«Дар освобождения», курс 2 «Прорыв к высшей реальности», занятие 4

[Говорящий 2] (0:00 - 8:13)
Okay, we'll do a spaghetti meditation. Watch your breath. It's a little harder in the evening, you get tired, and food doesn't help.

Try to tie the mind to the breath, and sort of relax into it. It's a quiet place, and it's a quiet evening. Just relax into the breath.

Go to the golden room, warm golden sunlight, illuminating the room, like gold, like liquid gold. Just one thing, golden room. Outside the window, sky.

At the upper half of the window, golden sky. Lower half, golden balcony. Here, heart teacher, whoever that may be, seated in front of you.

Focus on your teacher's face, and then upon their eyes. Now I'd like you to try something. Make their eyes very small.

Imagine that somehow their eyes are very far away. Very, very small. You sort of have to concentrate it, to keep your mind numb.

Very small, beautiful, loving eyes. Now, I'd like you to hold it. You'll hold it for a few minutes.

Observe how your mind starts to get tired, and the quality of the holding starts to degrade over a few minutes' time. So you're watching the small eyes. You just had a big possible dream.

You're tired from yesterday and today. Observe how the quality of the eyes starts to degrade, and you start to get tired. And slowly it goes up.

Open your eyes.

[Говорящий 1] (8:33 - 24:13)
So we'll do a little bit of posture. So the second... The first meditation problem was what?

Leno. And then you overcame it with devadvimudzo shunjang, which means... Think about how cool meditation is.

Which will automatically lead you to want it. Which will automatically lead you to do something. Which will automatically lead you to get better at it.

That's basically the flow, which will get you to Semjopo, really, you see? Then that'll get you to sit down and try to meditate, okay? It'll get you to the, down here, to the start, okay?

So far, we just got to the start. I taught this in Taipei. We only got to about here.

Hopefully, we'll get further than that. All right, what's the second problem? What's the second classical problem encountered by anyone who tries to meditate?

Yeah, it's called dhamna jepa. Say dhamna. Dhamna.

Jepa. Jepa. Dhamna.

Dhamna. Jepa. Jepa.

Dhamna means the instructions that you got from your teacher. Jepa means forget, okay? You forget the instructions.

But as you know, those of you who studied it, it has a more particular meaning, which is, you lose the object completely, okay? So you go from the sun-filled room to the project you have to do when you get back next week, okay, you just drop the object completely. You're off the object, okay?

And then you have to use the iron chain, okay? What's in his left hand, chenpa, is bringing the mind back to the object, okay? And it's no coincidence that it's an iron chain, okay?

So it's like, really hard. You have to pull it back, okay? Pull the mind back to the object that you were supposed to be meditating, okay?

Personally, I find an elliptical orbit is useful. My mind is headed off towards next week's project, you know? And you can try to jump, you know, iron hook, a chain, you can try to pull it back diametrically, and somehow it doesn't work for me.

I like to build up some momentum and, like a frisbee, and let it, like a boomerang, let it come around and come back. So I don't try to fight it like this. I'm like, oh yeah, we have that project next week.

Yeah, yeah, yeah, we have that project. What are you all going to, yeah, we got to do that, and that, and that, yeah, yeah. And to do that, you're going to have to sit down.

Yeah, you're going to have to finish up this week. Yeah, and then to finish up this week, you're going to have to finish up the first few days. It means I'm going to have to be coming back to the session I'm on.

And then maybe, where is that golden room? You see? Yeah, I bring it around.

I like to bring it around on its own impetus and let it come back like a, like swinging a chain, and then it flies back, rather than trying to fight the tendency. Make it part of your distraction. Trick the distraction.

Yeah, we should think about next week. And to get there, we got to think about the end of this week. To get there, we got to start here.

And then, you know, instead of saying, come back, come back, okay? Try it, it's interesting. So that's Dhamma.

Which is what? Is that the fifth antidote? Okay, so the fix for the second meditation problem is the fifth antidote, because we had three extra antidotes for Lailong, because we had wanting, trying, and getting good at it.

Okay, got it? You all right? All right.

All right, which leads me, I think I'll go to, okay, I'm going to mix you up. How do you get here? Which power gets you here?

Which power gets you to start meditating? Yeah, tapasruti, listening. Listening, they don't even have it on the chart.

Okay, I don't think so. Before you get to this first number one, you have to go to a class and the teacher teaches about meditation and then you know what to do and you know how to sit down and things like that. Okay, so you get to the sitting down, you have to go to a class and the person has to explain to you how to meditate.

So that's the first of the six powers, is hearing, meaning learning. Then you get to, this is Gyumri Jopa, okay, up here. Number nine, it'll probably say nine two down here at the bottom, right?

Nine meaning it's the ninth picture, two meaning it's the second of the nine states. It says keeping the mind on the object with great continuity, okay? So you don't get to the second state of meditation until you get to the first bend in the road on the left.

Okay, you want to show this guy? Over there? Okay, so this is, where is it?

Number two is way up here, all right? Where you've got some brief continuity by here. By the time you get here, you have some flow on the object, right?

You're able to hold it for brief periods of time. They are still less than the time off the object, okay? It's not bad, okay, it's progress.

This was a fly on the cow pie down here. And then by the time you're up here, you've got some continuity in the object, okay? Let's see what Chijan Rinpoche chose to put between those two.

This chart was designed by Chijan Rinpoche, who was the student of Pabongka Rinpoche, and he's the tutor of the current dialogue, okay? So, and my teacher's teacher. So, let's see what he's chosen to put on the chart.

