What I mean by independence, you feel complete. I mean, I could have used the word preciseness. The experience of that is there's nothing extreme. Nothing extra, extraneous means extra. So if I look at the microphone, it's just a pretty ordinary old microphone. But if I look at it with this sense of absolute particularity, It has a tremendous precision. But it was a very exact focus by photography. A dozen little lights on it and so forth from that reflection.

[01:12]

It's not unusual. You can look at it. Wait, there it is. But it's also the fruit of one-pointedness. Wherever you rest your mind, it just stays there, and the object glows. There's a kind of light. And this is a habit of perceiving. Also related to a habit of perceiving and allow things to gather. Now, one of the things I've been speaking about recently and I bring up is that verticality And the horizontality, please.

[02:20]

And the verticality is just like you let something get. The example I've used was when lilacs last in the dooryard bloop. Und das Beispiel, das ich verwendet habe, das ist, wenn erst als Frieder gedauert hat oder zuletzt im Hoftor geblieben ist. Which is the first line of Walt Whitman's most famous poem. Das ist die erste Zeile in einem berühmten Ketipp von Walt Whitman. And when has two meanings.

[03:21]

Und das wenn hat zwei Bedeutungen. When in the wildlife loop. And last has two E's. So you just have when, why, last. When they last a long time. And you feel their smell. But then we go on, while I was in the dooryard, there's nothing called the dooryard. And the door to the yard. So door yard has two meanings too. It's a door and a yard. And bloomed in the past. So then last in this context is formerly. When lilacs formerly bloomed. And in this meaning, Lars means earlier, when he first blossomed.

[04:36]

If you only read it one way, like formally, then the words have only a horizontal meaning. And it's beyond the syntax, controlled by the syntax. But a poet tries to create verticality in words so each word accumulates meaning independent of the syntax of the sentence. So when lilacs last, you feel them last, and then suddenly they're gone. There's some kind of suffering there. So the word now, Ulrike, now. And now, when you say now, it's just, everything's gone now.

[05:57]

How long is now? And it also has a time, this time. But the etymology of the word means something like, what's left to an observer? So remnant of cloth, you know, when you cut cloth, there's a piece left and it's the remnant. Sometimes when you're enlightened in life, not at death, it's called nirvana with a remnant. Because you're the remnant. There's something in your body. You make it sick. So instead of using the word now, I'd like to go back to feeling that Now has some kind of spatial, and there's an observer of this nowness.

[07:19]

So I sometimes use the word here, present. Instead of now, I say here, present. Now, instead of saying what's happening now, I say what's happening here, present. So that way I create what I feel more verticality to stop what is here present. And relate to here present. Now you can't relate to it. Now if you understand what I say here, you can understand much of what koans are about. They're not rhythms. They're attempts to create a verticality in the creation of the word. Okay. Now, the word we use for koans about the world in which we lost the sense of its etymology.

[08:41]

The word world, for instance. Or universe or cosmos or something. What is the word you can't relate to? Well, here we are in the cosmos. That doesn't help us much. Yeah, you sit here in cosmos. Well, Cosmos is really cosmetic, and I'm an ornamental university. I'm cleaning up the university. But the word for cosmos or universe or the world in Buddhism is Tathagatagarbha. And Tathagatagarbha, the etymology, the verticality of the word is not hidden. Tathagatagarbha by itself means the good. And it's the biggest name for Buddha.

[10:01]

Such a big name for it, you don't even know where to offer incense to it. So Tathagata, as a name for the Buddha, means simply coming and don't. Or the one who thus comes and thus goes. So Tathagata also means thusness. But thusness is a quality of everything. I always think of, when I say, people are saying this, I think, I read this children's book to Sophia about Andy Warhol. When his nephew and nieces would visit, they found this madhouse where he lurked in here. And Andy had 30 cats.

[11:09]

And all the cats were named Sam. Or Thane. Or Thane. Or Thane. And garba means simultaneously womb and embryo. So everything you see is simultaneously a womb and an embryo, both container and seed.

[12:12]

And it's the container and seed of potentially enlightenment or Buddha. So you can feel Sometimes this is fruitful wound. And sometimes you can feel your actions are seeds, karmic seed. And you can feel that there's no outside. Basic in this idea is there's no outside. As Yuan Wu says, realize enlightenment right where you stand. I can't go back to the words, but this right now is ready made for you. You look around the world and say, hey, it's ready made for me.

