Well, welcome, everyone. For me, it's a kind of, if I dare say so, a kind of magical space to enter here suddenly with you. For me this is, if I may say so, a kind of magical room that I can enter here with you. And I know many of you and some of you I don't know. And those of you who I don't know, you don't know what you're getting into, perhaps.

[01:12]

But I'd like to give you everything you want. And like Mick Jagger says, everything you need. And sometimes you get what you want. And some things neither of us have thought of yet or know that we need. Of course, that's assumed impossible, but we have to start somewhere. Now, I believe that it looks like that, Christian, you've passed out the German translation. Yeah.

[02:13]

Does anyone have the English, too? Is that on the other side, or...? Where's the next one? OK, fine. Good. Oh. Now we're going to do, I mean in a weekend or what, till Monday afternoon, I think we can do some intellectual work. At least if you're up to it or want to do it. I mean, I think that we can use these days most profitably, not just meditating together, but also examining, studying some things together.

[03:31]

And the word study in English, the roots mean to be able to commit yourself to something. And since Buddhism is the study of yourself, I hope you don't have too much time committing yourself to that study. Now, I say intellectual work, it's not difficult, nothing I think we will talk about is difficult to understand, but it's tiring. And so that it's not tiring, it needs to engage you. And there's two, intellectual work as practice, there's two ways, two main things you need.

[04:53]

One is a question. And so if you were, the traditional way to look at something like this would be while through the koan or through what we're talking about, you formulate or feel or sense a question. So in the reading of the koan or just the fact of being here, you can feel the presence of a question. And that feeling also resonates with questions in your own life.

[06:10]

So you sense a question, something you don't quite make sense, but it also is something that resonates. You feel something in connection to your own mind. And then third, you hold that question so that it develops. You hold that present in your mind so that during the course of now till mid-Monday, this question develops. If you do that, whatever we do will begin to have much more relevance to you and you have a feeling of understanding as well as probably some feeling of clarity too. Now the second thing you need as well as this question is to develop a background mind.

[07:41]

And background mind is a kind of English phrase which allows you entry to the fundamental teachings, practice of Buddhism. Now, so simply, a background mind is like a movie screen. It's like you see a movie, but you realize it's happening on a screen. Or you can feel things constructing in your mind, but you can also identify with a kind of background mind from which these constructs appear.

[09:22]

Now, intellectually, conceptually, that's not very hard to understand, obviously. But to have a physical feel of it, to know it, really probably, I think, takes meditation. Now, we all have this background mind. It's just a matter of the degree to which we recognize it and clarify it. So it would be like as if when you were watching a movie, as well as watching the figures on the screen,

[10:23]

you could feel the screen. You could feel the screen staying still, which permitted the movement of the figures on the screen. Okay. Hey, I just jumped right into it, didn't I? Sorry. Oh dear. Usually I ask who can meditate and who can't and things like that. I'm assuming you all can at least lean against the wall.

[11:41]

Recently we had a week practice seminar at the House Justyla. And it's fall and windy and so many, while we were there, the leaves were on the trees and by the end of the week, by the end of the two weeks with the sashin, a large percentage of the leaves had gone golden and fallen down. The word symptom in English means what coincides with something falling. So it means when a feather falls or a leaf falls, what that coincides with is a symptom.

[12:45]

So when two things come together, it's what's symptomatic of the other. But it's, you know, a wonderful kind of idea because a feather falls so lightly. Sometimes you hardly notice the symptom. Anyway, say them. The example I used in this practice seminar to give you a feeling for this background mind, with so many leaves moving, and you can look at the leaves, feel the leaves,

[13:52]

But at some point it can become apparent to you that it's the stillness of the mind which allows you to see the leaves moving. If the mind didn't have a certain stillness, you couldn't see the leaves moving. So what practice tries to point out or encourage us to do is not only see the moving of the leaves, but to see the mind, the still mind, through which the leaves move. And sometimes you can really feel that mind as where you're really identified more than with the moving leaves. And the more you do that, the more you commit that act, of noticing the mind through which the leaves move,

[15:29]

the mind that allows you to see the moving of the leaves, the more you commit that act of noticing that, the more almost substantial that non-graspable mind becomes. It almost becomes like a thick, clear liquid that makes everything possible. And every time you notice it, and every time in meditation practice you reside in it, you deepen this background mind. And sometimes watching the leaves and seeing the mind that allows the leaves to move, A leaf falls.

