You know, I think that one of the things Zen practice is doing is trying to allow instability in ourselves to appear and to create find ways of bodily and situationally find ways to create stability. And so there's a relationship between stability and instability. And it seems to me that one reason one does constellations is to recognize you feel some kind of instability in your life, your situation, or your family system.

[01:12]

And then over some years, now some decades, this constellation practice has developed was how to create a certain kind of stability within the constellation that allows you to see what's going on. And it seems to me what Gooney does often is notice something that's unstable and tries to make it apparent and create a certain kind of stability in the situation.

[02:17]

But anyway, while you're here, particularly those of you who are new to being here or are here for the Constellation seminar workshop, I'd like to hear anything you would like to know about what we're doing here or anything you'd like to notice or bring up. So I will wait. I know that the first person is always shy, so maybe the second person could speak. Yes.

[03:35]

No, we'll start here. Oh, well, I know it's not important, but that's why it's important. Yes, go ahead. Yesterday I heard something like you didn't like the story about Adam too much because Eve doesn't appear in it. Yes, she appears from Adam's rib. I know, I know. But those myths have a certain power sticking in our minds.

[04:39]

And I interpreted your statement in the sense that you would like to see that differently, that you would like to give femininity a different kind of space or more space. Yes, of course. I have three daughters. And I'm three-fourths a girl. Well, 51% a girl. I'm joking, but I don't know, but I feel something like that. And for me Zen is something very masculine. Yeah, I've heard that before. And I wonder how maybe it does sound like there's some aspect of femininity in Zen already, but I do wonder how femininity could change Zen.

[05:55]

Well, sometimes, I mean recently, most of our seminars have had more women in them than men. But sitting next to me is someone who looks more like a woman than I do. So maybe you could say something to that since you're a female Zen practitioner. Everyone's waiting. Me too. I would start with... Zen as an abstract doesn't exist for me, but there is this place here and there are other places. I can only speak for this place here, with the people as they are here.

[07:16]

Well, I do notice that I would approach the relationship and the culture together and the atmosphere in the relationship. I think that's the starting point for me, where I think, if you look at female aspects, you have to look closely, what are these female aspects? For me, when I look at it myself, what do I miss sometimes? So, then, also, the one is my, um, this is a big point. I've had a hard time with it for a long time. Sorry, Brian. And sorry, Roshi. It's a different language. I can't do both. Yeah, it's all right. Yeah. Um, I've had a hard time with it for a long time that I didn't have a female role model. And that's maybe something for this generation where more women can develop so that they can also enter teaching positions. I personally think that's almost the most important thing.

[08:27]

You know, like most things, Zen grew up in a culture which male dominated. So a kind of emotional toughness was emphasized. Yeah. But not necessarily emotional strength, but emotional toughness. And what we're trying to do is make it more emotional strength and emotional openness.

[09:31]

Because it's been very clear since Suzuki Roshi and I started the first Sangha practice center in the West. Monastic style. It shouldn't be open to just primarily young men as it is in Japan. It should be open to old men too, like me. And people of all ages. And men and women equally. So I think we're the first at least practice center, maybe in the Zen practice center in the world Tassajara, which was in California, which was absolutely completely open to men and women, the same way. As far as I know, in a Zen practice center, there are, of course,

[10:51]

practice centers for women, and one of the main teachers of the San Francisco Zen Center wanted Tassajara to be for men and have a different valley for women, and both Tsukuyoshi and I said no. Thank you for your question. I wanted to give you a small example of how Senn works in a similar way to family exhibitions. At least it reminded me of that. I wanted to tell an example about how Zen and constellation practice work similarly. And at least I felt that way this morning, or I felt that way in Zazen.

[12:25]

So far I've been sitting, I've been feeling like a piece of wood. And since last night I've had a strong tension in my right shoulder and this morning again. And on the one hand, I felt quite, in Tega it's difficult to translate, like stable inside myself. But at the same time, I didn't feel the connection to my emotional topic that I wanted to constellate anymore.

[13:29]

Yet I felt that tension in my shoulder and I didn't quite know what was going on, that the topic disappeared and where did the tension come from and so forth. But in any case, I was dealing with this tension and suddenly it became clear to me that I needed all this tension to build my attitude, to build my external attitude, and that I had not yet dared to And then I noticed how I needed all of this tension in order to keep composure. And it was as if I wasn't ready yet to go into the emotional pain quite yet again.