[13:24]

Now, this is a way in which Buddhism differs from Hinduism. Although they're very similar, the conceptual difference. Hindu assumes there's some higher or transcendental reality behind this reality. It interacts with this reality and that we can aspire to. But it's somehow a different reality. But Buddhism is in higher realms, different realms, everything is here. Everything is here present.

[14:27]

This is also part of the pedagogy of St. Michael. It's all here, so it can be here now happening. And again, Yuan Wu says, realize enlightenment right where you stand. The whole being is here and nowhere else. Das gesamte Sein ist hier und nirgendwo anders. Bring yourself to a mind where there's no before and after. No here and there. Okay, so there you have a koan. What is a mind that has not before or after, nor here, nor there?

[15:28]

Well, part of it is like this absolute, Uniqueness. In uniqueness, there's no comparison. There's no before and after here and there. So we're talking about that everything that the fullness of being We can enter into those potentials through the views we carry within us. Okay, so we feel this is simultaneously womb and embryo.

[16:40]

And there's no higher reality. This is also simultaneously higher reality. Yeah, that's the way it is. I believe today we're going to start at 3.30, and then it works out again in a bit. Okay. No, yeah, please, okay.

[17:41]

Sometimes we do constellation of these to experience it. It's systemic. It happens exactly what you just said. Both experiences, are they complete?

[18:54]

They acknowledge each other and support each other. To the extent where the interruptions become superfluous somehow. Superfluous. You mean the separation, as in the rupture, yes, begins to become superfluous. They start a little bit more. Yep. Manchmal werden sie nochmal durchgestirrt. Sometimes they are somehow played through and acted. Yeah. And the side of connectedness, it doesn't deal with it at all.

[19:57]

Yeah. To me, it's surprising that what comes up through my practice and through my experience of practice coincides so exactly. And for me, it's really amazing that what came about in my experience and my practice is so consistent with your work. And I am also very grateful for this time of experience. And I'm looking for names for these two experience. . And in German, it's possible to say, to give the name I to the experience of the particular and self to the experience of connectedness.

[20:59]

I think not English. So you'd say something like the particular is close to the dynamic of an I. Interconnectedness is close to the dynamic of self, self that is related to others. I would say that you can use it as a kind of working term, but it's not, you know, we're just... Okay.

[22:03]

Okay. And many, this esoteric work, many people call it stir, or fear, ego. Oh, the separation of ego. Yeah. Yes, I'll read it. You look perfect. Yes. Yeah, I read it. Yeah. Yeah, I read it. Yeah, I read it first. I was puzzled with the terms. Okay. Andrea? Most of the stuff, you know, you have to let purple. He wants percolation in purple.

[23:06]

I don't know, like coffee comes up and percolates and soaks through. And by that I mean you really want to let the body respond to this thing before you respond to the mental. If we go back and forth about this thing, in terms of, oh, I think this, and you think that, We won't get anywhere. We've got to let it percolate, or we've got to wait until it's in our body before we speak. Yes, I said earlier, the security really would teach us only to the degree that we sat into the teaching. And as I said before, that Suzuki Roshi taught us only to the extent that he felt that we, with our bodies, sat there a lot.

[24:20]

we sat into it and then we continued. Now I like the idea the Greek idea of friendship. Which is supposedly that affection which evolves and matures through a shared vision. And I feel that that's what we're doing. We have a shared vision that we are checking up on and developing. And that produces affection and is rooted in affection.

[25:30]

And I think more married couples realize that marriage shifts from being in love to the perfection which he wants, will share with me. So I brought up Tathagatagarbha because it's a good example of this enfoldedness. Coming and going.

[26:30]

And for womb and embryo, all four fold to begin. In a linear sense, they sound like contradiction. But we are to live in complexity and simultaneously, not in aliens. It's consciousness which needs things to be... No, you're not saying that that's... And in crime, that is just that's what it is. It's not everything. It's a particular way of knowing the world. Yeah. Now, part of the practice of enfoldedness, I would like to stress is the drip, drip, drip of the sencha tea sound.