[17:18]

Or maybe a feather goes by. And you wonder, where is the bird? Yeah, fall is coming. And associations begin. And both memory and remembrance arise. So what I just gave you, presented to you, is the background of this koan. It's a very unusual thing to bring a koan, which is a rather complex spiritual literature, shall we say, practice prescription.

[18:23]

Into something like these few days. But you can know a lot about the, excuse me for the metaphors, but you can know a lot about the ocean if you get one foot in it. So at least I hope we, you know, stick our foot or nose in the water a little bit. Now, the other thing I did, particularly in the Sesshin, was I emphasized, the week Sesshin we just finished, I emphasized looking again at the basics of meditation practice. And the question here for us practicing Zen is really, how do you develop your practice?

[19:40]

You're still sitting. Und die Frage für uns Zen-Praktizierende ist jetzt wirklich, wie entwickeln wir unsere Praxis, unser stilles Sitzen? Recognizing the still mind in which the leaves move. How do you do this within the larger context of uncorrected mind? I'd like to continue that these days too, if we can, with a sense of settling into a stillness in our practice. A physical stillness.

[20:41]

And, you know, let's try physical first and then we'll think about mental stillness. Because, you know, if you have a mirror and you're holding it, if you're jiggling it around, you can't see the image very well. So you do have to be able to hold the mirror still. It's also true, as the sixth patriarch said, there's no mirror, there's no stand, and so forth. That's all right for him to say. But let's, you know, first of all, let's hold the mirror still, then we can throw it away. It means jewel too?

[21:51]

Is mirror and jewel the same word? Spiegel? No. No? It's just jewelers are called spiegel. Some jewelers. Some jewelers. Anyway, there is a quality. It's called sometimes the jewel mirror. To recognize this, the jewel of this still mind. Okay, so now I can ask, does anybody here not have any experience in meditation? other than me. Well, if anybody, maybe you all are experienced, or maybe you're shy, but in any case, if you... Boy, the world's changed.

[23:03]

You're shy about that. Vielleicht habt ihr entweder alle sehr viel Erfahrung, oder ihr seid ein bisschen scheu. I see some heads nodding about the child. I'm ashamed I can't meditate. We're making progress, if you feel that. So if you want some instructions in meditation, You can ask anybody around you who looks like they sit still. It looks like they are a little bit articulate. Or you can ask Ulrike. Now I'd like to look at one thing in the koan to start out with and probably we can have a little break.

[24:23]

Do you have a copy? Could I have an English, too, as well? I'm going to read here in the Third Patriarchs. Hold on, mind. Now in addition to your working on, or I hope, coming to a question of your own for these days, I hope, I want you please to all feel free to ask me questions and let's have some discussion about this.

[26:15]

Okay. In this, where it begins in the third patriarch's poem on the mind of faith, So this koan turns on a phrase from this little beginning part of the famous Buddhist teaching written by the Third Patriarch. And it's usually called On Faith in Mind. Now, let's go for a moment to the introduction, though. It starts out with a pair of solitary ducks, solitary geese.

[27:26]

A pair of solitary wild geese. On the ground and fly up high. Already this con starts out with this decisive image. Which emphasizes both connectedness and separation. These geese are wild and they're solitary. But there's two of them. They're a happy family. And they They take off together and fly together high.

[28:50]

So they're separate and yet they do something together. And then it says there's a couple of mandarin ducks too and they're standing alone. There's two of them but they're standing alone by the bank of a pond. Now in this kind of image, and I would like to, maybe I can come back to during the week, during the days, the difference between remembrance and memory. Now, this koan also has in it the... How does the self study the self? How does language study?

[30:07]

How does the eye see the eye? How do you use language to study thoughts? These are very basic questions which the point isn't so much at all to answer them, but to keep them present in you. If you have a computer, and you want to find some files that are lost, you can't, or you're not supposed to anyway, copy the lost files onto the disk on which they're lost.

[31:14]

In other words, you might copy them on top of themselves. Or on top of something else. Unnamed. So generally you copy from one, you put in another disc and copy onto the other disc. Now, we're not like computers. But the computer, there's a structural problem here. You have to have a different vantage point to study the main hard disk. So this koan is also working with the structural problems involved in studying yourself.

