...to think into it and to invent studies for it, or to understand it in terms of terms. Yes? And that... Okay, so in this... Hier sagt er jetzt nochmal, dass in der japanischen Kultur diese westlichen Bezeichnungen sowieso schon auf einem Spektrum wahrgenommen werden. Und die gleichzeitig, jetzt sind wir da, which simultaneously and concomitantly, die gleichzeitig eine Aufmerksamkeitsbandbreite überhaupt erst möglich machen. Also jetzt bist du in einer Welt, wenn du sie so verstehst, dann bist du in einer Welt, in der Aufmerksamkeit beginnt, eine ganz neue Rolle zu spielen. Jetzt entsteht eine Aufmerksamkeitsbandbreite, die, sagt er hier jetzt, empfänglich ist für eine Welt, die fundamental nicht dualistisch verstanden wird.

[01:07]

The difference between attendant and with an intention man? Yes, I think it's an English wordplay. Attendant is also the servant, so to speak, or someone who... It's the one who belongs to it. Attendant, so the one who belongs to it. Accompanied? Accompanied, yes. Ah, I didn't know that. Yes, it's accompanied. Okay. Ah, yes, okay. Yes, that's right. Attendant is someone who accompanies someone else. Yes, okay, good. Yes. Okay. There are many words, but I get the emphasis on the difference, the difference he wants to make. Is that clear? Question mark. Yes, let's ask back. Is the difference clear for you? Yes. Okay, good. Okay, okay.

[02:12]

Jetzt sagt er, dieser Unterschied, das ist ein transformativer Unterschied. Das ist ein transformativer Unterschied. Dieser Unterschied verändert den Klebstoff, das was eine Weltsicht zusammenhält, verändert den Klebstoff der Weltsicht. It changes like a worldview or a nexus. This is also the point where many threads come together in a network. This is a nexus. So it changes the point where many worldviews come together, how this point is integrated into the experience and how it is given validity, how it is validated, how it is made valid. Here is implicitly what he said earlier, that worldviews are what we consider as the truth. And then our cultural worldview as the only truth.

[03:16]

Here it goes beyond that our worldview makes the world, what we call the world, makes. And now he says, how we... What is the adhesive in our worldviews? Where do our worldviews run? In which basic feeling do our different worldviews run? And examples for worldviews are space-trend, for example. Subject and object are different. Feeling and not feeling are fundamentally different from each other. We even separate very strongly human from non-human beings. All these are worldviews. And what is the basic feeling in which they all run together? This is perhaps something like the nexus of a worldview. And now he says here, the difference that he points to, this difference can change how this run of worldviews, this nexus of worldviews is integrated into the experience.

[04:28]

And how to validate it, I think, is also something like how a world is created from it, so to speak, how it is made into reality, so to speak. Okay. And now he says, such a non-dualistic understanding... Can I ask you a quick question? Yes. Is it close to us that we take on such a Western view of things? Is there a valuation in it, that this is the better view? It is, that's an interesting one. You can maybe just take that on as two very good questions, actually. Ich kann es mal kurz so mit dazwischen schieben, wie ich ihn da verstehe. Das eine ist, wie er gerade in seinem Vortrag ganz deutlich gesagt hat, hier geht es nicht um eine fundamentale Bewertung von besser und schlechter. Zum Beispiel, wo er dann Volker als Beispiel genannt hat, die Entwicklung der Medizin. is not created in the East Asian worldview.

[05:32]

So it's not about better or worse. That kind of evaluation is not in it. But what is in it, and that's what came across from the last Deutsch Step Sense, is that we're doing Zen practice here. And our Zen-practice is also based on a perspective like the one on the second page, when Dogen says, the whole earth is the true human body. And now we say, Zen-practice also means to realize such a non-dualistic statement for oneself, to make it a reality. And what he says here, and there is an evaluation in it, in the view of the world, as we see it in the West, you can't give such a statement a reality. You can't experience it, that's what I thought. You can think about it, practice it, but it's far from every experience. Right, exactly. And there he says, certain potentials of the Zen practice only open up

[06:34]

When this cultural shift has become accessible. And then it doesn't mean that it's not an either-or, but now you have actually taught yourself a physical-spiritual possibility of shift. Where you suddenly start to have a choice. Now it's not the only game in town, as he said, but now you start to be able to play different games. And from one of them suddenly start such statements as the whole earth is the true human body. They start to emerge from it all of a sudden. That would be great, yes. Yes, exactly. That would be great. Yes, thank you. We'll go on. There's more coming up. But I thought that was... The first was with the intention, right? The first was... Yes, is an intention... Can an intention also be cultural? Or does it need to be... The development of the embodiment, I would say.

