Ich habe jetzt gehört, wir müssen nicht um sechs aufhören. Yeah, we change our plans. Okay, my life is always open to change plans. Mein Leben ist immer offen für veränderte Pläne. In fact, even to no plans. Gar offen für keine Pläne. So, okay. Let's go. Yeah, do you want to say something? Why not? I have two questions actually to Nicole. Okay. or something that is also there, so to speak, and now I would be interested in what the experience is from one to the other, and whether that has a meaning, that this wish was at the bottom.

[01:25]

You showed it as if the wish was rising from the bottom. The wish is in the most request? Yes, yes, yes. This isn't my place. Yeah. Okay, so one of the questions is when you spoke first, you spoke about... Me? This you? This you. This you, okay. Should I call it this you me, maybe? Yeah, why not? For clarification. Yeah. It's a basic question. That seems kind of obvious. So when I spoke first, I spoke about the dynamic between a feeling or emotion and the dynamic with an inmost request. And so she's asking, what is the relationship between the two? And also whether there was a significance, I guess, in my gesturing, I made the inmost request arise like this.

[02:30]

And she's wondering about that significance. And the second question is whether in this discussion, the way it has gone so far, I wonder if something has changed for you. Which you? For me, I mean. Whether something has changed for me. Yeah. Okay. The relationship between inmost request and feeling and also emotions, and it's not the same as I speak, is that for me, and I think that's a decision, for me, my intention is to be the inmost request.

[03:38]

Yeah. So in how I relate to these different elements, uh, in most requests and feeling and or emotion, which is not, not the same, uh, is that for me, but that's a, that's an, that's an intention and or a decision is that for me, I, I am, I feel like I am the inmost request. In my intentional attitude, this is the host spirit and emotions appear in it. Does that make sense so far? Yes, that's a term again, the host spirit. We already had that today. So the intentional posture for me is that the inmost request is something like the host mind in which things appear and feelings or emotions are just what appears.

[05:08]

And the second question, yes, something has changed for me. And me too. I really think that the sense of how you catalyze your experience is probably when I have to explore in lay practice Yeah, in general. In my own practice. And since tomorrow is our last day, our last, last day, As presently constituted.

[06:32]

I guess there's been some conversation about how to continue, but anyway, it's at least this last, last day. Yeah, and what I'd like to at least enter into, to the extent we have time this evening, or this now, is a what we can mean by a sight of knowing. And in this regard, I want to say I'm very happy and touched that Gerald is here.

[07:51]

Because he's sort of the founder of this group. And somehow you made me feel it was worth doing. Und du warst derjenige, der mich davon überzeugt hat, dass das hier wert ist, das zu machen. And many of you kept making me feel it worked, too. Und viele von euch haben immer weiter dafür gesorgt, dass ich das Gefühl habe, dass es es wert, das hier zu tun. But thank you very much. Vielen Dank. Really, really. And I touched you here. You look great. Yeah. And I touched on through that Rika is here because she's Dr. Greenway, because she is really the Deutsch-speaking founder of the Dharma Sangha. And I'm also touched that Ulrike is here, Dr. Greenway, because she is really the founder of the German-speaking Dhammasanga.

[08:56]

Dhammasanga would have been impossible without her. I was just a German tourist. I was a tourist in Germany. And I had no, really, zero intention to teach in Europe. Or to teach at all, probably. But somehow, through Ulrike and Gerold and all of us, we've created a site of knowing. Now I have to imagine how to... find a way to illustrate what I mean by a sight of knowing. So maybe I can take a reading as an example. A book, a text, is full of information and potentially knowledge.

[10:13]

But it's not a site of knowing until there's a reader. And And a reader who knows how to read. Okay. Yeah. So I think a writer, let's say, accomplished writer, is attempting to create a space of meaning. Yeah, and that's, I think, extraordinary when it can happen.

[11:21]

Proust talks about text as an optical device by which the reader can see himself or herself. And he also speaks about a text as when he reads a book, he hums or sings the sentences to see if he can feel into the mind of the writer. Now, in translation, it's difficult to do it, but ideally, you kind of can feel the breath of the writer, particularly in poems, ideally, the breath of the writer can come into the reader.

[12:29]

And a good book, it can be a novel, but it can also be Heidegger or Nietzsche or Wittgenstein or somebody like that. They're trying to create a field of known. And if you read, say, Heidegger or Nietzsche, I find myself lifting my head up from the book, pausing for a while, and going back to the book. And I think when you do that, you're reading the text or book of yourself and reading the, if I read Heidegger, which I do quite a lot, I get a sense and I pause and, And I read myself and then I go back to the text.