[32:26]

And that's expressed down here in the beginning where it says, I asked what is the student's self. Now this is, you know, what do you do with the question? So Jingfeng said, the god of fire seeks fire. So this is, again, trying to raise this question of how do we study ourselves with ourselves. And how do we study our connectedness with the world and with others? And how do we study our separation?

[33:31]

And here we are as a group of people suddenly together for a while. And what is the distance between us? And what is the connectedness? Some of you know each other but all of us have some connectedness independent of whether we know each other. What's the connectedness here in this room other than my voice? Or this shared space, etc.? Okay, so let's go to this faith in mind. Can you have faith in mind? Faith in something outside of yourself? Faith in yourself? Faith in mind itself?

[34:33]

Where does that get you? So it says the ultimate way is without difficulty. That sounds good. At last somebody's telling us what we already suspected should be the case. The ultimate way is without difficulty. Great. And it's true. The ultimate way is without difficulty. It really takes no effort. All right. Then it says, it is only avoiding being choosy It's getting more difficult.

[35:48]

How the hell do you avoid being choosy? Well, it explains. Just don't hate or love. All right, give up. Anyway, who wants to live in a world where there's not hate or love? It would get boring. On the other hand, sometimes it would be a tremendous relief if there wasn't, at least if there was less hate, and perhaps less of certain kinds of love. Be naturally open. This requires a lot of faith. Clear and pure.

[36:56]

Well, clear sounds all right, but pure, I don't know. I'm sure that the Third Patriarch is going to tell me what to eat. So you really have to read these things in a real practical sense like we're doing now. Hey, shh, shh, I mean, excuse me. Do I really want to get myself into this? What could this possibly mean? But then again, we're talking about the ultimate way, so small sacrifices should be worth it. And if it's only not being choosy, I guess, you know, I could do that. But then it says, if there's even a hair's breadth of difference, the game is over. So just when we thought there was a little hope, that we don't want to go any further in this poem, it sure gets worse, but you know.

[38:21]

If there's only even a hair's breadth difference, If you even start being a little bit choosy, it's the difference between heaven and earth. Well, think of some things which have been a hairbreadth difference for you. Driving a car. Almost all of us have had moments where we were very lucky there was a hairbreadth difference. Yeah. Or think of the people, a person that you could have not met.

[39:26]

I mean, you met by chance, and yet you can't imagine your life without having met that person. Although everything seems pretty relaxed in general, still, there's constantly hairbreadth differences. I think you should tell this little anecdote. Which one? With your 49, 51 percent. Oh, you mean on the refrigerator? Yeah. Some person, gay person, had on his refrigerator in New York, 51% angel and 49% bitch.

[40:37]

Don't push your luck. Don't push me over the edge. Something like that. I don't know why she wants me to tell this anecdote, but now you can translate it. In this context, a story comes to mind that has amused us very much. A friend, a gay friend, had a note in his fridge in New York, in his living room, and it said, I'm 51% angel, 49% bitch, how should I translate that, so beast. Yes, so... Is this part of the question you're working on yourself? Is this resonating with something? Okay. Okay. Now, it's obviously impossible not to be choosy.

[41:50]

So what must the third patriarch be speaking about here? He's speaking about realizing a mind which doesn't pick and choose. Simply realizing this mind in which we find the leaves moving. When you shift to the mind which identifies with the leaves, there's lots of picking and choosing. This feather, this leaf. But when you identify with... Your fundamental mental posture is this unmoving mind, that doesn't pick or choose, that's naturally open, clear, and pure, then the ultimate way is without difficulty.

[43:16]

Again, it does not mean you don't also have a mind that picks and chooses, but sort of home base is this unmoving mind. The unmoving mind that makes all movement possible. So this koan is looking at this phrase from this third patriarch of a hair's breadth of difference. But First we have to see if we can sit still.

[44:35]

First physically and mentally too. So let's see at least for a few minutes before we take a break if we can sit still. And since you've been sitting for a bit, I won't sit too long, but, you know, don't try to figure out how long. See if you can identify with the mind which doesn't move. This mind is already yours. But most of us don't know how to live it yet. This koan speaks about deeply benefiting from study from the side.

[46:08]

That means, in this case, Fayan and Shushan are Dharma brothers. And they traveled together and did things together. And so that's what we're doing here too, practicing together and having some discussion together. It's not just a relationship with the teacher. At this point I'd like to, before we have our break, I think we're going to stop around five, but that's pretty soon.

