I think it takes off from where I left off yesterday, where I thought I left off yesterday, with the term the paranormal, which is the third, what would you call it, the third evolution of self. And then I'll add some other points for that and then give you this space to comment because I assume by now most of you have read those standards, and you can see they also offer ways to talk about the same thing. Yesterday I was saying, there's experience, there's response to experience, and then there's response to response. And in Sankara, formation, something starts to be put together. And then vipata, or vipara, as it is in that compound, that something becomes fixed or set, the fruition of what's being put together.

[01:48]

We have an experience that gives rise to certain thoughts and feelings, and then those thoughts and feelings give rise to an emotional state, a worldview, a notion of who I am, who other people are, how the world works, how it is. Not to say that all that happens consciously, but the Buddhist teaching is that, or it's part of how things come together. And Nama, there's a terminology in Buddhism, Nama Rupa, normally translated as name, nama, and tarupa form. And we can think about that in this way. We can think about the direct experience, the physicality of what happens with whatever sense door it happens. And then a little confusingly, in Buddhism, one of the sense doors is the monk.

[02:51]

In Buddhism, a thought in some way it can be carried around just the same way a smell or a sight can be, or a touch. It's like a phenomenon that consciousness can experience through one of the sense doors, one of the sense doors being mine. And then Nama has to do with how things are named or conceptualized or brought into some relationship, into some, from a raw experience, how they become intelligent, understood, known by us. And in some ways, we can think of the five skandhas. as, you know, there's form in perception, impulses or formation, and that consciousness.

[03:59]

And in some ways, we think of it as there's the basic spirits, the basic contact, the basic sparsa, as the Sanskrit word is. And then there's a very primitive response And then that primitive response sets something in motion, a perception. And then that perception gives rise to, starts to give rise to a conclusion, a formation. And then that formation comes to fruition and gives rise to what you might call conviction. Part of what I was saying yesterday, then part of the challenge for us, or maybe we could say there's a two-fold challenge for us.

[05:02]

One is, can you unwind the solid convictions to have about reality? I'm this, you're that, the world's like this, and this is what's going to happen. Period. And then we get confused because that's what happens. And we're disappointed and we're confused and we're angry. And then we say, well, then I guess I'm wrong about everything. Or maybe I need to be more adamant about my convictions so everybody can change and get it right. If I hate you personally enough, you will become the person I want you to be. Maybe. But not so likely.

[06:03]

But from the place of my conviction, that's a reasonable proposition. And sadly, when it doesn't happen, then I'm really disappointed. When I can't obliterate you with my hate. When I can't own you. with my desire. Either way, I'm upset and disappointed. And that whole composition confuses me. And later we'll look at how Buddhism links those personality types. But for now, what I'd like us to look at is So then what do we do about that? In Buddhist practices, well, we can do two things. One is we can try to go back to the source of longer trouble.

[07:06]

What exactly happened? That I'm not trying to destroy you with hate or own you with desire. What happened? How did that come into me? And there's two questions in there. And one is about going back to the initial point. And then the other one is examining the fruition of it. How do you get back to that fundamental starting place? And then how do you look at how and what these habits and patterns that I put in place? This is my best effort at being alive, at being me, at being happy, at relating to this existence that I find myself in the middle of. What kind of propositions of reality am I creating?

[08:11]

What emotional, psychological patterns do I have? And then on the other side, what is it to get back to the base? In Buddhist practice, getting back to the basis is shaman. This investigation is because. And are they separated? Is it a one, two? I don't know if anybody, any mind, any person, any personality works. in that predictable orderly fashion. Personally, I think we all have, like, a mad genius for creative reality. It's incredibly creative and versatile. I think we're all capable of constantly reconfiguring, reexamining, and reviewing

[09:23]

our notions about what rock reality is and how it ought to be and how it ought not to be. And that none of this fits into a simple linear process. But we can get involved in practices that emphasize one over the other. So sometimes shangata is described as, I don't know, should we stop there and talk a little bit more about when you've read these things on dukkha, what sense they made or didn't make to you? Okay, I'm taking that as a wordless,

[10:29]

message that said, no, go forward, say tomorrow. And then you'll get our thing. But let me offer you a poem. You know, sometimes I think, you know, the primary influences in our kind of thing or our kind of Buddhism, our Indian, And Chinese. And that the Indian method is analytical. Here's the list, you know. Okay, first you have Vijnana, consciousness. Like, here's the 52 constituent parts. And here's the five influences that each of those 52 constituent parts come to play. Therefore, you have 52 times five attributes influencing a moment of existence.