[07:58]

cultural and intentional policies. Yes. Isabella, the second question. Is there a rating in it, you said? Exactly. Would that mean that we prefer to take in the Asian view? If we can do that, but if we don't practice, we would have to gain the experience to take in this view. Experience. Experience. Yeah, exactly. Okay, good.

[09:25]

Then, where were we? Okay, yes. Such a... A non-dualistically structured, inclusive and experiential spectrum is almost impossible in the West. is almost impossible in the West. Namely, the West, which, from the perception, is immersed in de facto dualisms, body and spirit, which are lived in everyday life. Menschlich und nichtmenschlich. Natürlich und unnatürlich.

[10:29]

Subjektiv und objektiv. Weniger real oder real oder nicht real. Oder weniger real und mehr real. Und dann sowas wie Ganzheit und Unbestimmtheit. Ja, das ist auch eine Antwort, Isabella, dieser ganze Paragraph, glaube ich, ist eigentlich eine Antwort auf deine Frage. Mhm. Und jetzt sagt er, aber der Westen braucht und benutzt diese Unterscheidungen, diese Trennungen als Bausteine, um eine konzeptuell erfassbare, analysierbare logische Welt zu erschaffen. If someone uses the word world, then we tend to think that we all mean pretty much the same thing.

[11:32]

We, mutual beings, that's another term he's using now, we, community beings maybe, beings of each other or something, beings that actually live through each other, let's put it that way. Community beings is also an option, exactly. Can we reproduce each other? And that's why there is actually a biologically lived world that we share with each other through reproduction. Tennis, golf, climbing, these are all worlds or domains of experience. die wir teilen können durch das Regelwerk der unterschiedlichen Sportarten oder des Bergsteigens.

[12:40]

Ich weiß nicht, was exigencies, was heißt das? Das, was verlangt wird. Das wird verlangen, bis zu... Erforderung. Anforderung, okay. Also, das sind, also jede dieser unterschiedlichen Sportarten oder so, das sind alles Erfahrungsdomänen, die wir durch das Regelwerk dieser Sportarten und durch ihre Anforderungen miteinander teilen können. Man regelmäßig reitet, so wie meine Tochter das tut, dann wird das Reiten zu einer Welt, die sie mit diesem riesengroßen Tier teilt. Und hier gibt es nichts Absolutes. Pferde, Golf, Tennis, Bergsteigen, all dies sind Kontexte, And in the same way, there is no reason to assume that there could be something like an absolute culture.

[13:56]

Kultur ist auch ein Spiel von ganz bestimmten Regeln, Erwartungen, Dingen, die als gegeben hingenommen werden und Bedingungen. Die ostasiatisch-yogische Welt der Zen-Praxis. in this East Asian yogic world of Zen practice, it is not assumed that its defining feature is reason, or that what can be grasped by reason, but in this culture it is assumed that Okay. Entschuldigung. Die ostasiatisch-yogische Welt, in der wird davon ausgegangen, dass sie im Grunde genommen erfahrbar ist.

[15:09]

Vielleicht übersetze ich es mal so. Ich mache den Satz nochmal. In the East Asian yogic world of Zen practice, it is not assumed that it can ultimately be grasped with reason, but here it is assumed that it can ultimately be experienced. And that also means that it can be embodied. Natürlich ist sie kognitiv erfassbar oder auch mit der Vernunft erfassbar zu einem bestimmten Ausmaß. Aber letzten Endes und fundamental wird die Welt als Mysterium verstanden. Als das Mysterium, das überhaupt irgendetwas existiert. Als das unfassbare oder unergründliche Mysterium, dem man sich am besten durch Bilder oder durch Metaphern annähert. Metaphern die Erfahrungen hervorbringen, ohne dabei das Mysterium zu verleugnen.