[14:33]

And only once I loosened the tension in the shoulder, I started feeling the pain again. It was very important for me to see how this body tension is related to protecting myself. And it was quite an important notion for me to see how the bodily tension also helps to protect me. Yes, I understand. Yes. For me, there is still a contradiction, processes as you described them, I know them and I think we all describe them together. I just think that this kind of approach is more psychotherapeutic for me, or connected to psychological topics, body-soul topics, and I think that in the traditions that we inherited from Japan, we don't represent that much, because that is not present at all, or was not a topic for them at all.

[15:44]

Processes like the one that you just described I know for myself and I think we all know them to some extent and I treat them as psychological or mental psychological topics that belong into that territory. And my impression is that in the Japanese traditions that we've inherited, these topics aren't dealt with or aren't mentioned. And maybe naturally so, because it seems like they just weren't topics. Well, they didn't come up. At least that's a question that concerns me. And if we keep traditions, any rituals or so, in an environment where strangers can't walk. how these topics can also be introduced in this area. I have no idea yet, but I notice that it is something that concerns me. The way we eat Yogi or how we recite or something like that, it is very fixed because it has a tradition.

[16:54]

And there I only experience something like unconnected. We took something from Japan and do something Western to it, but it is somehow penetrating. Mm-hmm. Okay. I have that question going on with there's this tradition that is inherited and maybe the rituals and forms and so forth, they seem quite fixed or specified in the way that they are supposed to be. And so they don't change so easily. And my impression is that the way, for example, that we eat karaoke and so forth, as if we've taken something from the Japanese tradition and are... doing it here. And then I wonder how can we integrate such topics as come up through the work here into the forms and rituals that we've inherited from the tradition? To me, it seems like something is not quite connected there yet.

[17:55]

Okay. Can I respond to that or just hear some more before I respond? Yes, go ahead. I actually, in a relationship to what you are saying, I have a different experience. My experience is that these emotional topics tend to come up more in a Sangha than in individual practice. And they come up, but they are solved differently than maybe in a therapeutic setting. They are not usually solved through a conversation or through speaking.

[19:09]

But sometimes just through the presence of others. Or in various, there are various different ways, but anyhow, I never had the feeling that these topics are suppressed. Okay. Yes. I would like to say that I have observed, and you have also mentioned the rituals, the Uriyuki, the recitation, and I would also like to mention the simple position of the Vajrayana posture. I don't know how the Japanese monks experience it, but for me it is so that, especially in Omiyuki, when I was somehow familiar with it or made known and was not familiar for a long time, I noticed how much this ritual confronted me with myself.

[20:21]

So I would like to add to you've mentioned our Yogi and the forms and so forth. And I would add the simple posture of still sitting. And my experience has been how much the ariyoki, for instance, and of course I don't know how Japanese monks would perform it. Pretty much like we do. And how they experience it. But I have noticed for myself how much ariyoki practice is an example of how I'm confronted with myself. And another aspect that joins to what Dorothea says, we are doing our rituals together here and our practice together. And things are sometimes regulated more, sometimes less, but something is in motion and probably dealt with differently than in therapeutic work.

[21:35]

And if I compare this weekend with the constellation work and what we have here in front of us, I would say And if I look at the constellation work we are doing now and compare that to our daily living here and practicing here, I feel like both of them require the courage of the individual to expose oneself to one's own life and to be in the midst of these situations. And that which can create the attitude of stability or simply demands it, is actually also what can hold this psychological aspect, can look at it and let it happen.

[22:48]

And the stability that the posture generates and also requires is the same stability that then can also hold the psychological process. Sebastian? For me it was very interesting when I arrived here. The whole structure made me feel very cramped at first. I also noticed that my body was very tense, especially the whole back and legs. When I let myself go, at the beginning I wanted to do nothing wrong. I gave it my all to do everything right. And then with the form, with the learning and the indulgence, I became more relaxed and my whole tension And the whole tension is gone. My body, my head is still a bit around, but I feel so relaxed in my body.

[23:51]

And that's such a pleasant experience. But I think that's because of the hard structure. That you let yourself in and then the gong comes and you can just relax. I noticed when I first got here how the forms and so forth, they really made me feel rigid. And I noticed in my body how rigid everything felt. But once the more I got engaged and just let myself into the forms, the more I realized how much the body relaxed and things loosened up. And now in zazen it's like that. I feel like I can engage in the period and then there's the gong and all in all now my body feels, I can feel it all over my body. It's very loose and relaxed. Yes?

