is kind of making a sound with her. They're almost singing together. But while she's making a particular tone, Olivia points to her body. Here's where your attention should be on that note. And she's doing this kind of like almost like playing a piano.

[68:57]

Then she moves her hand to here and then she moves her hand to here. And on every note there's a different bodily location. And then... And she has to act. They say she's particularly good as an actress. So she has to have a particular emotion that goes with that particular syllabic sound. And they were rehearsing Mozart or something. And people are always dying in operas, as we know. So she looks down at this person Ideally, she looks down at this person, her spouse or lover or something, who's just died.

[69:59]

She looks down and her voice has to, the particular sound she's making, has to register that she's just realized he's dead. And then she has to look up as if for help. And in that next syllable she has to sound helpless. And in the next syllable she has to think, what am I going to do? And it's all at a syllabic level of attentiveness, emotional and bodily attentiveness. It made me weep. I thought, whoa.

[71:00]

I have to start studying with my daughter. But singing though. You know, in the Lankavatara Sutra it says, the Bodhisattva should hear the syllable body. So on every word you hear the body that appears through the syllables. Then you should hear the name body, not the word body, because it's no longer, it's not in a sentence yet, it's just a name. And then you hear the phrase body, your sentence body.

[72:04]

And the idea is if you really pay attention, the person's body is different on the syllable than it is on the name. And now it's much like she was singing. So in practice you hear the, I mean I'm not a singer but I can hear this well, you hear the sound of the body before you connect it into words. You hear the sound of the body. So for instance, now I listen to everyone's syllable body, but I don't know what the heck they're saying in their words. So I'm paying attention to your syllable body, but I don't know the German, so I have to depend on her for the next stage.

[73:07]

Okay, someone else was going to say something. Yes. When I'm feeling well. Which I hope is a great deal of the time. Yes. Then I feel a quote or a state that I have once seen in a movie. The music is in the air and it's only necessary that somebody reaches for it. And if I, when I play piano, and when I can hear the result, when I hear what I'm playing,

[74:22]

Then through that I can notice how I'm feeling. And my feeling is that this is the same with other aspects here we are talking about here. So everything is here. And consciously or non-consciously we are reaching for it. It is presenting itself to us as an object, a feeling, a phenomenon. And we go with it, and if we don't need it anymore, then it dissolves itself again.

[75:44]

And when I'm feeling well, I also, in that way, I can feel how past and future are present in the here. And that with precision, wonderful. Yes. I would like to take up what Guni brought up. that a lot of the methods or method has a larger home in that what you are presenting to us. ...

[77:02]

And in connection to details you are saying, it's like what you said to this poem, Baschus, where the important thing was that it's possible to wear it. Mm-hmm. Yeah, yeah. So, was du jetzt letztlich ein... And from what you have brought up last weekend and also now, two things or three things arise within me. The three A's. Okay. If we start from this perspective of self-regulation of our system, of our body,

[78:47]

This is the possible entrance to remind the body. To remind the body of this pulse of self-regulation. And at the same time, when we are talking about trauma, and about the result of trauma in the body what you just said before you applied for a vacation here to know this experience to be able to shift Thank you. while this takes hold of me to this important aspect of enablement of the self.

[80:23]

Self-efficiencies, something like that. This is so important for trauma work because what trauma does is that what arises in the body is that you are exposed. You can't do anything. You are helpless. So to notice the trigger, this is really the important point. Okay. And the third thing is where your last weekend you said not to put our seal on the world or our stamp on the world.

[81:48]

Yes. I wanted to ask if what you said about time and the fundamental time of time So I wanted to ask you what you said about time and about the fundamental time. My question, whether this has to do with this, because my feeling is that some actions also in work, in my work, Especially nourishing if they have their very own time. And then my feeling is that this stamp does not happen.

[82:54]

Okay, thanks. In the Sashin, in Sendo, at Creston. In Sashin, in Sendo, in Creston. One of the... simple thing to understand, but somehow people have a hard time doing it. In the Zendo I sit on a platform and Christian sits beside me, you know Christian. And during the meal somebody comes and serves us. So the meals are about serving as well as eating and the process of serving is quite developed and generally you serve two people at once.