Here's a, number two was the chain for either pulling back directly or swinging back, okay? And now we have to talk about this hook. I forget, in Tibetan it's called chakyu, say chakyu.

So, chakyu can mean any kind of hook. So, like a fishing hook, or a, sometimes they say jindarla chakyu shak. Say jindarla chakyu shak.

Set the hook on a sponsor for the monastery. That's a common use of chakyu in a monastery. Kind of funny.

What is a shakyu? Yeah, that little curly hook-like vowel under a Tibetan letter, that's an ooh sound, and it's called a foot hook, shakyu. So, kyu means hook, so this is a chakyu.

Chak means iron or steel. So, chakyu, he's got a chakyu in his right hand, he's got a chain in his left hand, okay? So, the right hand is chakyu, it's a hook.

And on an elephant, I believe you hook it under the ear. And their skin is so thick that you have to really pull for them to even feel it, they don't even feel it. But you have to jam it really hard into their ear, like an inch or two before they even feel it, because their skin is so thick.

So, and the ear is sensitive. So, to turn the elephant, or to get its attention, you jam the chakyu into the ear, okay? In our case, in meditation, chakyu refers to shishin.

Say shishin. Shishin. It's like shishin, shishin me.

It's like, thank you. Shishin means, how did we translate it? What's number two say?

Awareness, okay, we'll call it awareness. We talked about it in Phoenix, but those of you who weren't there, shishin is described in the scripture as setting aside a corner of your mind to watch the rest of your mind as it meditates, okay? Setting aside a corner of your mind to watch the rest of your mind as it meditates.

So, shishin, for example, might be used to, it's a detector, it's like a smoke alarm, okay? I like to compare it to a smoke alarm. So, the function of a smoke alarm is not to put out a fire, right?

It's simply to alert you to the fact that there is a fire. So, shishin's job is not to do anything except set off an alarm that, what? In this case, you're off the object.

So, shishin detects that you haven't thought about the golden rule for about five minutes, okay? Like, if you have a slow shishin. So, hopefully you've developed your shishin.

Hopefully you make it more sensitive. You know, there's more sensitive smoke detectors and less sensitive smoke detectors. So, hopefully you develop your shishin strong enough that it can alert you that you're no longer on the object.

For me, I don't know about you, it's just kind of a coincidence that I noticed that I'm off the object and I wander back onto it kind of by accident and then go off the other way. So, anyway, shishin's job is to detect that you are not on the object, okay? Usually.

It can detect other things that we'll talk about. But at this point, he's got shishin. Which do you think goes first?

The left chain or the right hook? Yeah, the hook is used first, right? First, the alarm goes off.

And then the jemba, the left hand, the chain is like the water sprinkler thing that goes off. The smoke alarm sets off the water sprinkler. So, the detector is shishin.

Detector is like, oh, I'm off the object. And then jemba kicks in and pulls you back to the object, okay? So, you wouldn't have a pullback without an alarm.

There has to be an alarm go off in your mind that says we're not on the object anymore. And then you have to coax or beat or fight or battle or trick the mind back to the object, okay? And that's jemba, all right?

Recalling the object or bringing the mind back to the object. I'm going to go through the other numbers up to Gyundu Jopa, slide continuity, right? And let's see what he chose to put in there.

It'll be a little different than the text, but let's see. He also edited this text. This was a transcript.

This was a recording taken on rice paper. And then it took him, I think it took him close to 20 years to edit it. He worked on it steadily for 20 years, something like that.

And the day it came out, it was a classic. It was carved the day it came out, which is very unusual. And so anyway, since he did both, they should match pretty well.

So we got number one is putting the mind into meditation. Number two is bringing the mind back. Number three is the alarm.

And then number four is, let's see here. Lam kyi kukpa tuk tok tuk. The six bends in this path, the six bends in the road represent the six powers.

Duk dang jai wa le. Dangbo chepe topso. Yeah, dangbo chepe topso.

It's very, the carving's not very clear, okay? Dangbo chepe topso means the first one is, what's the next one? What is that?

Dangbo chepe topso. Dangbo chepe topso. The first power is learning, listening, okay?

Di la te ne, sen ne dangbo drupa yin. Due to the first power, you are able to attain the first of the nine levels, okay? You are able to attain the first of the nine levels.

That's what he said under the elephant, okay? That's what note number four says, all right? Number five.

Langbo sem dang, kadol nakpo, chiwa tsun. Langbo sem, langbo means elephant. So what's that say?

[Говорящий 2] (24:14 - 24:15)
Elephant mind.

[Говорящий 1] (24:15 - 26:53)
The elephant is your mind, okay? Langbo sem. And then this is where this whole chart takes off from.

There was an ancient scripture that said the mind is like an elephant and then tie it to the stick of your meditation object with your tenba and sheshin, okay? So this note says the elephant is your mind and the color black on the elephant represents chiwa, which is what? Chiwa tsun means represents chiwa.

Dullness, okay? Dullness. We were exploring dullness at the end of that last meditation.

No, really, and that's what you have to do. We had a meditation program, what, 15 years ago in Connecticut and we purposely overfed everyone and we fed them very bad food. It was a big plot.

We planned it for weeks in Nancy Karen's living room and we had the perfect person to, what do you call it, execute the plan, who loved pizza. And so we overfed everybody on pizza and then we took them in the room and we meditated and everybody got chiwa, okay? So chiwa means like very gross sort of dullness of the mind, sleepiness of the mind.

It can be brought on by not getting enough sleep, by traveling long distances just before meditation retreat, by working on cabins for three months before. You can get it by overeating, okay? These are ways to get dullness.