[24:51]

whether he believes that a long singing practice can also replace performance work in one way, so that you come to the solution yourself. I don't know much about singing now, but I do see a few similarities, for example, again without an actor or on stage. I have a similar question to the one that was asked, which is, I wonder if you think that Zen practice, I don't know so much about Zen practice, but whether mature Zen practice could also replace constellation work. And it seems to me that there are some very similar principles involved, like, for example, love without attachment or that you don't send your accusations out into the world, but that you're staying more with yourself.

[26:01]

Yeah. Yes, exactly. We were also part of a design committee, but practically not active. And I had the feeling that we had a great interest, but somehow also the feeling that we didn't need it at all. And then I asked him, why don't you take it seriously? And I wonder also because some sangha members participated here, but passively and not actively. And somehow that gave me the impression that the sangha members feel, oh, it's interesting, but I don't really need that. And then I was wondering, why are the sangha members not participating actively? Well, Tara is a sangha member, and... And me. And Suzanne. I have a question for you. You said that you are not a teacher or an exemplary teacher.

[27:04]

I am also a bit on the lookout. I have a question for you. You want to translate that if you don't need to? That was a clarification question to something I said. Okay, all right, fine. Yes? I was lying on the wall in the office this morning, and there was a saying about the feeling of being in love, and that you should make sure that the next one is just as good as yourself.

[28:04]

And today afternoon I learned how to Band-aids cut with siblings and people behind a band-aids. First of all, it was such a confusion for me. The more I think about it, the more it comes together. And I think it's true. It's a bit of attachment, which often makes you feel like you're not giving, because it's just too tied up. And now in the attention, I think it's also very important to bring the attention at all, to bring the attention. Okay, so in the office I noticed there's this little saying on the wall by the Dalai Lama.

[29:06]

It says something about compassion and emphasizes the connectedness. And so I was wondering about that on the one hand, how that's emphasized. And then on the other hand, here in the constellation work, I learned from Gunni to put, I'm just going to call it energetic boundaries, to separate spaces and then to ban a group of... over behind that boundary. And so I was wondering about that, how on the one hand that's emphasized and on the other hand it's separated like that. But then I noticed the more I worked or had these images work in me, that it's both true and that there's something about attachments that Yeah, that's the topic really, how it's attached and not attached. Yeah?

[30:10]

It's a paradoxical thing, yeah. And interesting. And the other thing is about mindfulness, to cultivate the mindfulness to even notice at that level. Yeah, well, I'd like to speak to some of this. But now I'll just respond to what you said in a simple way. The assumption in the yogic world is there is nothing that's not connectedness. There is no separation. Die Annahme in der yogischen Welt ist, dass es nichts gibt, was nicht Verbundenheit ist. Es gibt keine Trennung. Insofern sind alle Trennungen Formen der Verbundenheit. In unserer westlichen Kultur betonen wir die Trennung und nicht die Verbundenheit. So the dynamic of separation is quite different. And as we're trying to accommodate Buddhism... For me, Buddhism, what I call Buddhism, is a kind of science, actually.

[31:26]

It's very close to Western phenomenology. And so... What's become my job and our sangha's job is how to accommodate these rather different ways of viewing the world. Not to replace one with the other. But how the basic teachings are going to function in Western paradigms. I mean, let me say, a Buddhist teaching is anything Any Buddhist teaching assumes that transformative enlightenment is possible.

[32:49]

Any Buddhist teaching assumes that it's actually possible to be free of mental and emotional suffering. And it's actually possible to live in a way that benefits, is beneficent to oneself and to others simultaneously. And fourth is that it's possible to live close to how we actually exist. Any teaching that does that is a Buddhist teaching. Jede Lehre, die das beinhaltet, die das erreicht, ist eine buddhistische Lehre.

[33:53]

Doesn't have to be historical, doesn't have to be in a sutra, doesn't have to be said by Buddha. Anything that does those four things is a Buddhist teaching. Die muss keine historische Lehre sein, die muss nicht in einem sutra auftauchen, die muss nicht vom Buddha gesprochen worden sein, sondern jede Lehre, die diese vier Kriterien erfüllt, ist eine buddhistische Lehre. But how those four function in our western culture is... It's interesting. At least interesting. Okay, so someone else. I love these comments and questions and statements. Oh, there, okay. Go ahead. Yes, I am excited by the words, stable, instable, that you brought at the beginning.