[84:10]

So the server has a pot, you know, and brings it to your place. Let's pretend it's here. They put the pot down. And then they serve, let's imagine you're a Christian and I'll stay, me, that's easier. And that's now we're on the other side of the sender, which is okay. Okay, so they serve Christian, Christina first. And then I put out my bowl. And they serve me. And then... normally they bow to the two of us. But they almost always bow before I'm ready to bow.

[85:29]

Because in their mind, it seems to be the case, the server thinks, I've got to serve so many people. And somebody else is serving the other side of the sender and maybe they're already done and I'm not done yet. And they tend to, before I bow, they tend to already be gone or on the way. And sometimes I intentionally go slow to see if I can get them to slow down. So I sort of ostentatiously, as they're leaving, bow. And really most people still don't even notice it there. But this three-way bow

[86:31]

is a good example of contextual time. And it really doesn't have anything to do with clock time or comparative time. So they serve Christine Christian, And then they serve Buddha bacon. No, there's so many Christs and there's no Buddhas around here. So then, but they have to, when I get my bowl back, I have to hold it so I don't spill it. and I have to be ready to bow and if we're ready to bow and we're in contextual time my spine and Christina's spine are lined up together and the server lines up his spine

[87:52]

And when the three spines are tingling, then we bow. But I have to give speeches about it. To get people to simply wait until the three of us are all in the same space and then bow. Because the server is functioning in some kind of imagined time He or she has to hurry or something, I don't know. But there's no hurry. We've created the schedule. We can take as much time as we want. We can spend all afternoon eating if we want. So it's sort of nice if we all just wait until we're all together and we all three bow, etc.

[89:12]

So one of the entries to what I'm calling gestational time, is to notice contextual time. Let's go back to Dogen's statement. Place yourself fully in immediacy and consider it the entire universe. Okay. Let's leave the consider it the entire universe away. As I've often said, zazen is two things.

[90:13]

It's the physical posture which you establish and it's the mental posture which you establish of don't move. And if you don't establish the mental posture of don't move, there's really no zazen. So it's the joining of the mental posture and the physical posture. And what happens when you try to discover the stillness in that? So here we have a very parallel practice statement. Place yourself fully in immediacy. and simultaneously have the mental posture that this is the entire universe so again let's put that mental posture aside now what does it mean to place yourself fully

[91:53]

In immediacy. Now, immediacy is, I think, a wonderful word. Because in English it means no middle, no medium. In German, too. So it basically means no location. So it's to place yourself in no location to create a location. So you place yourself fully in no location Also, stell dich mitten hinein in keine Verortung. So it's your responsibility in this statement to turn no location into a location. Es ist deine Verantwortung, diese nirgendwo verortet sein in eine Verortung zu bringen.

[93:12]

So you're always establishing a location. Du schaffst ständig eine Verortung. Or not establishing a location. And the yogic adept always establishes a location. That's one way you can spot somebody who's a yogic adept. It's kind of great, you know, you see a no play, N-O-H, you know, in Japan. There's no point at which no play point at which you can't take a photograph, and it's a perfect photograph. If you take a picture of people usually, some pictures look good, some pictures don't look good, or the person's got a funny look or something, right?

[94:26]

The training of a no actor is every moment they're establishing a location. So if you just have an automatic camera, this takes a series of pictures, every picture there in this fantastic posture. Does that make sense what I'm saying? Okay. So when you place yourself in no location and thus making a location when you are a location and your responsibility then is creating a location in this world and when you create this location

[95:26]

You create location for others too. And yesterday I used the word precise. And you had some reservation about it, Silvia. And so I think a more exact word is actually exact. But its use in English, the use of precise in English works better than exact. But exact, you can hear it, has the word act in it. And to do something exactly means to do something from within. To do an act from within or to do an act completely. So exact means to act in a completeness.

[96:44]

So that's more exactly what I meant than precise. Okay. So if you place yourself in immediacy, With exactness. Place yourself fully in immediacy with exactness. Yeah. That means that your mental posture and your physical posture are joined. So there's a feeling of the posture is a physical, attentional posture. So as Gerhard might say, you can feel the presence in the posture.

[98:15]

So there's a presence in the posture. Okay. Now, somehow this opens up a world of exactness. And I said yesterday that your body is functioning in a very exact way, and if it doesn't, you're sick. You're physical, you're breathing, you're hormones, you're everything. your metabolism and mentabolism. Good work. It's very exact. And it's, for some reason, it feels like a kind of responsibility of the yogi,

[99:16]

To be exact in this way. To be attentionally exact. And when you're used to it, it feels natural. And it awakens a world of exactness. You suddenly feel you're in exactly the same world as the precise bird cries. All of these bird, if you listen to these bird calls, they're Unbelievably exact. And if you listen to them and slow them down, which you could, they're like Bach fugues.