Let's keep going on the chart. I want you to know the chart so you can use it at home. DEL THOA DANG KHA RO NA PO DGOS PA TSUN Say, DEL THOA DANG KHA RO NA PO DGOS PA TSUN DEL THOA DANG KHA RO NA PO DGOS PA TSUN DEL is the literary form of dew, which means what?

Yeah, in colloquial, the ratak drops off and it becomes dew, which means monkey, okay? But the median form is dew and the ancient form is del, okay? So del means monkey.

THOA, THOA means, how do I translate it? What's number six there? Say again?

[Говорящий 2] (26:54 - 26:56)
The monkey stands for distraction.

[Говорящий 1] (26:56 - 26:56)
Okay.

[Говорящий 2] (26:56 - 26:58)
And the black represents agitation.

[Говорящий 1] (26:58 - 28:24)
Okay, yeah. Okay, so the monkey represents distraction and the black color of the monkey represents agitation. What's the distinction between distraction and agitation?

That's what we need to talk about, okay? Not all distractions are agitation, okay? Not all distractions are agitation, DGOS PA, because DGOS PA is defined as a special kind of distraction, which is towards a pleasant object, okay?

So 90% of all distraction from the object, as opposed to sleepiness, okay? Sleepiness is just a degrading of the quality of the state of mind. Distraction is where your mind flies.

The word THOA means to fly off, like USER THOA, USER THOA in the sadhana. Mind flies off into the 10 directions, THOA. So THOA means for the mind to fly away from the, from the attention to fly away from the object in the way that light would be scattered.

Scattered, you can say scattered is not bad, okay? But not all scattering is towards a desirable object, you see? Why?

There are two other classic types of objects, okay? Which are? Say again?

[Говорящий 2] (28:24 - 28:24)
Things you don't like?

[Говорящий 1] (28:25 - 31:12)
Yeah, things that people, usually people you don't like. Or it could be you can THOA towards the coldness of your room, you see? You could start getting distracted by thoughts about how miserable your room is and how cold you feel in your room, okay?

That would be THOA but not GUPA. That would be distraction, but not what we call agitation because agitation is classically aimed at a desirable thing, okay? So the monkey represents all kinds of distraction.

The blackness of the monkey represents distraction towards a desirable object, which accounts for 95% of distraction. And that's the point. In the scripture they say, we concentrate on agitation or attraction towards a desirable object because that's 95% of your distraction.

Which would include planning for the next day or the next week or the next night, okay? So planning is maybe a very common distraction, right? Food is a very common distraction.

Sex is a very common distraction. Things you want to buy or things you want to do is a very common distraction. He cites memories of classical folk dance performances, which nowadays would be television or movies.

I think movies, okay? Remembering movies, music, a song running through your head. We were talking about doing music tonight and we decided it'd probably be in your head for eight days and you wouldn't want Frosty the Snowman in your head for eight days.

So that's the most classical form of distraction is towards nice things. What's another? We got nice things, terrible things.

Then they say virtuous things, okay? They make a separate classification about distraction in the form of thinking about something nice that you have to do, like a Dharma project, okay? Like the Spanish Mission Sanctuary, Adobe with arches and Spanish tiles and gardens and lawns and a full regulation soccer field.

I don't know what you're gonna do. No, to attract the Spanish-American population, seriously. And basketball courts and somebody threw in a small cafe with internet.

[Говорящий 2] (31:16 - 31:18)
But I don't know what you're gonna do.

[Говорящий 1] (31:19 - 34:16)
All right, all right, that's another half-banker you're gonna take. Okay, so anyway, these are good things to talk about, but not while you're meditating on the Golden Word, okay? That's the third kind of distraction, okay?

Like, it's a virtuous thing, it's a holy thing, but in meditation, a holy thing that's not your object becomes an evil thing, okay? It's wrong to think of a virtuous project as destructive during meditation because you're supposed to have only one object, and that's the Golden Word, and that's not a basketball court, okay? So that's an interesting distinction to make.

But the black color of the monkey means, the reason they chose to make the monkey all black was that distraction towards things you like, especially plants and girls and movies and music and other things that you enjoy, okay? These are the two great classic enemies of meditation, okay? And all meditation consists of threading a middle way between these two ditches.

We came down, we took a different road here, okay, which was more icy and snow-covered. We didn't make it. We were up on, we got like halfway down a hill, and we just, we went off the road like four times, and then we decided it's just, we just got to get out and call somebody.

So we got out and called somebody. Then this guy shows up, and he says, I can drive your car down for you. And we're like, no thanks.

And he said, you know those big snowdrifts off to the side? We said, yeah. He said, they are covering very deep, dangerous ditches.

And we're like, okay, we'll just wait for the tow truck. So meditation is the same, okay? On one side is dullness.

The deep ditch of dullness. And then on the other side is attraction towards something nice that you want to think about, like food. And then your, meditation means driving down that slick road and trying not to slide off to either ditch.

You see what I mean? That's meditation. And it's a constant correction of the wheel.

And we were talking about it in Phoenix. If you watch a person drive, even a bad driver, they are constantly correcting. A new driver, totally new driver, first day they ever drove, they go like this.

And they never, they don't come back. And then they grab the wheel and go. We had a monk in India.

We were trying to teach him to drive. And then every time he looked out the window, he'd go like this. And it was really scary.

But an experienced driver, there's this constant, what do you call it?

[Говорящий 2] (34:17 - 34:18)
Unconscious correction.