[11:37]

And there's a kind of usefulness to it. There's a usefulness to these lists. every moment we're a synthesized expression of the whole of these constituent parts. I really could even say the notion that they're constituent parts and not an integrated unit is illusory. Either way, they can afford a certain insight. And then the Chinese influence, I would say, is more the synthesis of this, that rather than trying to analyze the human condition, the Chinese style was more to offer a poem.

[12:53]

The beauty of a poem is it's not trying to offer a dogmatic proposition that this is how it is. It's more offering a flower. Here's an offering about reality. So I'd offer you this poem as an offering about practice. I don't know if this poet, she's Bo Garvin, she would ever read this book in her life. You know, our practice is about the human condition. How to suffer less with it. How to wake up in the middle of it. We're all at math school. We're all being educated in that way. Katka Casabolo.

[13:57]

Notes on the port. born in 1973, a Bollarian emigre poet who writes in English, but with the European imagination. Well-traveled poems speak from different parts of the world, different moments of history. But they always speak of the many ways to be lost, disorientated, place in the past in fear and love and in the very quickness of life. So here's a quote called Mirages. Waking up in the same skin isn't enough. You need more and more evidence of who it is that wakes up in the same skin.

[15:05]

But what evidence? Reality is unreliable, a whirlwind of dust that appears and disappears every day. Your thirst stretches out its white dunes. Every day in the dust you distinguish, not islands, but their darkness, heaped from the polished mirror of the sea. Not doors, but their shadows, slammed in the eyes of which Not lifehouses, their half-second SOS in green, red, and yellow. Not language, but languages. Not your hand closing a curtain, but a hand. And the day is over, not wiser than the night in which you waited for something that came and wasn't what you waited for. Part of the way I hear that poem is that she's pointing at... To wake up, we need to look at what's going on.

[16:31]

Not to reaffirm the convictions that will come to hope, but to reexamine the convictions. There's another beautiful poem here. As someone who has practiced him, which I've quoted several times in the last couple of months, don't take your words merely as words. Far from it. I listen to what makes you talk, whatever it is, and be whispered. I would say this is akin to Dovan Zenji's backwards step. I don't know if you're familiar with that, but that was an image. Take the backward step was a phrase that doves any need to find a rule. This style that was at practice in Japan.

[17:34]

Take the backward step and let the light shine inward and eliminate yourself. So we take the backward step from energetic expression of our love and hate. What is it between love and hate? And what's going on? What is it to love and hate? And then we take the back of the step and what gives rise to what's going on that love and hate seem so passionately appropriate? to the situation. And then we take that with another backward step. And what are the formations that give rise to that? And then we take another backward step.

[18:36]

And in this moment of existence, what exactly is being experienced? And if we look at Buddhist teaching, you know, and that taking what we look, taking that backward step and taking that backward step, we see that as we shed one way after another, so there's no eyes, no ears, no nose, no tongue, no mic, no practice, no one practicing, and nothing to practice. There's nothing to grasp. And when nothing is grasped, when there is nothing to grasp, there's no suffering and there's no one to suffer.

[19:38]

So in some ways we could say, oh, well there it is. type of practice. Isn't that the resolution of Shakti Rani's First Noble Truth? And I would say in a way the answer is yes. When the shamatha, when we're not coming into complete intimate contact, without any accretion, concepts, and all of that can give rise to. However, that is not where we live. We live in

[20:49]

these formations. We live in these worlds of concepts. We do have eyes and ears and nose and tongue and blood which brings in the appropriateness of investigation. Which makes our practice quite subtle. If it was just about somehow shedding low arguments, and if it was just about going to this place beyond any formulation, then it would be like a clear path. That's absorption. That's the jhanas.

[21:51]

If you read through the jhanas, the deeper and deeper the jhana, the more is shed off until there's no concept of time, no concept of space, no concept of being. But when you look at the story of Shakyamuni Buddha, he did that practice. And he discovered, according to the legend, the myth, fact, if you want to look at that way. Some other practices need to happen for some kind of liberating realization. And it seems to me in our practice that returning to the source appreciated conditioned existence come together.