[47:10]

But at least let's have a few, some questions or whatever you thought of so far I would like to bring up. So we're going to have a break for dinner at five and until then I'd like to have a few questions from you that you have so far. Do people know about the schedule, the general schedule? We'll create a schedule in a few minutes. Any observations or concerns? Does this have anything to do with you? Yeah. Whatever language. Well, English or German is better. Yeah. Yeah, I have a couple of questions.

[48:24]

One, as a beginner, how important is it to have a Zen teacher? Absolutely essential. No, I'm just kidding. It's difficult to find one in Europe, I think. Should I go to the second question? Sure, second question. And the second question is a little bit more complicated. I doubt it. I'm reading a book by Thich Nhat Hanh, Zen Keys, and I'm just trying to figure out this whole Zen thing, if you can do that. And one of the things they say about the koan is that the koan is supposed to be something that is developed very much for the individual person that it's designed for. It has significance for that person, or it promotes a group of people who have the same type of psychological needs or the same kind of mentality.

[49:32]

And the Zen master is trying to design something that's really tailor-made for that person and that group of people. So I guess my question is, how valuable is it to take any So the first question is how important it is to have a ZEN layer? for beginners. And the second question is that I am reading a book by Titian Arang and in the book, Zenkis, he said that a koan Well, the first question, it's very important to have a senior practitioner who's part of your practice.

[51:14]

That special glue that makes a person that creates this apprentice-teacher relationship isn't necessary in general for practice. From the deeper sense, the realization of the teaching and the transmission of it, that's necessary. But for most of us to develop practice as part of our life, that's probably not necessary.

[52:17]

It's just good to have somebody who has been doing this longer than you and doing it with commitment to be somewhere present in your practice. And that can be as little as once or twice a year or every couple years. It doesn't have to be weekly or something like that. There's actually some dilution and sometimes confusion in just practicing too much because it's in the air. You know, you sort of generally know what to do. Yeah.

[53:24]

We all do that, but it's good to get a more developed sense of practice sometimes. Now as for the koan, I'd say what Thich Nhat Hanh says is generally correct. But the way I would put it is that you make the koan your own. Now not all koans you can make your own. And depends what you are calling a koan. Some koans are pretty specific, but these koans in this collection, they show you Roku, the book of equanimity.

[54:30]

And the other great collection, the book of blue cliff records. are such complex vehicles of the teaching that every koan, every case, offers many possibilities to people. And if nothing else may not function as a personal spiritual and therapeutic koan, but it can certainly function as a vehicle for learning things. So for some of you, some part of this koan might become a personal koan in a genuine sense. But I hope that at least for all of us, that at least will be an opportunity to learn something about Buddhism.

[55:44]

And also will be a way to learn something about the process and possibilities for studying oneself. Yes? I would like to ask on the relationship of the unmoving mind to the Five Scandals. In Hamburg, I think, two or three years ago, you talked about moving upstream in the direction from consciousness to feeling and perceptence. I just wrote the tapes the last days ago. Yes. So I asked how or where the connection between this unmoving mind and your idea of moving upstream from consciousness to the unparalleled and we'll just have that mushroom picture.

[57:05]

The connection of this unmoving mind to the five skandhas, the five basic elements of personality, is the question I have in Hamburg. in a talk that I gave to Dauersche a few years ago, which I briefly brought up again, so it needed this very beautiful picture of going up the river, i.e. from the associative and conceptual spirit in the direction of feelings and perceptions and there a different form of As this koan says, we have to free ourselves from the barrier of feelings and the chains of consciousness. In this koan it is said that we have to free ourselves from the barriers of the sensations and from the chains of consciousness.

[58:20]

And before you really succeed, you can move in the direction of this immobile mind, but you can't really leave yourself there. And the skandhas are one of the very main structures or techniques, craft of freeing yourself from the chains of consciousness or the barriers of feeling. And moving mind, of course. is present in all the skandhas, but more noticeable in the form and feeling skandhas. The skandhas are a rich treasure box that once you know something about and stay with and begin to notice that it really is a really powerful way to study oneself.

[59:44]

Okay. Is the unmoving mind personal or not? It's personal and it's not. Yes, what else can I say? It's the most personal, intimate thing that can possibly happen to us. Yet it's not something we can possess. And it has a tremendous quality of being free from such things we usually think of as personal. All these questions, you're like the ancient masters have appeared in this room and are suddenly asking these very basic questions.