[Говорящий 1] (34:18 - 39:19)
Unconscious correction process. They can talk on their phone and they can be fooling with the radio or fighting with their wife. And the hands are still moving back and forth.

So what we see is a state of meditation where the corrections are constant. And you're not even aware of it. You see, you are constantly correcting.

And we'll talk about it. There will be a tendency to get dull. And then you will do certain internal practices within your mind to stoke it up a bit, to raise the level of the mind, which means turning to the right.

Then that will go too far. And you will start thinking about lunch. And then you'll do another practice to bring the mind down a little bit, like think about death for a minute.

And then you'll get the mind too depressed and you'll get sleepy. And then you'll have to bring it up again. And then there's this constant correcting to avoid these two classic problems of meditation.

Okay, these are the two classic problems. We will try to spend this week exploring those two problems, okay? All right, what's number seven?

Number seven is, dine sanme dumbar har, me che yu me dang, che chung gi kye par, gupa ni, gupa ni, che she gi betso, top shuk gi che chung gi kye paro. So you see here, he's in the first bend of the road. You can see a fire.

It's called flames, what do you call it? Flames of, tongues of flame. The Tibetan says tongues of flame.

So here, this represents, this first big fire here represents the intensity or the power that you need to assert in these two corrective measures. The alarm mind and the pull back mind, okay? So at this point in your meditative practice, the corrections are gross.

And they're muscled. The corrections are muscled. These people do yoga that way, right?

They muscle through it. And everything's, what do you call it, abrupt. Your movements are abrupt and they're muscling instead of like gliding, you know?

And it's probably a necessary thing to get to the gliding, that for your first six months of yoga, you're muscling everything. So this great fire represents the fact that at this point, the corrective process is a struggle and the corrections are big and blatant and overdone, okay? It's like, and then you're going off the road before you, you know, what do you call it?

You crank it like that, okay? So that's what, and then he says, down here he says, you'll notice that as we proceed along the path, the flames get smaller and smaller. And then suddenly they're all gone, okay?

Which means by level eight, okay? It becomes effortless, okay? The correction process is automatic.

You are driving and talking on your cell phone and you don't notice your hands moving. It's an auto part, what do you call that thing that you like to do? Cruise control.

Cruise control, okay? It's cruise control. So when the flames finally get, they get smaller and smaller, less effort expended in correction until beyond this point, there's no flames, okay?

There's no effort. The correction process becomes unconscious, all right? I mean, hopefully you're not unconscious.

Yeah. Let's check. Let's do some more meditation.

As the day proceeds on a typical retreat, for most people, and it's not always the same for everybody, but normally you should shorten the length of each session as you go through the day. So the last session in a long retreat, in the last session in the evening might be five minutes, even for a very experienced person, okay? A nice five minute intense meditation.

I'll tell you, I'm guessing something, okay? You guys are thinking, when is he going to do the real meditation?

[Говорящий 2] (39:20 - 39:20)
You know?

[Говорящий 1] (39:20 - 41:25)
No, you're thinking that. You're thinking, is he going to get to half an hour? Is he going to get to an hour?

Are we just going to, is this some kind of warmup? And I say, no. This is an ancient alternative method of meditating where you just keep going back for five minutes, 10 minutes, like 18 times throughout the day.

And check it out and see if you want to try to do it for a couple months or a year or something. Instead of trying to sit there for a half hour, an hour, do a bunch of small sessions. What you'll discover is a tendency towards continuity across the session, okay?

If you do an hour at nine o'clock on Tuesday and then do an hour at nine o'clock on Wednesday, you don't get this feeling of coming back to a place where you've been. You get the feeling of like starting over, okay? So check it out.

This method makes you feel like you're meditating all day and taking breaks for meals, you see? You feel like you've been in the golden room. You're coming back to a place that, you just went to the bathroom and you came back to the golden room.

You see what I mean? And you'll feel a continuity across the session, which is very desirable. Then you get some kind of intense progress coming.

So try it. Just check it out. I know it's not what everybody does, but it is a tradition.

And what's cool is that the quality of the meditation doesn't degrade. If you try an hour or even a half hour, it will degrade. I don't know anyone who can sustain an hour.

I know lots of people who sit for an hour, but I honestly don't know anyone who can sustain an hour's meditation. So try, rather than fighting to get to go for an hour, try three or four sessions during the day and space them out and see how you like it. Just try it and see how you like it.

So here we go.

[Говорящий 2] (41:26 - 41:46)
They should get shorter as the day goes on. Go back to your breath, very, very silent.

[Говорящий 1] (41:47 - 41:50)
You can't unzip your jacket. You can't shift your body.

[Говорящий 2] (41:50 - 41:56)
You can't even sniffle if you're focused only on your breath.

[Говорящий 1] (42:52 - 43:17)
Come to the golden room, small room, windows on several sides, golden light. Try to make it a, I don't know how to describe it, like a darker gold, a warm gold, like molten gold. That kind of light is bathing the room, like that.

[Говорящий 2] (43:18 - 44:24)
The last light of the day, golden. Outside the window, in the blue sky, in the upper half of the window and mountain on the lower half of the window. The Lama's sitting in front of you.

[Говорящий 1] (44:25 - 44:34)
And then they reach out and take your hands. So in your lap, they're holding their Lama's hands. And that's all.

Just focus on the hands until we stop.

[Говорящий 2] (44:34 - 44:50)
You're just focusing on the touch of their hand on your head. Stay there. You don't need to do anything.

[Говорящий 1] (44:51 - 44:57)
There's no discussion going on. No one's going to move. Just stay there with their hand on your head.

