Now it's your turn. And yeah, maybe, yeah, maybe I'll just wait and I'll, listen to my ears. I don't think anyone's preventing you. What I said yesterday you didn't understand a word. This is our new tiny Buddha.

[01:29]

This is our new tiny Buddha. Yeah, Yuli Sattva. Yuli Sattva. Hi. Good afternoon. Several people asked me where all of that business about practicing for three months comes from. It comes from a text translated as The Expositor. Expose like that? No, to expound. It's Buddha Goshe's commentary on the Dharma Sanghani first book of the Abhidharma Pitaka. Anyway, it's available. And it's page 28, no, 38, 39, I quoted from.

[02:46]

So anybody who wants to can look at that later. And I always assume that all of you are on our mailing list, but someone just told me probably not. And as you know, we're trying to, and have now, purchased this property adjoining Johanneshof. Yeah, so it looked like we weren't going to be able to make the last 100,000 euro payment. The sign was financially exhausted already. So I was kind of desperate. So I tried to be encouraging.

[04:01]

And I made a brochure, which I wanted to be more complicated than this, but I couldn't get a printer to make it more complicated. But I wanted it to be a body full brochure. So I wanted you to open it. I wanted you to get the help of your spouse. Maude, would you come over here and help me? Harald, would you come over here and help me? So it says on it. And then I wanted there to be a lot of space, silence.

[05:13]

So this part is silence. And then there's little blips about what we're doing and some key photographs. And I wanted just a little on the brochure, just where they get their name, it just says one. And Mikhail Pogorchik, of course, helped me create it. Anyway, somebody might want to look at that, so I put that in the middle. We have a Kleenex box in the middle. Now, does anybody want to say anything about the inexplicable talk I did yesterday? Did some of you slept through it?

[06:14]

Some of you dreamed through it? Any comments at all? Was it sensible to anyone? Yeah. I would like to try. For me it was also, like Walter said, it made me happy. the human body, And in the time before, I've always tried to connect this phrase by Dogen that true human body connected with experiences.

[07:28]

When I came out of my day-to-day warm-up, it was more like this. There were children and cars, I had to get rid of them all. And I didn't want to go to the toilet, I had to go outside. And I had to take care of everything. I had to take care of everything. I had to take care of everything. When I get out of my everyday mind, then there is this feeling that inside and outside dissolve. And it's both together, or maybe it's all alive. And... It confused me because I felt like it's a lot more than just human.

[08:46]

I would have to find a completely different word for it. And yesterday, during the whole morning, it opened up so much that for the first time, I think, I understood what the human body is all about. And I would have to find a very different word for this one experience. But yesterday I thought for the first time that I really had some sense of what this would mean, what the human body, what can all be included in it. So I connected that to an experience. And also that it was connected to everything inside.

[10:09]

I could connect it with we are construing and establishing. And this experience of everything alive. Well, I feel better. Okay, we don't have to, and anybody else wants to say anything, fine, but I just wanted to see if it was okay that I spoke the way I did. Because of course I'm learning how to do this by doing it with you. Yes. Yes. Because I've always been searching for what do you mean with the attention body.

[11:24]

But I felt good about it because I knew that there was something different about it, and I felt, well, I don't have to know everything, but off the bat. Off the bat. Off the bat, yes. Off the bat is, that would be a cook would say. Yeah, I think maybe tomorrow, it is a point that is a little hard to grasp, what is an intentional boiling. an inner potential one. And maybe if you're willing, I will try to see if I can establish the feeling of that to you. And maybe if you are ready for that, then I would like to try to establish the feeling of it tomorrow.

[12:49]

Okay. Anyone else? I would also like to say from the previous presentation, I experienced it in such a way that it was like a further image for me. Ein Weitwinkel, ein Panoramabilder. About yesterday's lecture, I also would like to say... Wo man einfach nicht scharf stellen muss, weil es sich von alleine scharf stellt. But it's like a panorama picture where you don't have to zoom in or make it sharp because it does that adjustment all by itself. Oh, okay. Und im Gegensatz dazu gibt es ja das Perspektiv, das eine andere Perspektive möglich macht. Und wo man... And in contrast to that, there's also the tail objective where you see something from a far distance and then you have to zoom in on it. Explain to me what was said before about the horizontal and vertical axis to practice.