[61:08]

It's out of this, as I was talking to some folks earlier, out of the fabric of this kind of questioning that these koans develop. I am thinking about the meditation from before and how I heard Roshi's words that I can go into the stillness and I tried it. I asked myself at the same time how I do it. and I'm trying to understand it again now, and I don't know, it makes me feel a little crazy that I don't know how to do it, and I want to ask this question now because I am often asked by the TN, how should I do it to get into this room of peace, and I can then say I have the experience or I go on my breath, but

[62:26]

It sounded very nice. I don't know. Yeah, when you asked us to go into this still space during meditation, I noticed that while I was doing it, I was also asking myself how I was doing it. And it was very difficult to answer and kind of almost a little confusing or irritating. And I'm asking this question right now in the sense often clients ask me this. I mean, how can I get to this place that's quiet and peaceful and how to do it? What is the student's self? What is this silence we can, stillness we can settle into? The God of fire comes seeking fire. And Fayan said, how do you understand this?

[63:30]

He said, well, the god of fire is in the province of fire, so to seek fire by fire is like seeking the self by the self. Yeah, well, even understanding in this way, how can you get to it? How can you get it? Mm-hmm. Well, I'm just thus. I don't know what your idea is. You ask me and I'll tell you. What is this student self? The god of fire comes seeking fire. Yeah. So I don't want to try to answer. But the trick is, the thing is here, is just to stay with the question.

[64:52]

Like a locked box that you carry secretly as a treasure. And you never care whether there's something in it or there isn't something in it. Just you carry it very closely. Now we can look at it with more sense of craft than that. First we have to be with it in this larger sense. As I can feel myself settling into this stillness. And I can wonder how I'm doing it. But I'm also noticing I'm doing it.

[66:05]

That's quite a lot. It's useful just to see the ingredients. The stillness, the wondering, it happening, and so forth. Something else? I want to know what you are doing with your hands. I can't see it. I just see your head. Well, maybe you ought to sit up here. I'll ask my hands. Hey, hand. What are you down to or up to? Yes?

[67:29]

How do I know in daily life if I am settled in the background mind or not? Yes, Dredge. Where do I know in daily life if I am in this background mind or not? You can tell. If it's an idea, then you're not settled in it. But you can physically feel it. And you can begin to weave yourself or move yourself toward it by paying attention to your breath and so forth.

[68:40]

And developing mindfulness and so forth. But the actual feeling of it, when you see the leaves within the field of mind, you know it. And there are certain sensations that, you know, Almost everyone shares when you have that feeling. One is, for example, a soft feeling of silk or feather on your body. Anyway, first one gets a taste And then you begin to notice that you can practice with it.

[69:44]

And then you notice that more and more you have that feeling. And at some point there's a shift and you have that feeling all the time. It's possible. People do do it. Ordinary folks like us. Who now probably should go to dinner. So it's five... Fifteen or five, twenty almost. Four, is it four? Yeah. Four? Oh, we're not so late. I thought it was almost five. How did I think? Oh, I thought we started at three. Oh, okay. So we have plenty of time. Another one? Maybe I'm hungry.

[70:45]

Yes? Yes. I would like to know, what makes you think like such a priestess? In my experience, I find that the Baha'i body feelings at all possible distances sometimes. And then the thoughts come like a herd of fleas. It's very difficult. And when I suddenly get into that distance, I get a bit of grief. But what makes them so beasts? Why are they so beasts right now? My question is, what really makes thoughts such, I mean, bastards or bitches or, you know, in the sense like I can be in a bodily sensation or within the sounds and all of a sudden like fleas or, you know, they kind of jump on me and kind of take hold and I feel I'm separated from the experience and it makes me kind of sad.

[72:04]

I mean, what is this? It happens. And you don't really have to understand it any better than it happens. and that then you try to decide to do something about it. So you notice the difference between when you're not caught and when you are. And then you develop the skills to move between the two, so you're not always stuck. Now, the main skill in... The main skill in developing this ability is to develop one-pointedness.

[73:30]

Which means the ability to stay with something and not stray from it. We could say the everyday mind of Zen really means to take this room right now as an object of consciousness, object of attention, and stay here, arriving here. So that's the simple answer. Or the answer from the point of view of the craft of practice. Now I can also respond to something I've been talking about recently is the way in which we have a language that creates a certain kind of mental space.