[Говорящий 2] (44:58 - 46:50)
Stay there in the feeling of that. You have nothing else to do tonight. Coax the mind back to the object, detect it leaving the object.

Notice which kinds of distractions you tend to have.

[Говорящий 1] (46:51 - 46:58)
Virtuous brother, someone who hurts you, or something you want.

[Говорящий 2] (46:58 - 48:43)
Food, movie, music. Okay, two more minutes. Try really hard to keep your mind on the hands.

Relax, slowly come back.

[Говорящий 1] (49:02 - 50:28)
There's a very, Bhagavad Gita is very insistent that you should end the meditation while it's going well. Okay, so you should end the meditation feeling like you would have liked to have stayed a little longer. Okay, that's a trick of the trade.

We used to have a gold miner, like this old, old pioneer man, gold miner on our Boy Scout trip. Like he was 120 or something. And his name was Mr. Curry, but we called him Fudd. And he'd say, tricks of the trade, boys. And then he'd teach us an incredible nod or something that you can use for backpack and that you use for mules to carry gold. So I like tricks of the trade.

So one of the tricks of the trade is, stop while it's good, okay? And it's hard to do because you want to suck some more out of it. But stop, and then you want to go back.

You'll feel happy to go back, okay? I thought I'd take questions for a couple of minutes and then let you go early, then maybe 9.30. And I'll take questions for a while. And then I thought to send you to bed with a little bit of emptiness dessert, all right?

So we would do like 10 minutes out of the, a few minutes more of emptiness. But I thought if you have any questions, yeah.

[Говорящий 2] (50:29 - 51:02)
What if your mind is agitated, but not towards something terrible? Like if you have a sadness, you can just like lift it on the bed. Because your mind is too happy and it will break down, it will take off from something like heavy and sad.

But if you're restless because of something, I'm happy that it's not something very depressive, that I'm, this meditation on the bed is making it work. Yeah, yeah, okay.

[Говорящий 1] (51:05 - 59:05)
So we're getting into the subject of the, these are beautiful, it's a beautiful question. And it's a beautiful art or a skill. What do you do if you have an extreme form of either one, the elephant or the monkey, right?

What if you have an extreme form of agitation? You start thinking about something you want, or you have the opposite problem, right? And suppose your agitation has been triggered by already depressed thoughts.

And you're telling me to bring my mind down further. What do you want me to do about that? So antidotes within the mind are divided into three kinds, I can say.

I mean, it's not formally presented that way, but you can derive that. One means with a little bit of, without leaving the object, you can bring the level of the mind up or down very gently without leaving the object. It requires a partial leaving of the object, I guess, but you don't let go of the object.

So you're still holding the object, but you are consciously trying to raise the mind or lower the mind, okay? If the mind is too depressed or the mind is too agitated, okay? The other is where, without opening your eyes, you drop the object for a while, and you go to another brief meditation, which will raise or lower the mind.

And then drastic means are, you open your eyes and you throw water on your face, okay? No, there is such a thing. You don't break your kiltru.

You don't break your meditation posture, but you open your eyes and you look around and you slap yourself and you look at how much time you got left, and those are really drastic. So I think what's interesting for all of us is what are the sort of subtle sub-meditations you can do to raise or lower the... When I say raise or lower, I mean pep up the mind or carve it down a bit because it's getting a little dull or it's getting a little too frisky, okay?

Like, how do you keep it? It's like a, what do you call, a bubble float? How do you keep it at the right altitude?

So I'll give you some classic ones and then we'll talk more about it, okay? Because to me, this is the most important question. That question is the most important question.

My mind keeps going to some song or some project I have to do, right? So how do I bring it back? How do I calm the mind, bring it down a bit?

And yeah, thinking about people who've died in your life, is a good way to bring it down very fast. It's like my brother died. I just have to think about him and I'm not thinking about lunch anymore.

It takes less than 10 seconds and my mind is down, you know? So the opposite one is how to pep the mind up. You could just think about something inspiring to you.

You could think about the Dalai Lama. You could think about good things you've done in your life or good people you've seen in your life or inspiring things. I like, what do you call it?

I like the subject of Geshe Michael. I like to think about the cool things he did in China or something. And I think this is one case where that's healthy.

You know, you could say, in the scripture they say, think about what a special person you are, okay? Like I'm at a meditation retreat, you know, how many people really got the transmission of emptiness correctly? Maybe one in a million in this country, okay?

But in averages right now, it's running at about one in a million. So you are one person out of a million who made it here to get that transmission, which came directly from the greatest Lama of Tibet. He was ranked number one debater out of 10,000 debaters the year he graduated.

He was number one, you know? And his teacher wrote the book, you know? So you're getting like a really good transmission.

And this is the first one that's in English from that lineage. So you've got to be a little special to be here. And you just think about that.

You think how special you are. And it's a good kind of special. It's good to think about, you know?

I'm statistically, which makes it undeniable, right? It's not subjective, it's objective. Out of 200 million people, I'm one out of a million people who made it here.

And I'm hearing these things. And you've got to be a super extraordinary person just to have made it over the road here. You know, you are special, you know?

And you can't deny it. I mean, the numbers are there. You can't deny it.

How many people got here instead of on Facebook or watching a video tonight? By the way, today is New Year's, right? And it's one, one, one, one, right?

And in Tibet, the first day of the year is a, what do you call it? It's a sign of how the year's going to go. How you spend the first day of the year is extremely important in the Tibetan tradition because it's a sign of how your whole life's going to go.