[14:04]

Because I often experience this while working, also with clients while working, that it is often about, let's say, recognizing, or focusing on something. Because that's something I also experience in working with clients fairly often, that often times it will be about making like a soft gaze or something, letting things appear and sometimes zoom in. And yesterday it was like this, that I dedicate myself to skills. And it's not about something specific, but rather about an atmosphere. Yesterday it was as if I was drifting along, as if it wasn't about something very precise, but about an atmosphere. But then there's also a third thing, and that's something that occurred to me, that there's also a plasticity to the perceptual field.

[15:22]

that there's also something where both is effective. Which is that when I focus one particular point and then because of that point the whole field opens up anew. Yeah, for me this is, I am trying to decide I mean, I'd like to know that it works or it's useful or it's comprehensible. And it does seem to me that inadvertently, or maybe inadvertently, we have over the years come to some kind of natural integration, many of us, of practice and therapeutic practice.

[16:40]

Anyway, I'd like to know when that's happening. She's good at no patterns. But it is also helpful for me to know what modalities of teaching work for us. I can't choose different modalities. Es ist auch hilfreich für mich zu wissen, welche Modalitäten der Lehre für uns funktionieren, weil ich schon unterschiedliche Modi des Lehrens auswählen kann.

[17:44]

Okay, Samuel, first. Wie macht dieser innere Wahrnehmungskörper Hoffnung? This inner perceptual body makes me hopeful. Ich habe mich nicht so verstanden, wie that the body is established so that it is actually tangible. So even if I don't perceive it, it's tangible in my body. And the question for every person, that is, the people in the picture, I ask myself whether I can feel it. Because from what I've understood, this inner perception is accessible, is bodily established, is accessible, whether I consciously perceive it or not, and therefore everyone, that they can tune into that.

[18:48]

Yeah, I think so too. Who is... When you ask about how you teach, what I was really touched by is that you yourself also showed how you are touched. There was one moment that both in terms of its content and in terms of content and the image stayed with me. As you said, it was a question of respect. It was a question of self-respect.

[19:50]

To know that everything on earth, or everything that appears to me, works together to live. And that was that when you said that everything that appears cooperates in order to give life. And then the connection between me and the inside and the outside is life. That's my experience too. Ricky, you wanted to say something? I already said a lot after the lectures. I have no idea what they're saying, but that's also...

[21:06]

So I've already said yesterday Yeah, but something else I wanted to say is that what stayed with me, what matters after a lecture like this, is the feeling that bodily stays with me after the lectures. And that was this soft, gentle inner space that I feel like... And I feel that it has left me so, I think, in my eyes, because I don't like it. And the way you did it, you mentioned before that you have a different voice. And I really feel like this is staying with me in a way that I can integrate it into my life.

[22:22]

And how you did that, I don't know, you did mention this shamanic voice, but I feel like what you did is that there was a precision and at the same time it was a practice instruction that's convertible. I hope so. And I'd like to thank you for this and I hope you will do more of it. Okay. Thanks for the permission. Okay. You know, we could say that getting involved with Buddhist practice is something like enjoying listening to music.

[23:35]

What kind of music about our life? And meditation helps us listen to that music. But the majority of practitioners stop there. The next stage, shall we say, of practice is you learn to play the instruments which make the music. And that's a big step. And it's in beginning to be able to read the score of the teachings.

[24:37]

And make it your own. And the Anapanasati Sutra And for some reason I'm bringing in today, this time with this and what I'm saying now, more Abhidharma teachings. And Abhidharma teachings in all of Zen Buddhism are just assumed that the practitioners know the Abhidharma teachings. And the Anapanasati Sutra is the mindfulness of the breath discourse. And it's an early teaching sutra attributed to the Buddha, as all sutras are, but still an early sutra.