[13:47]

What happens in the past? Did you say that? So the person who reads and looks up from the book for a while and goes back is probably a real, might be a real reader. Because there's a confrontation with the text and an agreement or disagreement or a transformation with even a sentence. And novelists, they're always describing the sunset or the street noise and various things.

[14:50]

And my feeling, yes, the descriptions are sometimes nice and quite beautiful. But my feeling, what they're trying to do, rising out of their craft, Aber mein Gefühl, was die Schriftsteller da versuchen zu tun, um aus ihrer Zunft empor zu steigen, is to take hold of your dirty sensorial presence. ist eine Haftung in deiner Dauer der Gegenwart in deinen Sinnesfeldern zu bekommen. And they may even be dousing your sensorial presence so that you can see what's underneath your own sensorial presence.

[16:16]

I'm speaking about this from a yogic point of view, creating or recognizing a site of knowing. So the thread here is not knowing, but the concept of knowing. And how you enter into a knowing field. And the main dynamic for a yoga practitioner is entering into the dynamic field of a medicine. So everything you are flows into immediacy.

[17:17]

Everything you've done and been flows into immediacy. And anticipates the future. Und nimmt die Zukunft vorweg oder antizipiert sie. With uncertainty and a not yetness. Und zwar mit einem Gefühl von Unbestimmtheit und noch nicht Seiendem. But if the present is only a way in which you use the past to imagine a future. Aber wenn die Gegenwart nur eine Möglichkeit ist, mit der die Vergangenheit oder... then the present as a site of knowing doesn't exist for you.

[18:18]

It's just a transition. So an extremely important yogic recognition in one of the shifts we've been talking about is to recognize that the present doesn't exist in any physical sense. It's only its experiential duration for you, as I've been saying over and over again, is only within your sensorium. So if you're going to use the catalyst and magic of the present, It has to have some durative power and be a sight of no one.

[19:34]

And I've talked about it as partly you feel the space as a viscosity and time as a valency. Valency is the connective possibility of something which is also time. So a writing creates a space-time, a space-time in which an experiential space-time often has a succession of instants and instantiations through the breath.

[20:55]

Now, very often people say I'm too intellectual or they say I'm too philosophical or they don't understand me, even in the first years. Then why are you around for several years? But I don't ever think I'm intellectual. An intellectual is someone who believes his own or her own thoughts. I don't believe my own thoughts. I just feel I have to deal, I have to sort out the conceptions that we don't see we have, that we're already dealing with, and put antidotal conceptions in order to open another realm of feeling and knowing.

[22:06]

Okay, okay. So when a novelist presents a street scene, Vienna and the trolleys were going by and so forth, like Musil might do. What I see such a novelist doing is not making a nice description of Vienna at a certain period of time, But he's trying to create in the text an experience of a durative, sensorial presence. And he's trying to reach out through the book and take hold of your durative sensorial presence and pull it into the book so you begin to live the book as your sensorial presence.

[23:41]

Once he's got hold of your sensorial presence, then he, Musil in this case, is trying to change it into a certain pace where you start noticing things through the processive, but not progressive, process. And if the writer has managed to do that, maybe like Musil would do, if he has drawn your sense of the present into the book, then he tries to adapt it to a certain tempo or rhythm in the book. What was that again? What was the last thing? And when he has established a certain pace, then? Then he can use the next sentences and images and metaphors to bring you into a modality of knowing which shows you things you wouldn't have known otherwise.

[24:54]

Dann kann er dich durch die nächsten Bilder und Sätze und so weiter, die er benutzt, in eine Erkenntnismodalität hinein verschieben, die dafür sorgt, dass du beginnst, Dinge zu bemerken, die du ohne das nicht bemerken kannst. And koans are doing that all the time. Und in koans passiert das ständig. You have to establish the mind of the first sentences before you read the next sentences, because they are asking you to only read it from the mind established from the previous sentences. You know, I think the basic distinctions or these distinctions I made between forms of knowing or sites of knowing in Buddhism One is what's near at hand. Now, I think intuitively, all of us, who are therapists at least, probably do certain things to establish a near-at-hand mind with the client or with a friend before you go...