And especially the next year. So is it kind of special that you spend? The first day of the year, you know, all day talking about emptiness and meditation and, you know, being in one of the last clean, unpolluted, forested areas on the whole planet of the earth?

Because I travel a lot. I know how many places are left. And there's not, this is like one of the handful.

So, you know, you're pretty special. And it's a special day and it's a special way that you spent the day. And you're going to have a special year and a special life.

So that already, you feel brighter, right? So if you feel yourself getting tired or depressed, they say in the text, they say just, if you made it this far, you've got to be special. So just think of that, how special you are, okay?

Then you'll get too special. You'll say, yeah, I am like the only one. You know, and then you got to, I'm the only American guy who's going to die.

And then you calm down a bit, catching my breath, you know? Okay, and then you'll get all sad and depressed and you say, no, but really it is, I am, you know. No, that's the gross correction process.

And then you'll get to where you're just going like that. And then you get to a place where your hands don't move anymore. And it's the car is straight, okay?

Any more questions?

[Говорящий 2] (59:06 - 59:12)
So what do you do when very strong emotions come up when you think about your meditation object?

[Говорящий 1] (59:13 - 59:27)
She said, what do you do when you get very strong emotions coming up when you're thinking about your meditation object? If it's anger. Because you're meditating on the last person to hurt you.

[Говорящий 2] (59:30 - 59:31)
I don't want to know.

[Говорящий 1] (59:32 - 1:00:14)
I'm talking about me. I usually do the four powers of confession right there before I go anywhere. During the, what?

During the second one, I start to consider how dangerous it was that I had that anger. And then I try to think about why I was angry. And then I get angry again during the confession.

But anyway, I think it's an interesting question. In my mind, the question for me is, if the teacher's looking at me and I'm feeling these intense feelings of love, then that becomes a second object.

[Говорящий 2] (1:00:15 - 1:00:15)
You see?

[Говорящий 1] (1:00:16 - 1:00:48)
Yeah. So that's very touchy, you know? Then I've lost my object, you see?

Because I'm concentrating on the emotion or the love, the devotion. Totally. And I've struggled with that question.

I think you can imbue the eyes with love and you're okay. I don't think you're gonna have, I don't think it's a distraction. I've decided it's not a distraction.

And there's an intense, I think you can have an intense feeling of love and not lose the eyes. So I don't think it's a problem.

[Говорящий 2] (1:00:48 - 1:00:49)
What if it gets physical?

[Говорящий 1] (1:00:50 - 1:00:52)
If it gets physical?

[Говорящий 2] (1:00:52 - 1:00:53)
Well, you know, like crying.

[Говорящий 1] (1:00:54 - 1:00:55)
Oh, like crying.

[Говорящий 2] (1:00:55 - 1:00:55)
Yeah.

[Говорящий 1] (1:00:57 - 1:02:06)
I think it's a good thing, but again, it's one of those good things which is a distraction, right? So then you might want to back off that emotion. I wouldn't say try to lower the devotion.

I would say try to control the crying. Because the devotion, I can't imagine that devotion could be too, too much devotion could be a problem. I wouldn't, my, I don't think it's a, I think you could pre-plan a move of the object deeper into devotion from the eyes.

Something like that. So I would call it not losing the eyes. Devotion is more important than holding the eyes.

And it's still the object for me. I've struggled with that. It's like counting the breath.

Is one the breath? You know, what am I doing? Breath one, breath two.

I mean, it's two objects, you know? So, yeah, you have to struggle with that. I think, yeah, you have to make sure the counting doesn't become a second object.

[Говорящий 2] (1:02:07 - 1:02:23)
Okay? Yeah. When you talk about losing the object and you're focusing on someone's face, the face becomes pleasant.

[Говорящий 1] (1:02:23 - 1:02:23)
Yeah.

[Говорящий 2] (1:02:23 - 1:02:28)
The shape is still there, it's still there, but is that losing the object?

[Говорящий 1] (1:02:28 - 1:02:30)
That's dalmat. That's qingwa.

[Говорящий 2] (1:02:33 - 1:02:41)
So I find when you talk about, for instance, the hands, that was a completely different thing when you lose them. Yeah, good. But the face is just pleasant.

[Говорящий 1] (1:02:42 - 1:02:57)
Yeah, that gets into another question, which is a good, let's go there. It's an interesting fact that you cannot have the third problem of meditation until you're able to hold the object.

[Говорящий 2] (1:02:57 - 1:02:58)
Okay?

[Говорящий 1] (1:02:58 - 1:04:23)
You cannot encounter the third problem of meditation until you're able to have fixation on the object. What is the third problem of meditation? We've only done two.

We did not wanting to meditate, and then we did losing the object completely. But what's the third? The third problem of meditation is?

Dullness. Dullness and agitation, okay? It's a dual problem, which is kind of a contradiction in a meditation class.

You know, it's a two-pointed needle. But yeah, it's either the mind gets too low or the mind gets too high, okay? But it assumes that you're still on the object.

So it's what you were describing. It's the silhouette without the face. Or it's the hands, but you're kind of losing it.

So those are, to have the black monkey and the black elephant problem you have to be on the object. If you're off the object, you won't have those problems. You can't be dull on lunch.

You see what I mean? You got to be on the object to have a problem with the quality of the object. So what you're describing is good.

You're describing the third problem, which is you haven't lost the object, but the quality of the attention is degraded.

[Говорящий 2] (1:04:24 - 1:04:36)
So related to that, if, for instance, the problem with the face is I don't have a photograph of none of the sub-points, but it comes to the hands, I didn't lose that, so should I choose hands?