[27:51]

And I think I mentioned this last time for the two or three of you there. I don't know if I did yet. But there's two tea ceremonies. The most well-known one, only known one really for most people, is the matcha based on covered green tea. And the other one is based on sencha or tea called gyokuro. Which is made from leaves picked by virgins on a beautiful Sunday. So it's almost true. Because it's almost always, a lot of this very minute work is done by young unmarried women because they can do things more carefully and in a more particular way

[29:10]

Why aren't they? Once they're married, they're too busy. Oh, I know that. Teen weasel roll them by. Anyway, it's the finest leafy, you know. And you make it in a very small pot and have very small cups. And you drink what's called a sparrow's tea. A little drop of tea. And it's cheaper than whiskey. If you're a regular drinker.

[30:13]

Okay, but at the center of the tea ceremony is when you make tea, you have cups, right? And you pour the tea out. And you don't just pour until most of it's out. You pour until every last drop has dropped. And see, it really is a drip, [...] drip. Come on, it can't be that good. Then finally when there's no more coming in, you don't shake it apart.

[31:16]

But actually when you feel it, it brings you into the pace of how the world is. It's the sense that each situation has a pace that's you tune yourself to it. If you have a buried mind, you're not going to notice the sparrow's tear. And the matcha teacher might try to set us a little different pace about how things exist. because that's how you enjoy that tea. And that's different. Anyway, the point I'm making again is, Enfoldment, what I've seen in my enfoldment is that in each situation there's a different pace or tuning that allows enfoldment to occur.

[32:48]

It allows a gathering to occur. So I want to give one last example what I mean by for now. And I'm using the word enfoldment as in a way a synonym for Tathagatagarbha and Alaya Vishnana and Buddha nature. And we talked several years ago about the Alaya Vishnana. Now, in what sense are those synonyms? May we talk some other time, but right now, let me say it that way. Now, I spoke about how you can have a view, like a view can affect how you backbone this.

[33:49]

A view of each thing is unique and absolute. Or connected. creates a different mind. As I think you'll find who and what create different minds. So I would like to say that I would like to substitute enfolded for both self And the unconscious. So the extent to which you feel that the unconscious is present in your life somewhere present but sort of not fully present

[35:10]

Or that self is the center of the territory that she functions mostly. I would like you to try on the sense of, if I can, enfoldment. Das ist das beste Wort, das ich bis jetzt finden konnte. Denn ich treffe nicht dich, ich treffe dein besonderes gefaltet sein. Und du triffst nicht mich, sondern mein gefaltet sein. And my involvement is out of sight. It's concealed and unconcealed. And when I look at the forest here, I see trees in black and dark and shade with it.

[36:35]

Overall, I feel with the involvement of the forest, I'm leading it with mindfulness. Okay, so let's go back to where I was the other day, where I said that... You enter a dream, you enter into your sleeping. As you go to sleep, you need to talk if you want about the knowing or feeling feeling yourself going to sleep and staying lucid after you've gone to sleep and breathing becomes involuntary. For me, I know it's a little bit of a, I usually make a little shift in my breathing, and I know I've gone to sleep.

[38:06]

And it was interesting, as you know, when a child is trying to pretend to sleep, you can tell they're not asleep because the breathing is on here. Very difficult to voluntarily, involuntarily, involuntarily. We can really tell what's involved. So you can tell me you're no longer conscious if you've gone to sleep. Because you're still aware, but your grieving is involuntary. So we could say there's no longer consciousness if aware. Now, if you can continue this, you can infuse your dream with this awareness. But what's the experience about kind of dreaming?

[39:25]

You feel completely inside the dream. You're not the observer of the dream. You feel saturated by it. Saturated and soaked through. And even if you do know you're dreaming, the knowing you're dreaming is not outside the dream. You know you're dreaming from inside the dream. So when you wake up, If you get familiar with this experience, the dreaming has taught you to be inside your own living.

[40:41]

Without the sense of the observer being outside, but the observer is inside the dream and the living. So here we've not done the usual thing of trying to understand a dream in terms of consciousness. Now I can understand consciousness from inside, dripped. And then the surface of consciousness doesn't become so much a surface. But a kind of transparency, like looking into a lake. Which is so clear and calm. When you look straight down into it, you don't know where the surface is. That's part of what I mean when I'm told it. Das ist Teil von dem, was ich mit eingefachtet habe.

[42:00]

Ich glaube, das ist genug.

[42:03]

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