[22:53]

And then living in the skin, in the body, in the world that here you are in, right in the doing of it can have freedom. Practice does not say we go out of conditioned existence and never go back anywhere near it. And it's simply not possible. We are part of conditioned existence. With great diligence and perseverance, we can experience those moments. So this poet, you know, she's saying, you know, this is a dilemma. You do wake up in this skin. And something in you wants to explore it. What else? Reality is unwillable.

[23:59]

A whirlwind of dust that appears and disappears every day. Your thirst stretches out. It's white goods. As we bring, yesterday we were talking about this pantheon co-arriving, as we bring forth our attraction and aversion, our yearning and our aversion, we co-create the world that causes us suffering. So how do we examine it? I would say it's a back and forth. Can we stop it and go beyond time and space?

[25:03]

With a very diligent, determined kind of practice, yes. But the kind of practice we're doing is asking us something slightly different, as I was saying when I was talking about sati. When we let the energetic expression of the moment serve itself, so that it's not just about me and the world according to me. As Dogen Sandeep said, when the 10,000 things come forward, experience with what's happening now is more than just my story about it that writing that register is in that moment unduly the world according to me is undoing this accretion of foreign narrations up to the point of reification

[26:24]

We forget the self. In that moment of just seeing, that whole lifetime of rehabilitation is forgotten. And seeing is just seeing. So this is the spirit of Zen practice, is that in the moment just being the moment. And it has, it's a synthesis, as we thought of, by me, as a synthesis of shamatha and dukhasma. It expresses them both. It expresses them both because they're entering the moment and there's being present for it.

[27:28]

We enter the moment and it teaches us what it is. So maybe I'll pause there and you can see, does that bring up any thoughts or questions? One of the things I was trying to use as an example yesterday, sir, was How we move from the sensation of sore knees into how we can sort of like, we'll contract.

[28:45]

Maybe if we take up more of something that comes in through the line gate. comes to mind, comes into contact with our discriminating faculty, and signalates memory, and signalates those impulses, you know, sort of start to grow. You know, the thorn makes an association, and then that association clusters into a concept. And that concept has its own kind of valence, its own kind of instinct, or it's more so. So it grows in substantiality. And it takes on psychological significance.

[29:53]

It takes on emotion. I mean, emotion is actually... very complex event, as is stimulating our psychological tendencies. And implicated in that is the memories that gave rise to those that sense of the world, the sense of self, the sense of other, the sense of significant people in your world, all those implicated depend upon how well established and evolved or extended that story becomes. To the extent where we can literally feel like

[30:55]

especially we notice it when we come back, is that that becomes so real that this space and time disappear. And then something can happen and it's like we come back to this space and time. And then sometimes that is like a mystery to us. Where was I? What the heck happened over there? We're dying there. We're up there. We're back there. But in its moment of coming into being, it was so significant, so important to us, we literally gave ourselves to it. How utterly amazing. I think it would help me if you didn't. of the following sort of example.

[32:01]

So I could kind of parallel. To which example? Sorties. Sorties. But to be the parallel between what kind of thing might be your other sectors. Well, let me add a little bit to this. So then the challenge of that is to not just move from one kind of swept away, coming back for a brief moment, being swept away. But actually try to stay here and let the awareness that can be cultivated from being here shine a light on these horizons. Now, can they be seen for what they are? Can they not just be a mysterious dream? That's the challenge for us. And that stopping, that grinding, has something to do with shamatha.

[33:07]

And that shedding of life and then seeing it to what it is, it's an expression of vipassana. And so in our school, we're not differentiating, we're not saying these are two separate practices, we're combining just sit here now, that's an expression of shamatha. That's an expression of stillness. When we're open, not grasping, not pushing away what arises in that, just seeing it for what it is, that's an expression of Vipassana.

[34:11]

And it's also an expression of just sitting. We just sit with whatever it is. We don't separate from it. We don't grasp it. We don't push away. We become it. And we're always becoming, you know? But when we become our own formulated formulations, and move into an unawake dream. Something is reinforced about our own way of being, but it's not illuminated. We're not educated. We're still a mystery to ourselves. We can be present for it and awake for it. It's like, uh-oh. Look at this. But these trends of thought, look at how these thoughts combine with emotions. So how would that apply to sorties?

[35:19]

Well, I think almost all of us, I imagine, have experienced this pain. There's the experience of the pain giving rise to a more developed sensation, visual response to that sensation, a kind of contraction, an attempt to separate from it. There may or may not be an associated an emotional state, agitated, distressed, angry, frightened. And then the more that develops, you may suddenly just change your posture.