[34:56]

And I'm resonating with these words, stability, instability, that you brought up in the beginning, and Bezogenheit, connectedness, and Detachment, Lösung, oder meinst du, letting go, welches Lösung? Detachment, yeah, so connectedness and detachment, yeah. And this morning, when I was a representative, I had a strong experience with how it feels to be bound to something destructive. And as a representative this morning I had a strong experience of how this kind of destructive relationship how that was manifest in so many different positions, like bodily or positions in the system?

[36:06]

No, I meant binding points in the sense of fixation. Okay, okay. In fixations. And how to let go of that, mich in eine Form von And how letting go of that fixation brought me into a disorientation and non-connectedness or feeling of being lost in a way that otherwise I was traumatic with traumatic aspects also. And how that feeling I usually only know from zazen. And what it feels like to have no reference point.

[37:09]

Yes, because you said that the Goni also achieves stability in the position, then the focus of attention came from the breath and the life. The life and the breath, that was one. and how you talked about how Guni is creating stability, then as a reference point, breath and life was brought in as one unit, as one thing. Yes, and the feeling of how it all started, And having this feeling how only through that, from that, the capacity arose that I could even connect. And that has something to do with the child, I think. That the child is so dependent and so existentially dependent on this bond, whether destructive or not, and that this

[38:20]

And how, as a child, how utterly dependent one is on these bonds, whether they are destructive or not. utterly dependent one is, and then how that fixation is established, how important the fixation then is. And so anyways, that's my feeling, that that's where the problem is located in the holding on to the fixation of the child. Speaking of children, have you two become new grandparents yet? Yes. What happened? A boy or a girl? A girl. A girl? One week old girl, Pema.

[39:26]

Oh, great. Their daughter was at the latter stages of her pregnancy doing a sashin with us, sitting and still while there was a lot of movement in her middle. And she left to give birth, but it wasn't quite ready yet, and so it happened a week ago, huh? Yeah. Congratulations. Is it your first grant? Yes. Yes, oh, wow. Okay, thanks. May I add something? What I just noticed in that topic I had was that Deutsch... Also, when you say that in the yogic culture the connection and the... When you say something like that there is no, like in yogic culture, there is no separation without connectedness.

[40:30]

It's a form of connectedness. Then for me that is the adult form of being in our Western culture. Yeah. Well, I hope so. Guni, do you have anything you want to add to this discussion? It's wonderful to listen. Yeah. And Walter, do you have anything you'd like to say? No, my question is too silly. Too silly? That sounds like me. Okay. Okay. Well, we can't spend all night here. So maybe I could say a little something because this is my... What we're talking about is... What I'm trying to... is my life, you know. And I'm, you know, exploring and experimenting and I don't have all the answers for sure, even any. But when... When Asian teachers come to the United States, at least ones I know, Vietnamese, Tibetan, Japanese and Korean, I know some of each nationality.

[41:50]

And one thing, let me just say, several people from these countries I've known well. And because of their Buddhist practice or Zen practice, It seems they're actually more like each other than they're like their countrymen. That's, to me, extremely interesting. But one of the things such teachers mentioned back, now it may be different now, but back in the 60s and 70s, They're all astonished when people come and talk to them, practitioners, the psychological flora and fauna that they talk about.

[42:55]

You know, I'm obviously not Asian. Yeah. Genetically, and not a female. So I can't really know. But we seem to have, we Westerners, seem to have a reference point of a comparative self. And in East Asian culture, the reference point is much more a bodily experience.

[44:09]

So when I've done doksan with Chinese people and Japanese people, occasionally they'll come to a sesshin I do and they come to meet with me privately. They say something like, I had this pain in my shoulder. And I noticed that if my state of mind was such and such, the pain moved to this shoulder. And when my intention was strong, I could do such and such and such and such what I couldn't when my intention was less strong. They described their body as if winds were moving in their body and they were partially in control of those winds, but it's not psychological in our way. What hurts them or pains them is different than what hurts and pains us.

[45:24]

They're really kind of different kind of people. Okay. And so just a couple more mosaic comments. And Strictly speaking in yoga culture, it's assumed that everything's chaos. Nothing really exists. And that's what emptiness means. Nothing really exists. It's all arbitrary. So you have to make it not arbitrary. It's like maybe imagining a river.

[46:25]

Everything is flowing this way and that and etc. going toward the sea. But the banks of the river don't flow to the sea. The banks remain in place. So the the emphasis in Zen practice is, how do you allow the flow to occur while you identify with the banks of the river? So the real start of practice... Excuse me. While you identify with the... With the banks of the river and not the flow of the river. Yeah. And you would identify with the banks so you can allow the flow. So an inner stillness, which you really developed, an inner stillness that's not about likes and dislikes and so forth.