[25:56]

And the basics of it, of the Anapanasati Sutra, are taught in all the main Buddhist schools, Tibetan and Zen and so forth. And one of the most common phrases in this sutra is to notice when you have a long breath And notice when you have a short breath. And I think a large percentage of practitioners say, oh yeah, now I have a long breath. Okay, there's a short breath. But noticing long and short breaths is not what it means.

[26:59]

What it means is to be continuously attentive to the breath and that you know the uniqueness of each breath. So I know right now how my breath is being affected by speaking. And I know that I can both change my speaking and I can change my breathing or change the speaking and vice versa. Und ich weiß, ich kann mein Sprechen verändern oder ich kann mein Atem verändern, um das Sprechen zu verändern und auch umgekehrt. So to know the long and short breaths means to know the potential possibilities of the breath.

[28:03]

Und den langen und kurzen Atem zu kennen bedeutet die Aufmerksamkeitsmöglichkeiten des Atems zu kennen. And although, again, it's called the mindfulness of the breath discourse, it also, perhaps more accurately, as I've said, could be called the bodyfulness of the breath discourse. Because if you look at this score, this musical score, practice score, score you understand? The musical text, yeah. Yeah. It sounds like it's saying, if you just read it superficially, it sounds like it's saying, bring attention to the breath.

[29:11]

What the teaching doesn't really have much power. That's how you understand. It's more accurate to say it's a teaching about bringing attention to the breathing body. And bringing attention to the breathing body, the sensations in the body when you breathe, is not quite the same as bringing attention to the breath. And who would have thought that something like the practice of unmeasured thinking. Or the practice of unmeasured noticing. And the practice of knowing, entering the field of each sense. And the practice of establishing an encompassing or inclusive field of mind.

[30:51]

Just, I mean, I could have never known. I've never... Whatever I did, if I bought a car across the United States and hadn't met Suzuki Roshi, I could not be talking about what I'm talking about. I never could have created English. I'm doing my best to recreate it, but that's something else. But we don't create a lot. We participate in language, but we don't create it. We learn it from it. And it's amazing it can be learned by kids like this.

[31:54]

And there's no way any of us could recreate Buddhism. We can discover how to participate in this creation. But I never would have on my own thought of the power of developing noticing without thinking. And adding that to the field of perception. And I certainly wouldn't have known that bring the attention to the distinction that there's a field of perception and a person, that that distinction attentively noticed is transformative.

[33:27]

I couldn't have known that without the wisdom of Buddhism. And then I could also, through noticing only particular, generate an inclusive field of mind. And to stitch those three and other things together... can produce a state of mind that's more inclusive than ecstasy does. I guess I've never taken ecstasy.

[34:31]

Yeah. Well, I won't tell you those things. I decided to give a parting gift before dinner. I'll give you a little story from Dogen's discourse number 162. Dharma Hall discourse 162. To give you a sense of how bodily practices.

[35:46]

Okay. And often in stories and poems, so and so gets up, walks to one side of the room and comes back, shakes his sleeves and leaves. Well, if he happens to be going to the east in the room, he's saying, I'm going to the source where the sun rises. And if he goes to, and then goes to the west, he's going to where the sun sets. So he's disappeared. Now that seems kind of obscure to us. But if I'd walked here from Vienna, I'd probably know where West and East are. And these people, they walked everywhere. And Nike didn't help them.

[37:06]

Or Adidas. They just walked. So I'm not sure where West and East are right now either. Okay. Anyway, this is a little discourse that difference. I remember Yangshan called on Dongqi. And Dongqi asked the classic testing question. And which is, where did you come from? But sometimes it's just a question. Where did you come from? I came from Vienna. No, I thought you came from Zettel. I don't know how to pronounce it right. Anyway... But sometimes it's not a testing question, but then it's a testing question of whether you know it's a testing question or not.

[38:26]

So you give a straightforward answer, hoping you get both bases covered. So Dongji says, where did you come from? Yangshan says, I'm from Guannan. So Dongji says, I hear that in Guannan there is a bright jewel that pacifies the ocean. Bright jewel. that pacifies the ocean. And he says, is that true or not? And Yangshan says, yes.