[36:24]

And you're desperate. in an angry or whatever state, you know? Or noticing all that as a kind of agitated energy, you know, that has a strong physical component. And breathing into it. Letting something soften and start to release, right? Letting those More developed formulations that come up start to loosen and soften. Okay, there's pain in the knees. Anger is something extra. Painter is something extra. Okay, there's pain in the knees. Tighten my breath, my body, so my breath is just happening in my upper chest.

[37:32]

I can let something start to release. I can lift my shoulders. It's like returning to the fundamental experience. So the impulse to give rise to formulation, Four innovations are starting to be released, and even the impulse. And what I was saying yesterday could think of the four innovations, this big part of the alma, this is the fruition. And then this impulse to create something, some kata, one of the meanings of that, that can be released. And then when we can stay right there with pain, it's just simply unpleasant sensation.

[38:36]

And then actually, if you can stay very close to that, it's sensation. And actually that can teach us a lot. It teaches how to release into sensation. It can teach us how to work with the impulse to put together agitated response, like how to not go there. Does that have And what you left off right before going into the example, if I can remember it, examining that, going into, oh, this anger is something we had, or the fear is something we had.

[39:46]

It seems to relate to here on Transformation and Healing on page 128 in the middle when they're talking about rows and garbage and looking, seeing that true mind and deluded mind are the same thing. And so we're practicing to what? exactly clarify what goes on, but we won't be getting rid of these fears, anger, but we'll see them for what they are. A very interesting point. They come from the same source. We have our experience, and we can respond to it this way, or we can respond to it that way.

[40:52]

Now, sort of make close contact with the sensation in your knees and not contract around it, to not have fixed mental formations and difficult emotional experiences. To not do that is not the same as doing that. They come from the same source. But in one sense, their response is different. So they have the same source, and they're not the same. Does that make sense? I haven't given rise to agitation. Agitation can be something we can become aware of. we can experience fully.

[41:55]

To go back to that other image, would you give over to the experience rather than asserting your agenda for life? You know? That being turned by it, where the experience becomes itself. So rather than, to put it in this kind of way, I tell them if it makes sense. Maybe it's a very early way my mind's working right now. Rather than the moment of realization coming through, going the whole way back to pure sensation, it's just forgetting itself. And the moment just is what it is. Does that make sense? Rather than following the track for a while and then hopping back, just don't follow the track. rather than following the track for a while. Track of thoughts and responses.

[42:59]

So what every day I was given was like, follow it, follow the stream all the way back to the source. But then also experiencing it exactly for what it is And forgetting the self. What I was saying earlier was, this is the Xenic school, and it's a synthesis of what Shalman calls a pattern. And in another way, you know, I would say, in a way, few of us do . But actually, what we do is we go back to .

[44:07]

Sometimes they're pretty close. And sometimes, because we're at a certain point in our practice, we're really learning how to cultivate the attribute of attention to witness. And then sometimes we're contemplating the attribute of... You know, Yangshan says to Goishan, well, what do you do when 10,000 things are coming into your mind all at once? Goishan says, don't grasp any of... let it flow. But can there be? He's not saying, well, just go back into the dream of being caused to ride in a mysterious realm that you're not conscious of.

[45:15]

He's saying, can there be a wake presence in the middle of it? And not grasping it I don't know. Does that make any sense? Do you have a question earlier? She sorted it right there. Any other? At the beginning of That's supposed to be a practice of mindfulness. He says, everything that exists starts to arrive in the mind. And that says, we need to avoid thinking of the object we are observing is independent of our mind. We have to work with it. That's it from our individual and collective consciousness. Say your word. We need to avoid, say it a little slower.

[46:18]

We need to avoid thinking of it. That the object we are observing is independent. our own mind, we have to remember that it is manifested from our individual and collective consciousnesses. What he's saying there is that we are a participant in what's created. In this book review, our experience. My contribution is love or hate. Then what's created to the lovable or hateful world, lovable or hateful people?

[47:20]

And how I experience lovable people and hateful people is what's going to be stimulated. So in history I was quoting Sethful when Sethful said, the whole world is self. If you're looking at something, it's saying, that hateful person, separate from me, nothing to do with me, well, that's not quite right. You're a participant in the creation of that hateful person. concept of hateful versus just is only my concept. There's nothing about hatefulness. Something that's in me. Yeah, but it so happens. My concepts are the only concepts I have. I don't have anybody else. I have mine.