[Говорящий 1] (1:04:36 - 1:08:40)
Yeah, okay, that's a new question, okay? Now, he said, I have trouble. I have the same trouble.

I have a, I mentioned in the last class, I have a friend, I lived next to Thich Nhat Hanh for a while and stupidly I didn't go over to see him because I didn't want to bother him, but my friends went and they asked him, could you draw a Buddha for us to keep? And he just went like this, you know? And I had a copy, I don't know where it is.

I had a copy of that drawing and it's perfect. And he had some kind of photographic memory of what visual memory, which I don't have. You know, I can't draw the face of my teacher.

I've tried, I can't do it. You know, I see it and I understand it and I get, everything's good, but I can't sit down and draw it, you know? So I think that's what you're describing.

But the hands, what he's saying, what's your name again? Richard, yeah, what Richard is saying is that the hands he can remember. I mean, the touch of the hands is irrefutable, something very beautiful.

And you don't forget the touch of someone's hands. And I can remember the touch of my teacher's hands. I know what they feel like.

That I can describe perfectly. If I could draw it, I could draw it. You see what I mean?

And that's fine. So his question was, should I go for the object that is more comfortable and compelling to me or should I fight my tendencies and try to improve my ability to visualize the face? And the text says, this is very interesting and very important, I think.

The text says, normally stick with something which is very attractive to you because you'll be better at it, you know? So as far as the parts of your Lama, in the beginning, I mean, I'd say all the time, choose something which is compelling to you. The selection of a meditation object is a high art and it's a very serious consideration that you have to go through because once you pick it, you shouldn't switch it easily, you know?

You should spend weeks or months on the same object. So once you, the selection should be very, what do you call it? Judicious.

Judicious. Yeah, like, select carefully because then you should keep it for a long time. And the guideline in the scripture is, select something which is very attractive to you, virtuous and attractive, you know?

So your Lama's hands, the touch of your Lama's hands might be a very nice object, a good object because you're already very attracted to that. And that's what they say. Of course, there will come times when your Lama says, I want you to do this particular meditation on emptiness and it's not natural and it's not comfortable and it's hard.

And then you got to not wimp out. And then they'll give you a meditation assignment and they'll say, work on this proof of emptiness. And then you just have to fight and get there.

The objects that you fight for and achieve turn out much sweeter than the objects which were attractive and easy. I predict, I had that experience with logic. My teacher forced me to learn logic and I hated it.

And now, like we're doing this text, it's the most exquisite thing in the world. But I never could have done it without like a couple of years of real struggle, of something I wasn't attracted to at all. But the text says, start with something you love and until you get strong in your meditation and then switch to objects which are difficult for you.

Maybe one more, and then I got to give you a little emptiness to go to Ben on.

[Говорящий 2] (1:08:41 - 1:09:08)
My question is, in order to go into the experience, I have two questions. So is that related to the level that I'm on or does that degrade the focus? Like when I lose the object, in order to bring it back, I have to remember the experience, some kind of sense perception or something.

And I'm wondering if that is where the focus is. And I'm wondering, how do you think in order to get it off?

[Говорящий 1] (1:09:09 - 1:10:07)
So I'll repeat her question just so you make sure you heard it. And I usually rephrase it in my own way, to twist it my own way. This isn't a debating thing.

But she wanted to know, let's say she's supposed to be meditating on her love space and then to make it stronger, to come back to it strongly, she has to switch over to an actual experience she had with her lama to recapture the face and then bring it back to the golden moon. So is that okay as a method? I think it's great.

I think that's a redirection thing rather than a fighting thing. So you go to an experience that you enjoyed with them. Or she even mentioned a photograph that she particularly enjoyed with them.

So I do that sometimes. I keep a photograph in my six times book, which we have to do. But that would be a virtuous distraction.

[Говорящий 2] (1:10:08 - 1:10:08)
Yeah.

[Говорящий 1] (1:10:09 - 1:11:24)
So you, yeah, definitely. Go to a pleasant experience you had with them. What do you call it?

What do you do on a computer when you, you used to push F something and you captured the- Screen capture. Screen capture. Do a screen capture.

Go to their face in a pleasant experience, capture the face and bring it back to the golden moon. That's a good technique. That's fine.

It is a loss of the object, but it's fine because you were already off. Okay. All right.

I'm going to do just five, 10 minutes of, just for good luck, okay? So it's the first day of the year. It's a good way to go to bed.

I'm trying to take it easy the first two days, okay? And then we'll, then we'll push. But so many people are so exhausted, especially down in mountain people.

So, you are, that looks really amazing. They just burned it really hard for months. you know, they're going to get sick and they're, we need to give them a couple of days of recovery.

The China people burned it for a month and then, before that, where were we? I don't remember. Can't even remember.

[Говорящий 2] (1:11:24 - 1:11:32)
It's all over. It was Germany. I know, but I don't remember.

[Говорящий 1] (1:11:32 - 1:11:36)
No. Austria? Yeah, it was Puerto Vallarta.

[Говорящий 2] (1:11:37 - 1:11:37)
Oh, that's right.

[Говорящий 1] (1:11:38 - 1:14:17)
Yeah, okay. All right. Okay.

We just finished those three different ways of looking at me, right? And then we said, oh, it's only the third one that needs to be smashed, which is the actively believing that you come from yourself, right? DIN NA PA'I YOD RIGS PA'I GAG BYA YIN It's the third, it's the third perception of who Michael is, that is the one which is to be denied or which is to be canceled or fought against, which is GAG BYA, right?

