Now, my favorite part of meeting with you, spending time with you, is our discussion. But on the other hand, maybe I should continue a little bit what I mean by starting point. On the other hand, a good starting point is always discussion. And Michael, thank you for doing all this for all of us and for me. Okay, does someone have something he'd like to say? After your question, Mr. Eden, whether I had something to say, obviously I wasn't ready, but later on, down still, quiet, something came back to me connected with stages of consciousness.

[01:17]

I've been meditating for some 20 years. And about three years ago, I started having a spinal problem and couldn't sit for more than 15 minutes or something. So what can I do about meditation? Lie down. Well, I fell asleep after 10 minutes. I'm going through this condition of Letting go, quiet, awakeness. Ich konnte das nicht, die Dinge fallen lassen und wach bleiben. Then people told me that shamans meditate lying down with their arms up. Dann hat man mir erzählt, dass manche shamans meditieren mit den Händen oben und Rücken liegen.

[02:28]

So I tried that. but you wouldn't believe how fast you fall asleep with your arms up. Particularly all the blood rushes out of your arms increasingly. They begin to sort of relax and pop. So I continued for those other years following and still with that spine problem and got into the habit of realizing stages of my inner condition and after a while something started to happen over and over at the border at the threshold between being awake and sleeping all of a sudden that is something appeared where they're living like an animal or you know face or even inanimate objects

[03:30]

And this started moving, and I watched it moving. I saw the traces of a face. And I watched it moving while being wide awake and hearing what's going on around me. I was unsure a few seconds, and it took a few seconds, this movement of face, animal, or object. until I realized what I realized, and it stopped. And then it came in the wrong condition, but this is obviously an event that I haven't known before, and that is new, which happened during those years of inability of sitting meditation. And now I observe, Ich habe jetzt beobachtet, nachdem dieses Problem verschwunden ist, ich kann drunter sitzen, and after now it healed, sort of, and I can sit an hour without pains, that this comes in sitting.

[04:41]

I sit here yesterday, waiting for the seminar to start and all of a sudden this brownish, reddish train piece moved to the right and I could observe it and I heard you as you were breathing and the birds singing and this thing moved. But there was something which is conscious and observing consciousness. And I was only aware after last week's seminar that this is what it must be. Otherwise, what else would it be? So that was very interesting, something which developed from inability. And there came ability. Thank you. Thank you. Recognition. Thank you. Perfectly interfused translation. But I couldn't tell which was the translation.

[05:46]

It comes up in English. And Christian, we lost? Yes, probably Mrs. Dornan. This comes to sleep. You have a problem with your foot. Is it okay? Is it going to be okay? It's going to be okay. So, someone else? I try to see it right now from a different angle. Every moment is a starting point. From this perspective, or from this viewpoint, it's about continuity.

[06:54]

The question is continuity. So it's always a starting point. So we start consciously with continuity, let's say for one hour, but actually each moment is a starting point. Actually, this is very important in therapy because when I work with a client, either seeing him or her for the first time, or continuing from the last session we had, there is always a starting point.

[08:13]

So it's always about Creating a kind of, well, consciousness is a difficult word to translate, in the sense of that you are conscious of what you're doing, or whether I'm entering into some kind of concept, either from the client or my own concept, or a concept of a frame. Mm-hmm. Yes, it happens, of course, when you make a retreat, that you enter the stream of consciousness, from these moments. And what happens in this or some kind of retreat is that you enter into this stream of awareness, but you also quite easily can slip out afterwards, after this retreat also.

[09:28]

This retreat, you mean this now? No, just a meditation retreat. Or also during this retreat, for instance, when you drink too much coffee. And my question, Richard, is how do you deal with that? How do you cope with that? I don't drink much coffee. It was quite long what you said, so very specifically, how do I deal with which What you said was very comprehensive. What do you think, how to deal with it, with this coming out of this state, where you experience this consciousness? Continuously being entangled in this entanglement, not to notice this moment after moment.

[10:45]

arising, right? But being entangled in this continuity, which is where you don't realize anymore this moment of time. Yeah, I understand. Yeah, this entanglement which is very often described in Buddhism and you have to look at this entanglement. I understand, yeah. How do we, you know, there's one of the most famous texts in Buddhism, the Vasudi Marga says, the whole world is a tangle. How do we untangle this tangle? And who will untangle this tangle? If this seminar has a topic, that's the topic.

[12:04]

So let's let the seminar proceed in regard to what you said. Because I'll be trying to respond to that. Your question. You're disappointed I'm not doing it right now. Okay, someone else. Yes. I noticed that by describing your dream, how much I entered also in this feeling of regret and the loss of the cat. And when you describe this condition of waking up in the morning,

[13:23]

and to get into contact with the feeling that is there, whatever it might be. And then when you described or when you talked about this kind of posture, to enter or to establish this posture in Satsang, suddenly this sadness disappeared. And it was a deep feeling of calmness, stillness and acceptance. And at the same time, there was a kind of joy and happiness that it's possible to have both kinds of feeling.

[14:44]

Okay, thank you. Vielen Dank. Yes, Sabine. For me it was quite the opposite, or going in the opposite direction. I never asked myself the question why, for what reason I am coming to this seminar. It was always a kind of mixture of it produces a good feeling and I get new ideas and I get interesting tips and hints. And Sasin sometimes was good, and if it was not the case, I had several reasons why I wouldn't do it. And today I noticed that there is a kind of feeling which keeps me, that there are certain reasons that keep me from

[16:05]

from doing sasen, and this reason is something I am afraid of, I mentioned. Because I don't know where it leads me. Because I don't know where the sasen leads me. And I'm really afraid of that. You mean you'd rather not know than know. But even when you don't know, somewhere you still know. Usually better to know. And we can find in sitting ideally one of the things you work on is the bodily courage to know. So one question continuing or in addition to this cat.