[16:16]

Im Buddhismus wird diese Dynamik Leerheit genannt. Das finde ich krass. What should he say about it? It's a way of describing that we don't experience continuity through thinking, but that experience is the basis. And then he says, that is emptiness. That was a bit fast.

[17:38]

No, there's the mystery in between. The mystery, yes, but I still understand it. Yes, so does that mean that, so that would be my question, which I would like to ask, if I may, that the metappas, which are formed and made in a Buddhist sense, always contain the mystery, Yes, you can ask that. Yes, so that the metaphor, that the mystery is the emptiness that lives within the metaphors. You can write that down. Agatha, can you mediate your question? No, I can't yet. Okay, then... Not the metaphors, but the dynamics between the metaphors. I understand that the metaphor is something... You use a picture or something to describe something else.

[18:51]

But when you do that, you say at the same time there is no definition. Or I can't... that there is a very hard line between what is limited to what. And you also admit that a lot of aspects of what you control with your words actually escape you. You can't nail it. And that's the mystery. All things have some kind of side aspects and consequences and connections with other things. You can never follow them all and fix them. And the whole thing always appears in a cloud of uncertainty. Yeah.

[20:00]

Yes, exactly. And this uncertainty, which can be shared through these pictures, that's what he means by emptiness. Yes, I'm not saying the metaphor of emptiness, but this experience, also communicated through metaphors, that's what he means by emptiness. Let's take an example from the text. I don't know when, but it comes in one of the next paragraphs.

[21:12]

It is as if you would, so there he actually speaks about the inside and the outside. Now he says, inside and outside, it is as if you would put your left hand in the right. That's a metaphor. And what is actually being done here, what he really feels as a thought, is to say, we are now using language and language in the form of images that allow us to swing our attention. So attention has suddenly taken on a completely different function. Als das in westlichen Paradigmen, was machen wir mit unserer Aufmerksamkeit? Wir fokussieren sie. Wir bringen sie auf. Ich bringe jetzt meine Aufmerksamkeit zu dir. Und was hier jetzt geöffnet wird eigentlich, ist, er sagt, du benutzt Bilder, um damit so etwas wie körpergeistige Zustände hervorzubringen.

[22:17]

And I say, it is as if I were, or in the koans it is always done like this, it is as if I were to grab a pillow at night. That is a feeling that we know. And this feeling is so, that you can't even describe it in details, but it is a very complex feeling. And that is called out by the picture, by the metaphor. And by turning my attention now, by living completely into the picture, do I actually release something like a body-spirit-vibration state? And this is where this text, to function in this way, wants to push us into it, actually. You understood the truth, that there are no things on you, right? Right, exactly, right. But it is a dynamite that... What was Michaela's question?

[23:19]

Yes, I think it's still useful, whatever we do. You will be surprised what Roshi says. You can't know that. It's still nice. If a question is a living question, it's still good to write it down. That's a linguistic question. I don't know if Bekaroshi can answer it. He speaks Japanese. What he doesn't do. The words we use are metaphors. And our Western understanding forms our dualistic understanding. It's a very specific kind of metaphor. And in Buddhism, other metaphors are formed that are formulated from a spectrum. And for them, the truth is Yes, exactly.

[24:34]

Question mark. And then you can actually, I think, there, Beate's, no, you don't even call Beate anymore, Agatha's feeling of emptiness, you can hang on to that well. So this is... How did you just say that? You said it beautifully. No, I can never do that again. You can never do that again. That's emptiness. No, it's already clear. Sometimes it's like that. Okay, let's say the next two, then we have reached our intermediate goal. Then we would actually have to reward ourselves with sweets, I think, when we got there. It's already time. M-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E-T-H-A-R-N-E Thank you.

[25:42]

Maybe wait till we're done. Okay. The next sentence is about how he introduced the word world. Always as something like a domain of experience. Golf is a world of its own. Riding is a world of its own. And now this becomes relevant. In order for a culture to function as a world, I personally think this observation is great, in order for a culture to function as a world, it has to function as the only true. So that the culture says that to itself. Die Art, wie die Welt in dieser Kultur verstanden wird, ist, wie die Welt ist.