[39:26]

Well, you know, I'm from New England. And my life was going up around lobster boats, clamming, all of that stuff. I grew up partly on the coast of Maine. But if someone said to me, I hear you come from Maine where there's a bright jewel that pacifies the ocean. But if someone had said to me, I hear you come from Maine and there is a shining jewel that satisfies the sea. You know, I probably wouldn't think right away he means the moon. But he obviously actually means the moon. It pacifies the ocean. So Dongshan, you know, kind of playing with him, says, I hear that in Guangdong there's a bright jewel that pacifies the ocean.

[40:32]

Is that true or not? Yes, it is. Dongji says, what is its shape and quality? And he says, in the white moon it is hidden, In the black moon it appears. We have a term in English, the black moon, but that means the moon just before it shifts from new moon to... But in China, the white moon means

[41:46]

the waxing moon. At the point it's shifting to waxing. And the black moon is when it's shifting to waning. Now again, this is a body culture. And it's assumed that that you experience the moon in your body. I used to watch some guy every full moon in New York, my friend's place, he would come out, sometimes his father would help him, and he would just bathe at the moon for three or four days and then he would go back and disappear for a month.

[43:09]

And once with several Roshis from Japan, Yasutani Roshi, two or three more, we all chanted the full moon up standing on a mountain. So he's saying, Not only does the moon pacify the ocean, but it's part of this body. It's part of his inner attention.

[44:13]

Here in Guannan, there's a bright jewel that pacifies the ocean. You don't have to translate. Is that true or not? Yes, it is. Now, what is its shape and quality? In the white moon, it's hidden. In the black moon, it appears. And there's a French theorist and literary theorist and philosopher named Blanchot. And he talks about how important for Rilke and Herdlin and Marlamet and several others, how important the night was. and how they make use of the night in order to to write

[45:22]

Because, of course, the night mind is another modality of life. And Blanchot is also the only Western writer I've ever seen speak about the value of dying at night. It is to go to bed at night and intentionally be willing to die during the night. or feel crazy during the night. You go to bed and if I'm crazy in the morning, it's okay. If I'm dead in the morning, I won't even know it's okay. So you practice being willing to die, but yet gladly remaining alive. From my experience, it's a very useful practice.

[46:58]

It kind of puts things into perspective. So if you read it repeated enough, finally you just go to sleep. Who cares about that? That should happen sometime anyway. Might as well start practicing now. And when you really get there and don't care whether you live or die, it's a tremendous freedom. Und wenn du da wirklich hingelangst und es dir völlig egal ist, ob du lebst oder ob du stirbst, dann liegt darin eine erstaunliche Freiheit. You still care, but you're also willing to accept and do accept what this life is about.

[48:07]

So that's in this, Sukhir used to say, he noticed having to do funerals, that people often died on the new moon and seldom on the full moon. So what is its shape and quality? In the white moon it's hidden, but in the black moon it appears. And then Donshi said, Did you bring it with you? You can't beat this guy Yangshan, he's good. Yangshan says, yes. Dongzhi says, why don't you show it to me? And he says, when I was visiting Guishan, another very famous Zen teacher,

[49:11]

I was asked for this jewel. And I directly understood that there's no word that reaches it. And there's no truth that can be reported. And Dongshan said, Ha! A lion's child has a great roar. Because Yangshan was the disciple of a famous teacher like Guishan. The child of a lion has a great roar. Das Kind eines Löwens kann laut brüllen. But an example here is the degree they assumed a bodyful relationship to the moon, to west, east, south, etc.

[50:33]

And they lived it. Worum es mir hier geht, ist das Ausmaß, zu dem die eine körperbezogene Beziehung zu dem Mond und zu den Himmelsrichtungen gespürt haben und das Ausmaß, zu dem sie das gelebt haben. so the second stage is learning to play the instruments and read the scores and the third stage is to write your own songs Okay. Thank you very much.

[51:20]

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