[47:39]

And developing that inner stillness is one of the reference points. And a mature practitioner can always return to that inner stillness. Everything that happens to them is in reference to that inner stillness. You know it physically so clearly. Somebody could be holding a sword over your head and you're just standing there. Unless it was wise to move. Du weißt es körperlich so klar, dass jemand mit einem Schwert über deinem Kopf herumfuchteln könnte und du wärst einfach still, außer es wäre weise, sich zu bewegen. In the world everything is changing and impermanent and so forth.

[49:01]

In der Welt verändert sich alles und ist unbeständig und so weiter. So I mean, nothing is an entity, everything is an activity. This is sand, which somebody discovered how to make into glass. And we get good water, pretty good water out of the faucet. But this will disappear eventually. The water will go somewhere. But the activity... activity becomes part of what's going on. It's true this glass has a certain durative presence. And I can choose to relate to the durative aspect of it, in other words the entity aspect of it, Or I can choose, it's a choice, to relate to the way in which it's an interactional event.

[50:17]

Oder ich kann wählen, und das ist eine Wahl, mich in Beziehung zu setzen mit der Art und Weise, wie das ein wechselspielendes Ereignis, ein Interaktionsereignis ist. So its existence is my picking it up. The existence is the water making use of gravity and the curvature of space-time, etc. So it stays in the glass and doesn't jump out. Und die Existenz davon ist auch die Schwerkraft, die es nach unten zieht und die Art, wie Raum und Zeit gekrümmt sind, sodass es nicht einfach in der Gegend rumfliegt. But you wouldn't be completely surprised if it did jump out. Aber du wärst nicht überrascht, wenn es doch heraus springt.

[51:34]

So... And it exists because I can drink some water. So you choose to relate to everything as an activity and in fact that's how things actually exist. Okay. So if we're not going to create mythological starting points for the world, which yogic Buddhist culture long ago decided not to have mythological starting points, except like playing around. Die yogische buddhistische Kultur hat vor langer, langer Zeit entschieden, keine mythologischen Ausgangspunkte zu haben, außer eben um hier und da irgendwie herumzuspielen. The starting point of our aliveness, which is what this is all about, is aliveness.

[52:39]

Der Ausgangspunkt für unsere Lebendigkeit, und das ist es, worum all das hier sich dreht, Lebendigkeit. The starting point of aliveness is our in-birth. Der Ausgangspunkt für unsere Lebendigkeit ist unser Einatmen und unser Ausatmen. Everything in Buddhism focuses on first of all being attentionally aware of an exhale and an inhale. And that starts a reference point like stillness. And your reference point isn't your psychology and how you feel and things like that. That's important. But the reference point is your breath. And in the world, again, as I said the other day, though it's really hard to grok or get, that there are no universals of time and space.

[53:40]

Even in Newton's time, in the 1700s, 1600s, they still thought of the world as an inert container. And most people still think of it as a container. But it isn't. It's an activity which we are making and everything is made of. That's just a fact, as far as I'm concerned anyway. So if it is that everything's an activity, How do you create a reference point in the activity?

[54:58]

The altar is just a reference point. Offering incense, as I said, the altar is just a reference point. It has no meaning other than that. So if we're going to create time and space, we need to have some kind of reference point, because if everything's moving, you have to have something that stays in place. And in the practice we have here, I've tried to eliminate over the last 55 years, which I've been doing this for, all things that are really just Japanese or Asian culture and not strictly speaking about what Buddhism is about. And in the 55 years since I've been doing this, I've always tried to eliminate everything that is just somehow Japanese and culturally occupied.

[56:05]

And to eliminate everything that is not really in connection with what Buddhism really is about. So I've tried to keep the Oryoki because it's the best example I know of art. inter-actional relationship to the world. It's set up so it requires a lot of attention. And it's not like sitting in Starbucks or a coffee shop kind of attention. If she and I are doing a Yogi practice and Tara and some other, I can't sort of chat with you. I mean, everything will fall apart. I'll drop things and it'll be, you know, you have to pay attention or it doesn't work.

[57:06]

And all of the gestures are done with both hands. Yeah, and one of the things Suzuki Rishi said when he first came to America, somebody asked him, what do you notice about being in America different from Japan? He says you don't do things with two hands. And Mary's like, what's that? She says, pass the water. And I say, okay, here. Suzuki Roshi wouldn't do that. Because this is non-duality and all that stuff.