[27:23]

Es ist wahr. Oder zumindest als die hauptsächliche Wahrheit. Die Kultur muss auf eine Art und Weise zusammengesetzt sein, dass sie sich von der Sinneswahrnehmung her vollständig anfühlt. Also in anderen Worten, dass die Sinne in ihr auf eine Art und Weise benutzt werden, dass es sich vollständig anfühlt. Finde ich irre. Macht das Sinn soweit oder sollen wir da mal kurz unterhalten? So that they are intersubjective, that you can use them interpersonally with and through others. Und so, dass sie unsere biologischen, psychologischen und ästhetischen Bedürfnisse trifft oder ihnen zumindest nahekommt.

[28:49]

Während sie gleichzeitig auch für Möglichkeiten des Ausdrucks Raum lässt. Also so, dass sie auch Raum dafür lässt, dass ein Resetting, also so wie man nochmal neu sich kalibrieren kann, dass das auch Raum hat und stattfinden kann, vielleicht durch die Kunst sozusagen. Ja, seid ihr noch dabei? Which culture, as he said? Every culture. So that a culture can function as a world. Yes, but somewhere there seems to be a culture. I think we should all sit down here, because everything really works that way. We have holes in the rest of the culture. Can I ask a question? It's also a great question, actually. Yes, it's a good question. How is it, if culture should function as a world, and it does, you can say, for Western culture, what is it then?

[30:00]

Why are we sitting here? There are apparently a lot of people who thought it worked so well and who had other questions that they didn't really put in there, where it was psychological or otherwise, where there were hangers. According to experience. Would you like to write it down? I have to formulate it. Here comes an impulse that within such a cultural captivity, if it is not conscious, such a word as beginner's spirit can have a very developing meaning. How can I go back there? How can I step out of the field of culture with the help of culture or with the help of cultural experience? In this sense, we can take one of the first skills that we teach ourselves in the Zen practice and make ourselves visible again.

[31:11]

Namely, that we learn in the Zen practice to see that what we see is not reality, but our seeing of reality. This is in principle what we perceive in general, not the world, not the only world, not the only way the world exists, but that it is the way we perceive the world. And that's where the beginner spirit comes in. But it is also possible that if we were fully at home in the Zen cultures, or in the Eastern culture, that they also want to learn something there. In the sense... So this definition of culture has to allow it. In every culture there is probably a weak spot where... Also allowing for expressive potentialities.

[32:17]

I see it there. Every kind of culture has its limits. Most cultures have a limit where they allow you to go beyond that. That's not the case in Japan. In that context, that was on the Japan trip, as you can imagine, that was a point that immediately struck us in the face. That you really, even if you listen to such a text, necessarily have to differentiate, I think, between culture und den gesellschaftlichen Entwicklungen, die in einer Nation, auch den politischen Entwicklungen, die in einer Nation passieren. Also du kannst jetzt nicht das, was in Japan passiert, gleichsetzen mit seinen Kultur oder sowas. Das wäre nicht tragbar. Richtig, genau, ja, ja.

[33:18]

No, no. And also Japan is not Zen. That's the question. How strange is Zen for many Japanese? I can briefly say one thing. Two of our contacts, namely in Eiji and also someone who led us through Nara, The two of them really insisted on it. They made a very strong invitation that we should definitely come back. They especially really liked our group and felt a strong connection. And the reason for both of them was that they had the feeling that what was originally in the Zen practice was being lost to the Japanese themselves. And that they said, if you come, then it's for us, as if suddenly another mirror is set exactly there, where we are afraid that we will lose it.

[34:27]

And then they said, we actually need you Westerners, we Japanese, to be able to see what is actually buried in a treasure. So there is also a kind of mirror effect that is very fruitful. It's also sad, isn't it? It's also sad, very sad. In Japan, for most Japanese people, Zen practice, as it is with us Hare Krishnas, as a sect, has nothing to do with it. The vast majority of Japanese people have nothing to do with it. Super question, yes. I would like to say one more thing about what we mentioned before, that a culture is always against culture or people where it does not fit.