[26:00]

up or down the shamanic tunnel. Okay, so now when I'm sitting here with you, I feel a certain field. And I feel the possibility of moving the field. But yeah, I'm not quite ready to do that. So then I want to establish a near hand mind. So while I'm stalking, I might pick up the glass of water and hold it. That's establishing a neared hand line. Or I might get a Kleenex out of my pocket or something like that. Now it's not intentional theater, but it is an awareness that this which is doing this is a different state of mind than the state of mind I was talking from.

[27:40]

I watched Thich Nhat Hanh do an absolutely extraordinary thing with me once. We were having a conversation. Just the two of us in a kind of office and he was sitting at a desk. While we were talking, he plucked a dust mote out of the air. Some tiny little thing that could have been from a plant, but it was almost, it was really tiny. But he could move it, there was a beam of light coming in, and he could move it into the light and kind of flash and move it out of the light. So the whole time we were talking and going back and forth and he was moving this into the light and I was watching it flash and then he moved it out of the light and it was part of the conversation and the teaching.

[29:12]

So to make a shift from one kind of mind to the mode of knowing, which is the nearer hand mind, And the boundary oscillation, because when you're always wanting to look at the boundaries, because boundaries go both ways. So, anyway, I'm trying to bring out these, what I call, jogological, I mean, yogological tools. Yoga tools are... One is to recognize that the near at hand establishes a particular modality of mind.

[30:28]

And then establishing that shifting to another mind creates boundaries which you can work with the boundaries. And then the durative present, the sensorial durative present, is also the yogic concept which You develop as actual experience. That you can actually, that you can actualize. And in zazen you can make it very extensive and sometimes very short and so forth.

[31:46]

And the durative present can include much of your life or be more focused or include another person. So the duration is influenced by your participation. So you live your own present. You're not a victim of your present. But I say to people who practice, don't sacrifice your state of mind. But what I mean by that is, don't sacrifice your own durative present for any reason. Unless it's an emergency, you're running for a train or something. It may mean you have to change your job.

[32:50]

But it probably means you have to transform your job. Okay. So the second site of knowing I mentioned, or yogic tool, is the knowing that arises from the undivided activity. The undivided activity which is just going on all the time has no beginning and end.

[33:51]

And because it has no beginning and end, you are the beginning and end. And as I say, you... develop an imaginal body which is always starting or is always creating space to arise. Sorry, I lost you. That is always causing starts. Can cause space to arise, can cause, is always a starting point. And in American Indian medicine, medicine men or women, and shamanic practices, There's much overlap with this because Zen is a kind of urban shamanism.

[35:03]

So you show another person or enter in with another person into this undivided activity by you yourself recognizing each moment as a starting point and feeling it. And why they say, Yan Wu and others say, the real secret practice is when it's uninterrupted. So you really get so that you always feel you're in the midst of a starting point. Yeah, and this is also what's really behind Sukhiroshi calling his book Beginner's Mind. I added the Zen mind. Because of the publisher.

[36:18]

Okay. Okay. So, we've made this a site of knowing. And maybe, as Siegfried said, a transmission of, in some real way, one practice into our lived life and our professional life. And in a similar way to the writer or philosopher trying to make his text a site of transformation or of knowing, The committed practitioner tries to create, in this case, something like Krasnoyarsk, which is trying to make it a site of knowing, a transformative knowing.

[37:34]

I think some people it is, and for some people it's just a place. So that's enough, I think, for now. I think if we get the feeling of what a sight of knowing is, not knowledge, but knowing, and we recognize again this word hishiryo, which Dogen says is the most important word in Buddhism, Which is translated quite wrongly as non-thinking. And it really as a practice means, of craft, means to notice without thinking about it.

[38:51]

So the yogic practitioner, in every situation, is just naturally attempting to create a field of noticing and knowing, connoticing, without thinking about it. That means you really have to recognize that knowing, the knowing of the elephant, is really not in conceptual categories or cultural categories. And then this great field of knowing, which is everything all at once, is... is present, is felt or present in whatever situation you're in.

[40:49]

As a kind of trust and gratefulness, which informs the field so that there's trust in the field die das Feld informiert, das Feld mitprägt, so dass auch in dem Feld Vertrauen ist. And then maybe love is possible. Okay. Okay. Oh. Sorry for that little riff. I hope it made some sense. Okay. So maybe if you think it's helpful, we can try to look at what yogic tools there are we can bring into our situation.

[41:55]

Now that we can establish a yogic field of knowing, what tools allow us to make that real with others? Okay, thank you very much.

[42:09]

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