[58:09]

This is part of his body. Once he's picked it up and even before. So he picks it up and brings it to the center of his body. And then he just doesn't hand it. He turns his body. It's almost there's a light here. And you turn it and hand it to the other person with two hands. So you engage the attentional and awaken the attentional body by doing things with two hands. And then how you handle the spoon and pick up the bowls is all related to creating a spherical space here and in relationship to the chakras. And if you notice Japanese people or Chinese people in restaurants who are first or second generation,

[59:14]

Und wenn ihr mal bemerkt, dass Chinesen oder Japaner die erste oder zweite Generation Japaner-Chinesen sind. They don't have handles on their teacups because they use two hands. Die haben keine Griffe an ihren Teetassen, weil sie die Tasse immer mit zwei Händen aufnehmen. It might be that they're not smart enough to have thought of a handle. Kann auch sein, dass sie nicht klug genug waren, um sich einen Griff auszudenken. But they don't have handles. And they hold the cup here at this chakra. And they drink. And then they hold it here like there's a little chakra shelf they put it on. And this is all about making the body the reference point in the midst of chaos. And it seems to me when people do constellations the way I have seen Guni do them and some others, The constellation starts out with a kind of instability and begins to develop a reference point.

[60:45]

And strangely enough, if you're one of the people who represent another person, The only way you can represent another person is to relate to your own body. And then the body almost becomes like a radio aerial or something like television aerial and you're tuning into the other channels. Yeah, something like that. So what's not?

[61:46]

Okay. Yes, go ahead. You said yesterday and today again time and space don't exist. And I've tried to observe how that shows in constellation work. And there is room for me. And my impression is that from the beginning on, there's always one first relationship constellated and then there is space. And with time I'm still a little bit on the lookout. There are obviously temporal aspects, like a sequence, grandmother, mother, children. Also auf jeden Fall eine zeitliche Ordnung.

[62:48]

And with time I'm still trying to find out, to feel it out that there's obviously a kind of time sequence like mother, grandmother and so forth. Time sequence, time order. Und dann werden ja auch so But then there are also seemingly timeless elements, constellated like love or wisdom or something like that. Well, constellations also have a feeling of several generations are occupying the same time. That's timelessness. Okay, it's getting late. Oh, you started, you can finish. of the exhibition is the Buddhist practice.

[64:01]

Quite a lot has already been said about the circumcision, and for me it is a much more practical form than sitting around. Excuse me, my sound is a bit off. My form? constellations seem to me to have a strong Buddhist aspect or there have been many things that have been mentioned where it's clear that there are overlaps and to me it's a much more practicable, constellations are a much more practicable form than to just sit around doing nothing. You're completely right, and I hope if Guni and Walter come back next year, you'll join them again. Because it's much more practical than just sitting around. But it's hard to discover the still point.

[65:03]

Yes, Tanya? I have one more question, and it's about activity. I understand that it's not so correct. What is the activity there? Of course there is the mandel, because there is more there, less there, but where is the activity? A question about what you mean by activity. I really don't quite catch it. And especially for me, I don't catch it when I think of my disease. I mean, of course, there's something like it changes, but sometimes it's there more, sometimes it's less. But how, in that example, where is the activity? What does that mean? Sometimes it's more, sometimes it's less. That's activity. We don't have a... But it feels like continuity.

[66:04]

There is continuity, but that continuity is an activity. And part of yoga practice is to intentionally establish continuums, knowing they're impermanent. So your social self is a continuum you establish, so you can have a job and things like that. And then your personal self, your inner self, inner request, is a continuum you establish that gives you integrity. A whistleblower is someone whose inner continuum was in conflict with his social continuum.

[67:16]

And then there's continuums that are established that are open to all of your experience all at once non-consciously. But those are continuums you establish. As we've established our social selves, we're all quite aware of that. But consciousness itself, the sensorial field I'm seeing right now is a construct. And I can experience myself constructing it as I look at you. And a constellation is a construct you're making with others, often with strangers, which somehow starts revealing something about your continuance. Und eine Aufstellung ist ein Konstrukt, das du mit anderen konstruierst, das auf einmal etwas zum Vorschein bringt über deine Kontinuierung.

[68:54]

So I think we should stop, mainly because I hope to see some of you tomorrow morning establishing stillness in the Zendo. It's so great that you're here, and thank you, Guni and Walter. All right. No, that's something else. That's something very different. One of the rules is, as much as possible, you return things to the way they were when you found them. So, excuse me a minute. I can't return all the water. I mean, you don't have to bow. I'm just used to it, you know.

[69:53]

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