[35:47]

I think there is also a difference whether a culture says of itself, so to speak. What I can tell you or how I express it is temporary. Yes, and actually what I aim for, that detracts from what the open culture says or writes. So we do metaphysics and the descriptions that I can give and deliver from the thinking is definitely binding. So whether I speak about absolute truths or whether I interpret the whole picture Yes. That does not mean that the second one, which I have just mentioned, would not be able to develop, to open up even more dimensions, but you get an invitation to do so.

[37:00]

But I notice a significant difference, as far as I understand it. Is such a dynamic developed from a thinking process, or is it something that unfolds? So that I come to such conclusions or knowledge from an embodied experience. This is a very big difference. One could also ask, perhaps as a supplement to what Andreas said, what are forms of knowledge? And just to look into it again, what are different forms of knowledge? And thinking is one form of knowledge. And how exactly would he separate the forms of knowledge that he here as experientially, that he here as experience world actually describes, how would he separate them from thinking?

[38:10]

Darf ich das aufhalten? Okay, letzter kleiner Abschnitt. Okay. Zen, shall I say, in effect, is an art of embodiment, an art of embodiment. I have been practicing Zen for far too long to imagine embodiment in any other way than the kind of embodiment that can be realized or realized through Zen practice. But, or so, let us now look at the different, let us now look at Zen as a, how do we say, as a kind of embodiment.

[39:26]

I have another question from Andreas. Does this have something to do with Hichirio? So now the question, the form of recognition. Yes, okay, can you sign, so stars, so to speak, Hichirio question mark, yes, exactly. Yes, we can record that again. Okay. Okay. Hishirio übersetzt der Roshi als bemerken, notice, thinking about, bemerken ohne darüber nachzudenken. Bemerken ohne darüber nachzudenken. In recent times, we have also talked about the influx of attention in this regard, without thinking about it.

[40:34]

Yes, okay. So. Yes. Yes. Yes. The embodiment is something that arises through practice. He says in principle, first of all, embodiment is not something, but there are different types of embodiment. Embodiment is already there, in the moment when something is born, everything that is born is body, is manifest physically.

[41:42]

And now there are different ways to develop this physical existence. And these options, these are paths. And one of them is Zen. And now he's looking specifically at what distinguishes the way of Zen from the way of embodiment that is already there. So we can't escape the embodiment in the West either. But where is the difference in the way of Zen practice, how embodiment is developed in Zen? and the way in which the subject is treated in the West. That's the principle, I think, is the text. So, with this example of riding, there is also an embodiment, the body experience with this horse together, but one can probably also send it, right? Meditatively on the horse. Or does one have to separate that?

[42:45]

I have the example where Roshi speaks of the horse and his daughter. This is also a form of embodiment or a world. That's how I understood it. A certain culture of riding is a very own world. I can only imagine that. I didn't do it. And what Nicole just said, it doesn't have to be in contrast to the Zen world. You can connect that. Probably there are also Zen riders. Yes, jogging or something like that. So that I have a breath. What makes the quality of the sound then? Consciousness. But you need the connection with the animal. I'll give you an example. When you climb in a difficult situation, you have to be attentive and curious, otherwise you can't climb. You have to put your mind into the system, otherwise you can't think about anything, otherwise you can't do anything with your hand. And if you say, there's something coming, a sense practice, if I want to know, then I don't ask what it should be. And I think that's what makes me the one who climbs, that I also perceive it.

[44:03]

And the mountain, that I am with the mountain 1. He doesn't even look around, otherwise he wouldn't be able to do it. Could you give me two formulations? At least those would be the questions that come to me now in that context. The first would be, we now have two terms here, one that he chooses as domain of experience. So he has introduced the word world now. That's brilliant in itself, so to speak. So I think in any case, we think there is a world and there is riding, playing tennis, playing golf, but it all takes place in one world. He's doing it differently now. He says tennis is a world. Every culture is a world. Do you understand? That's a huge difference. That's the de-unification of the world. And now every domain of experience says this is much more world than there is a big world in which there are all these differences. That's the first thing. But now the question would be for me, when is a world a way?

[45:05]

Ist jede Welt auch gleichzeitig ein Weg? Was macht eine Welt zu einem Weg? Und jetzt sagst du, es gibt die Erfahrungsdomäne des Reitens. Was macht es aus, dass Reiten ein Weg wird? Do you understand the question? That would be an important question for me. What does the world do to the path? And then we would be in a connection. What does Zen do for you? Because the question on the path of the Zen practice, which aspect makes the path of Zen to Zen? I would like to ask him that. I can imagine that he would have something. I will write it down. Yes, let's see. What makes the world of science a world of science? What makes a world a world? When is this a way?