[48:23]

You know? It's like this. This is why we practice vipassana. To look. at this world according to me and how it comes into being and how I cling to it. How I get tripped up by it. How I become mesmerized by it. Does that help? Not quite? Well, that's good guess. Or that's what follows from your question now. I mean, a lot of the time when writers Same thing like this, like talking about our experience of the world that we are creating, our experience of things as opposed to how they really are. But it's not qualifying it that way. He seems to be saying that the physical things, as they are, is a part of our experience. We are still participating in creating that. That's correct. That's a fundamental teaching of wisdom.

[49:29]

Through intergene? Exactly. of dependent cool arising. It's not simply, yeah, maybe from the way I said it, it's like I, here's reality, and then I add to it love or hate. No. Fundamentally, a participant in it. Now, it still happens that part of my contribution is love and hate, or can't be. Sometimes that's another helpful thing to say to ourselves. I would supply all the adjectives. Beautiful. They're part of my genius. My creative genius is that I supply adjectives. And that is very interesting because sometimes, depends upon what kind of state you might be in,

[50:33]

Your repertoire of adjectives is quite small. Is this right or is it wrong? Well, the answer you're going to come up with is fairly limited. Or whatever list of adjectives you're willing to offer in your particular situation. And then, as I was saying earlier, this, I would say, is a notion, but maybe that's my ignorance of other schools of Buddhism. But a more synthesized response to shamatha papstam, where the world comes forward and speaks something we might say more intuitive.

[51:35]

I think the way I read this poem, that this is something that she's trying to get out of the body when she says something like this. And to wait for something that came and wasn't what you waited for. Wasn't what you were waiting for. You know, you kind of You bring forth your practice and an experience happens and the experience is something bigger than just what you were asserting on the moment. It's like the impulse of our human existence, even in the realm of practice, is to kind of

[52:37]

assert something. But can the world come forward and present something bigger than what we thought it was? In Zen, this is a significant notion. The phrase I was quoting yesterday. Only don't know. Or maybe another way we could say, there's another Zen phrase that says, nothing to know, everything to learn. That we enter the moment not as an expression of our expertise, but as a willingness to learn. And there's something about how we enter has something to do with where we're at, how we're thinking, what our hopes are.

[53:43]

Something there. What it's in is this poet says, can something beyond that be allowed to be experienced? And I would say that has something to do very fundamentally with this dependent co-raising. moment comes forth and with this sensibility shows something more than what I think the moment, what I thought the moment was. Okay? Let me say a little bit more. So traditionally, two basic attributes.

[54:46]

One is called stopping. Now that term, I would say, is a little bit misleading because it signs like things are stopped. But as we all know, existence is perpetual motion. It doesn't stop. However, all of the stuff that we build up on each moment, on each experience, all the opinions and judgments and associations and emotions, that can be shared. And whether we share it with the deliberate practice of deep meditation or whether we share it with the Zen practice of just feeding what is Forgetting the self. Something is shed. Something is stopped.

[55:51]

Sort. As practical practice, I would offer you another way to think about it, which you can carry in your day, which is the practice of causing. As you're going through the day, when there's awareness, wonderful phrase I heard, So if you'll recognize it, say, many times, once, many years ago, when you're aware, be aware you're aware. Let the moment register. Or also, radiant moments of awareness. Just pause. Take a breath. Pause. Notice your state of mind. Pause. Notice what you're seeing or hearing. Pause. Notice that there's a strong motion. You can do it methodically.

[56:52]

You know, every time I pass through the door, you can do it randomly. You can do it when you know it's a strong sensation. The circle just said such and such, and I'm having a strong response. pause and experience it. So this attribute of stopping or pausing or sharing, that's one. And then the other one, sometimes Shangata is called tranquility meditation. Or calming meditation. But it's not about pushing the mind down into calmness.

[57:56]

It's about, as we shed the agitation, as we shed all of the stories that are built up around the moment, quite naturally, the moment becomes freedom. It becomes looser. It becomes softer. It becomes calming. That's an organic consequence. It's not just something we're trying to make up. So in Zazen, we're not trying to make the mind come, amazingly. Wouldn't it be a whole lot easier to meditate if this mind wasn't running around, as Hafiz says, with 10,000 idiots? He says, be careful when the 10,000 idiots become quiet.