[100:36]

More complex than our ears can hear. We actually can't hear what they really are singing. But I like what I hear if they're singing. Of course, I'm only hearing my own hearing, hearing them sing. But there's that kind of exactness in fully placing yourself In immediacy. And by that creating the presence of the present. Yes. How does it come that the body by itself works so exact?

[101:51]

And mentally you have to consciously make an effort to establish that. Because God wanted to give us something to do. May I quote you in that? Yeah. When I read something, it's pretty much as though it was a teacher. She says when talking about meditation, training coming back to sit right here with gentleness and precision. So for me, precision also in the sense of Silvia, it's gentleness and precision together make it that perfect.

[103:05]

Absolutely. Really. No, what you said was... But that is it, isn't it? One wonders about things like that. It is the case the body has to be exact to be healthy. And probably, really, we have to be mentally exact to be healthy too. But we have this immense capacity of consciousness, awareness, and so forth.

[104:08]

which isn't so obviously constrained as our physical body. So in yogic culture, shamanic culture and related ways of looking at being, It's not so much about learning as about training, preciseness, mental and physical and emotional and preciseness. And it does, in my experience anyway, solve a lot of psychological problems. To place yourself in immediacy in the way that opens up the world of exactness.

[105:17]

And then the mental posture, as I said, that accompanies this in Dogen's teaching, is you consider this to be the entire universe. Because where, I mean, there's various ways to think about this. But of course, from the point of view of interdependence, everything is here. So that's one reason to think that. But if you're going to act in the world in its entirety or in its allness, you can only act in the world in its allness.

[106:18]

du kannst nur dann in der Welt handeln, in ihrem All sein, wenn du damit jetzt in dieser Besonderheit beginnst. Und dann, wo immer du bist, bringst du dieses gesamte Universum mit dir. I mean, if you're a... What are those wonderful little bugs that can stand on water? Anyway, they don't fall in, they just stand on the water. I forget what we call them. In German it's water runner. Water runner?

[107:26]

Okay. Well, Wasser runners, yeah. Water runners. Not Jesus? No, that's... Let's not make fun of... Anyway. Yeah. So, a water runner would be stupid... If a water runner can be stupid. A water runner would be stupid not to think wherever he, she is, is the entire universe. The water runner doesn't need to know anything about the moon and stars. But there might be a slight tide in its pond. It might like the moonlight sometimes. It's a pretty night. So like that, it's crazy of us to not think this is the entire universe.

[108:31]

Only with that kind of view do we have any possibility of discovering what it is to live in the midst of interdependence, of allness, of interpenetration. And we talk about embodiment a lot. We also need maybe a word like embeddedness. And I think Guni used embedded earlier. But embodied has the sense in English of you are fully mind and body embodied. But embedded is also to be embedded in the environment. To be embedded in the situation, not just embodied, but also embedded. So the situation is also the condition of your embodiment.

[110:09]

And this is clearly what Dogen means by place yourself fully in medias. And consider this the entire universe. So on such a grand statement, We should consider that we have to sit for a minute. In any old posture will do, just don't move. Ah. Consider this the entire universe.

[111:44]

There's no other location. And one thing I suggest you practice sometimes is no other location mind. Discover the station, tune in the station of no other location mind. In that sense, This is the whole universe. And it's so good to be here in the universe with you. Mutually in English means to exchange, to change places. And I'm happy to change places with you. Or share this entire universe.

[112:55]

Sounds like big ideas. But it's actually experienceable, necessary. Place yourself fully and immediately.

[114:40]

Thank you. Thank you. Boop.

[116:22]

So we're a little bit quarter, 15 minutes before lunch. But as Horst suggested, we could use these longer breaks to ripen our understanding. I'm joking. We get a lot of flies these days. But I do think one of the reasons I have breaks, not just long enough to have a cup of tea or something, but that we do need time to kind of like be together other than sitting here. But that we can just do without specifying how we do it.

[118:00]

Yeah, Christina told me she liked very much what you did last night. Thanks for translating.

[118:25]

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