[46:11]

When is this a way? I know a few things now, but I don't know what I mean by way. Well, but not only meditating, but also cooking, cleaning, gardening, that's all. The attitude to do something. Everything you do at that moment. The way of seeing, the body. That you do what you do completely. I mean, no matter what you do, whether it's riding or playing tennis or anything else. I mean... If you think you play well and you want to stop this ball, do you think so? Or do you take it for granted? Yes, you are in the environment. A good tennis player will not think anymore, but he will simply react to what he perceives. And he is fully concentrated on what he is doing. Otherwise, if he thinks about something, then it's over, then the ball is gone.

[47:15]

Then it will... It doesn't matter what you do. You can also ride a bike and think about other things. But that's the limit. I ride a bike. I can think while riding a bike. But I can also ride a bike. I can ride a bike. There are different ways. Of course, there are challenges where it's no longer possible for you to think. Yes, I can already imagine that with some climbing exercises. Is this presence? Yes, you have to be present. And you have to have it. But it's not just about meditating. You can only be good if you are really there. I would see it as a means to survive or to win.

[48:21]

But I think in meditation the concentration has a different intention. But if that were the case, how would that be with the cultural body? Is there also an intention behind it? Yes, absolutely. And that results from many intensions. I think that's a good question. Well, something like, if you look at it now, a culture can have something like an implicit or explicit goal. But a culture is definitely the society. As he said before, when suddenly the goal became something like progress, that something fundamentally changed.

[49:29]

If a society proclaims a very large economic growth as its goal, and then all activities are calculated and directed towards economic growth, then this goal actually informs all processes. Something like that. I would like to come back to this present. I mean, if you are not present, you lose your life. That's why you are in the whole present. If you play tennis, you may lose the ball and the game. And that's why you can do this with many activities, not just routines, and still be with Dr. Warners. Because I don't think that's possible. You can of course also think about some of these problems.

[50:33]

Because it can go into the rose. But the problem is that you don't die, but with your clothes you are a concept, someone else looks at you. That's right. That's right. The question is, for me, in this sense, we go into situations voluntarily and many people do not go into situations voluntarily.

[51:39]

In such existential situations, the countries are forced to do so and it happens in some form. For me, sending and sitting is a matter of where I go and where I get into such essential topics that I do it on my own. And that is somehow a significant difference for me, and that's what Hedra also does. But this is not a coincidence, but it is a conscious decision to say, how can I approach such an experience? And that is one of the things that I find most interesting about Zazen or Zazen Shins, to be free to choose and not just fall into it by chance. I would also say that for me it is not yet a criterion for a way to make something present.

[52:50]

Yes, I can also bring someone around very present, as a very blatant example, and there is more to it, there is an intention to it, and I think that is very reminiscent of what the Mahakabi just said. It is somehow an inner orientation or intention that is aimed at being true in a positive, or feeling, or connecting, or opening way. And this ethical thing is not a byproduct for me, but something that is aroused and brought to growth through the being. And certainly one aspect is to feel this presence, to feel connected to the things. but also to feel what is part of it, for example, to clear various obstacles on this path, to transform my life in a direction, this is a whole process, and this is not directed at individual acts of being present, no matter what they are, just so that I feel myself, or so that I somehow feel the rock,

[54:15]

This also has this other, how should I say, I would almost say that this is a bit of an innate longing to come back home, that is, to come to oneself. And there you are also guided in a way. You have to give in a lot, but at some point the movement comes towards you and you are guided by it. The Russian had seen the clip. To have no choice. And... which then break you, so to speak.

[55:23]

So he talked about that today. And in the end, a Zixin, or as he said, an Angu, is designed so that you can get to these points without getting hit, to then be broken, and then comes the transformation. So... I had to think about it when Kavi filled it out. It feels like it's time for a break now. How late is it? Oh, yeah. So Roshi comes around 5 p.m. But I think we need a little longer break. Thank you very much. Thank you.

[56:41]

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