[59:06]

But you might think you've accomplished something. You, they'll be back. They want to be great. You know, our practice is not surprising. Our practice is non-grasp. So we don't, our challenge is not to bring into creation all the thoughts and feelings that we accumulate around the arising experience. Yangshan said to Guishan, what do you do when 10,000 things come forth all at once? And Guishan just says, Don't grasp it. Maybe you could say, well, part of the skillfulness of practice is just experience your body.

[60:13]

And often that can be a way to enable non-grasp it. Sometimes it's just noticing. Just notice the state of mind. Notice the court says, I notice what makes you speak. What's giving rise, what's the mental disposition that's giving rise to this flurry of thoughts? As I said before, sometimes that mental disposition, that strong emotion has a deep root. This is something we've brought to many situations.

[61:18]

This is something we've become a virtuoso in applying to what arises in our life. our dispositions. We just move around them, and whatever comes up gets categorized, gets one of these given to us. All these sorts of things I bring hate to, all these I bring love to, whatever. But the spirit of our practice is not to find which of these theories we're going to take and declare to be the way to think like the human experience.

[62:18]

The spirit of our practice is to pay close attention and be taught. Maybe you have a mind that doesn't work like anyone else is in the planet. And I would say you do. You have a mind that doesn't work like anyone else in the planet. There's overlap, maybe. I would say there's quite a bit of overlap. This is a unique consciousness you have. And the challenge is, as it's expressing itself, can it teach you? This spirit mind expresses the dynamic nature of existence. This is the spirit of the Zen school. So pausing, stopping, and then calming.

[63:33]

And these are the two attributes of shavata. And then Thich Nhatai adds, probably with very good reason that I just don't know, resting. Sometimes called calm abiding. And I would say, We all have our moments in our practice of pausing. We all have our moments of release. And collect the release register. We're thoroughly adept at letting the agitation register. We practice that a lot, and when we really do that, can we let the moments of release register.

[64:37]

Can you notice in your body what are those little tell-tale signals that happen in my body when I release? Does my throat get soft? Do my eyes get soft? Do my shoulders get a little softer? Does my belly? get a little bit, took my breathing, feel slightly different. These little details, the yoga release, can be very helpful. Not that way that grass stuff, like some jewel, and now I'm gonna go around manufacturing more and more precious jewels. Know that you're like a teaching, like a way to return, like a way to support, like a way to know what is.

[65:52]

As you continue to practice and you notice these moments of relief. Part of the problem of the moments of relief is sometimes they're nothing special. Agitation is very special. It's very dramatic. It has a lack of say for itself. And usually it's really convinced by the correctness of its position, of its point of view. Whereas Louise, Adam, isn't so out of him. Whatever. I can see that. I don't know. Whatever. Something in that softness, in that looseness, cannot be allowed to register. As that wonderful poem says, like, letting everything relearn its loveliness.

[67:10]

This noble human quality. That we are quite capable of a spacious presence that allows the world to be what it is. That allows... this one, called me, to be what it is. That allows that one, called you, to be what it is. As we have those glimpses, may they be a second, may they be half hour or an hour, it's something, as Thich Nhat Hanh calls it, some healing, to be a lot of that. The healing from on many, many moments of agitation. Calm abiding. For no good reason, I'm going to leave this home again.

[68:29]

something about the exploration of the human condition. Waking up in the same skin isn't enough. You need more and more evidence of who it is that wakes up in the same skin. But what evidence? Reality? Reality, according to me, is unreliable. A work without does, but appears and disappears every day. If thirst strikes its eye, it's one doom. Every day in the dust, you distinguish, and we'll come back to this, not islands, but their darkness, heaped on polished mirrors of the sea. Not doors, but their shadows, sland in the eyes of wood. Not lighthouses, the half-second SOS in red, green, and yellow.

[69:40]

Not the language, but the lightness. Not your hand closing a curtain of a pen. The day is over, not wiser than the night in which you waited for something that came and it wasn't what you waited for. The moments of disconnect teaches something about connecting. How do we learn about calm abiding? We study agitation. Agitation is our teacher. If it's our enemy and we're trying to deny it, suppress it, avoid it, If you can meet it with awareness and discover its teaching, then the path of liberation stands open.

[70:51]

and equally extends to every internet place.

[71:10]

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