[74:59]

And that mental space is alive with the flies of thought. And when you try to think about it, all the thoughts come swarming out. All the flies come swarming out. Because the nature of that mental space, the quality, the dimensions of that mental space have been created by thoughts, by our phonetic language. So one way to work with that and what the Collins try to do is to have a thinking process that goes on in images rather than thoughts.

[76:02]

So the ducks standing separately together by the pond is an image. And the pond is our mind or stillness or... So part of practice is also using images to hold yourself in place rather than thoughts. Or to use a phrase like just now arriving. So when you use a phrase like just now arriving, you're using words outside of the framework of mental thought space.

[77:27]

So you're using poison of thoughts as medicine. Now, thinking is not poison. But thoughts that just kind of chase their tails are kind of poison. And that's the problem with thinking about creating a settled mind or thinking about the self, the thoughts just chase themselves. So we can use thinking to get out of that thought space, or we can use words or thoughts as mantras, or we can use images. Or you can use your breath or a bodily feeling.

[78:35]

Once you begin to get a sense of this, you can begin to practice in many ways through many opportunities that come up all the time. Yeah. Question. Is avoiding being choosy, is this just another way to choose, which I do by my will? To avoid being choosy? Yeah. And I said, by my will, I don't hate or love somebody because I cannot do it by my will.

[79:37]

So you want to say that in Deutsch? Do you choose to say that in Deutsch? Yeah, well, that's a thought. Somehow you've got to get out of thinking. As long as it's a thought about having a thought to get free from thoughts, you're in that mental space where you just keep banging around on the walls. This is fire seeking fire. But still, we can use thinking to avoid being choosy.

[80:57]

There's different degrees of energy and invest in energy and different degrees of investment in energy and identification in each thought and each feeling. So you make a kind of aesthetic choice for that sense of identification or energy which feels more inclusive to you. If you can't make that kind of discrimination, then you're in a real kind of mental trouble. So practice actually is very helpful in creating a more subtle topography or tomography of consciousness and mental events.

[82:08]

So you can make a choice and decide to create a mind which doesn't choose. And you make that initial choice through a kind of aesthetics, which has to do with how vital you feel or how nourished you feel and so forth. Aesthetics. It's like a choice of you like this painting, you don't like that painting. Mm-hmm. But once you've made the choice and created the mind which doesn't choose, you've changed the rules of the game. So this koan is about how do you change the rules of the game.

[83:27]

Am I making any sense? At least enough sense to keep us interested here. Maybe you should quietly sit a little bit. You'd like to sit? Okay, sure. There's another question here. Well, if I meet somebody in my everyday life who kind of loves, I mean, chasing his or her own tail or playing cat and mouse, should I try and change the rules of the game or just stay who I am?

[84:48]

Change the rules of their game or your game? Yeah. Yes, would you remember me? It would mean that I try to change the game as a whole. Because at the moment I'm already approaching people. If I start changing my own rules, then I'm already sort of affecting this other person or sort of... And then I'm again, I mean, who I am.

[85:54]

I didn't follow the last, the very last phrase you used, but Because I don't see why you're the same person. But let me just try to respond in general. When you start to practice, it does change you. And one does make a choice when one is with people. What attitude do you take toward other people's being caught in ways which you aren't so caught anymore? And this is part of what this koan is about. So do you go along with what they're doing and then go along with it in yourself or do you try to do something slightly different?

[87:00]

The basic stance of Mahayana Zen or Buddhism is you go along with, but there's some difference in the way you go along with. And if that isn't clear, I'll come back to it. Here we have the ingredients again.

[88:20]

Your body. Various overall body sensations or feelings. A feeling of consciousness both bright and dim. A sense of person or observer. A sense of a lived life which calls you and has shaped you.

[90:07]

It's good to just notice these ingredients, But not try to form a logical understanding. Just massage all the ingredients with your breath. Sometimes very big. Sometimes pretty small. Sometimes can disappear altogether.

[91:14]

You can't really find with any definiteness this one who does these things. Present and not present. The one definite thing you can say about it is it's not entirely findable. So enter this unfindability.

[92:43]

And to develop a background mind. To leave the ingredients alone is the practice of uncorrected mind. I am just thus. How about you? What is your question?

[93:46]

What are the And what's most essential? What do you really want to live and die for? We may not be able to answer such questions, but they're kind of a deep medicine.

[95:00]

To have the courage and clarity and stillness to ask such questions of yourself.

[95:28]

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