[17:46]

You talked about sorrow and also about transformation. And when I look at Christiani, I realize during the last month, there is an unbearable feeling that goes through the kidneys, in the spout chakra, as if everything was pulled out. I feel some kind of a pulling, a tearing feeling which goes through the kidneys and also through the belly chakra. And the feeling is as if everything would be pulled out. And at the same time, after you said you were from Japan, after three years people can die if they lose their partner.

[19:02]

So the feeling is that this is now making you sick. So the question is, what is it? And on the one hand there is this feeling that this is somehow an unconscious information, and on the other side, what you said about Japan, that it might happen that after two years when your partner dies, you also can die. So my feeling is also a kind of question, is this something which makes me sick? Or is it transformable? It's a door. It can go both ways, I think. And what he's referring to is there's I've in the past read statistics which suggest that after the death of a parent or a spouse, within the next two years, there's a higher statistical evidence of getting cancer and things like that.

[20:14]

Also, worauf sich Giorgio hier bezieht ist, ich habe eine Statistik gelesen, dass wenn ein Elternteil stirbt oder wenn ein It's funny that at least my experience with living with people who have lost a spouse or a parent. It's often on calendrical anniversaries that the feeling is most strong. It's always struck me as a little funny that our grief is tied to a calendar.

[21:20]

But anyway, the In China, the tradition was after you lose a parent or a spouse, And this is only my supposition. That there was some cultural experience or wisdom that people had to change their life. dramatically for at least one year after that, if they were going to avoid falling into ill health or depression. Do you mean during the first year or after the first year?

[22:37]

During the first year. Yeah, so the tradition was if you were, you know, person living in a city with a job, a kind of clerical, bureaucratic job or something, the Confucian life, you became a Taoist for a year. So people would literally go into the mountains and live in a hut. write poems or paint and just have a completely different rhythm of life. Kind of like a university sabbatical or something. But this is, you know, it's pretty hard. Most men... it meant that they had to really take this seriously if thousands of people all the time were going off and leaving their job and taking a full year off.

[24:00]

Taking a full year off is, you know, that's serious. That's not. And if you really do that, then it's a really good time. You have to imagine that there are permanently thousands of people a year away So my feeling is, you know, most of us can't take a full year off. But if this is... But if what I've said is the case, how do we respond to this wisdom in our life? How do we take care of ourselves? I would say, for instance, Like sleeping each day as long as you want until your body wakes up.

[25:22]

Even that's hard to do. Just sleep as long as you want. Do each day and adjust your schedule accordingly. Anyway, my own feeling is somehow you find some way to change the rhythm of your mind for a while. It's something we all face. When I, after I did get up, I thought of James Agee's prologue to his book, A Death in the Family. It's a rather famous American novel.

[26:34]

And so this morning after I felt this pang of regret and loss. I remember this prologue to this book. Partly because it was set to music by Samuel Barber. And I've listened to it many times. The other day I went to the opera at And I've never been to the opera house in Vienna.

[27:56]

I've looked in, but I've never been to an opera in it. And in many ways, I mean, you... We have an opportunity to go often if you wanted to. But it lived up to its reputation of having extremely good acoustics and complex interior space. We didn't have to wait forever for toilets and glasses of water. Makes a big difference. There are lots of places where you could get a glass of water with a pastry or something. There were really a lot of points in the opera house where you could get something to eat and to drink.

[29:11]

And I saw Boris Gudonov. Which is a serious drama. Not just Italian pastry. Though the lead singer was an Italian who sang and acted beautifully, extraordinarily well. I may have mentioned the other day, but I'll say it again. You know, Sophia plays the violin. She decided when she was three, she wanted to play the violin. I don't know. Anyway, so we said okay. She seemed to have some musical talent, which I Definitely don't.

[30:29]

Yeah. But she doesn't like practicing too much. But even when she doesn't want to practice and kind of resists it, she's presented with some piece of, you know, sort of children's Bach or something. And then the next day, or when there's a lesson, she knows it. She didn't even seem to practice it, but she knows it. Yeah, so along with the Christian coming to practice period, and there was a man named Alan Eaglesith. I call him Alan useless but his name is Wolf Seth anyway he's an American who lives in Germany and plays the oboe in an orchestra I don't know

[31:44]

And he is a... Do you know him? Yeah. I'm trying to... And he also teaches the recorder. And he also teaches the recorder. The wooden one. Okay, and he... And her Teacher is a man named Jack who's, I forget what you call somebody, he makes flute, he makes cellos and violin. And he's a real musician, and so he is her teacher. teacher even though he doesn't play the violin.

[33:07]

But Sophia actually wants to play the cello because she likes the idea of holding it and the vibrations in the body. She really wants a cello. Yeah, so here I'm in our living room in the log house where we live in Crestone. And there's this you know, air sitting around in the room. And so Alan comes up with his recorder. Jack with his cello.

[34:17]

And Sophia with her violin. And suddenly they're playing together three different parts and the air turns into music. And I'm sitting there like, wow. Just ordinary old dead air. Look what's happened. I couldn't do it. But I certainly enjoyed listening to it. Well, here's the Vienna Philharmonic or whatever, you know. And all these people with great voices, this whole room is transformed into music. And I can certainly understand, excuse me for calling on forever about this.

[35:14]

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