GAG, by the way, means stop. BYA means that which is to be. GAG BYA means that which is to be denied or to stop.

So it's the me, it's the me which under consideration, right? MA LTAG PA BYAS PA MA YIN PA Under active consideration of whether it's coming from itself or not, I decide it's coming from itself. That's GAG BYA.

That's the Michael that doesn't exist, okay? If you question me, does that Michael come from Michael? And if I say yes, then that Michael is the GAG BYA, okay?

The Michael I'm thinking of then is the thing that doesn't exist and never did exist, and that's what emptiness is empty of, okay? That's GAG BYA. Third one.

What was the second one? Since you look so, you look so, what do they call that? Clueless.

What was the second one? That was John pulling the mirror. You know, you're shaving and you're like, okay, John's there.

And you know, you got to pay attention or you're going to cut your lip off. He's there, it's okay. You can shave his face.

That's John. That's an unexamined, you know, nobody's worried about whether he's coming from himself or not. You're just trying not to cut your lip off, okay?

Then the first one, that was of a real sage. He's looking at their arm and saying, you know, it could have been light if I were just a little more respectful of life. You see, it could have been light.

And that's how they perceive mind. All right. DIN NA PA'I YOD RIGS PA'I GAG BYA'I Now they distinguish between RIGS PA'I GAG BYA'I and LAM GYI GAG BYA'I.

Say RIGS PA'I GAG BYA'I. LAM GYI GAG BYA'I.

[Говорящий 2] (1:14:17 - 1:14:18)
LAM GYI GAG BYA'I.

[Говорящий 1] (1:14:18 - 1:17:16)
There are two kinds of GAG BYA', okay? One never existed in the first place, and that's the Mike who's coming from Mike. The Mike who's coming from his own side, okay?

The Mike who's Mike without me there to make it Mike. The pen that's a pen without me making it a pen. That's one kind of GAG BYA'.

RIGS PA'I means it's the kind of self-existent thing that we deny through careful thinking. Careful thinking overcomes our belief in that Mike, okay? Careful reflection and instruction overcomes our tendency to believe in that Mike, okay?

That's the RIGS PA'I GAG BYA'. LAM GYI GAG BYA'I means something which is overcome through the practice of the lung, which means what? Pot.

Ever since I went to Australia, I have to say pot, right? Not pan. So LAM GYI GAG BYA'I, do they exist?

Like anger, desire, jealousy, hatred. These exist, okay? They are overcome through the practice of the pot.

So the distinction between the two GAG BYA'I is that the first one that never existed anyway and has caused you every wrinkle on your face and all your gray hairs, they have come, no, really, they have come to being worried about and protecting, defending a Mike that didn't exist in the first place, okay? That's where I got them, all right? And all the wrinkles on our face and all the troubles in your life have come through defending a Mike who was never there anyway.

Slamming the breadstone for a leaf that is crossing the road and smashing your head, okay? And then LAM GYI GAG BYA'I, those exist. Anger, jealousy, desire, these are overcome through the pot.

They are both things to be overcome. The first one never was there anyway, which is the big, what do you call it? Irony of life.

Ultimately, your practice is aimed at fighting an enemy who was never there. Is the belief in the enemy there? Yeah, and that's a LAM GYI GAG BYA'.

That's real. That exists. Okay, we can debate.

That'd be a nice debate. CHEN GYI GYI, we're not going to go too long, don't worry. And I hate people who yawn, I'm just telling you, okay?

I had a student who, they would sit in the front right there and they'd go, ah!

[Говорящий 2] (1:17:17 - 1:17:19)
Ah! Ah! Ah!

[Говорящий 1] (1:17:20 - 1:17:22)
Okay, so just kind of like, ahem, ahem.

[Говорящий 2] (1:17:23 - 1:17:24)
Ahem, ahem, ahem.

[Говорящий 1] (1:17:24 - 1:18:02)
All right. LHAN GYI GYI RNAM SOGS DE BYAS SU BRTANG NAS NGES ZAS SO NYAM PO'I RTAG PO'I DE'I SNGAR GZHAN PA YIN This is difficult. LHAN GYI GYI RNAM SOGS means the way Mike appears to the state of mind you were born with, right?

We talked about what? Down to bugs, down to dreams. That should be in Thayal's song, too.

Down to bugs, down to dreams. You got that?

[Говорящий 2] (1:18:03 - 1:18:04)
Down to bugs, down to dreams.

[Говорящий 1] (1:18:04 - 1:23:55)
Okay, we're always looking for new songs for albums. The way Mike appears to the state of mind I was born with, right? And then, GZHAN SU BRTANG means to, what do you call it?

There's a word in English. You fall for it. GZHAN SU BRTANG literally means to follow it.

But in English, we say you fall for it, right? To fall for the way Mike seems to be, to the state of mind you were born with, GZHAN SU BRTANG PAS. And then, GZHAN SU BRTANG, I ate breakfast.

GZHAN SU BRTANG, GNYEN PA LTA BU To think that, just thinking, I ate breakfast, is to grasp onto a Mike who's not there. That's called GNAR GZHAN PA. GNAR GZHAN PA means to fall for me.

To fall for a me. To fall for a me, okay? Like, then you're, just to say I ate breakfast, okay?

How often are you wrapped up in the GATSA? I'll ask you a question. Let's stop on that, okay?

Let's stop right there. I'll ask you a question. How many things in the world work?

Do cars work? A car that works sometimes doesn't work, okay? So, in my mind, give me a bottle of a headache remedy and tell me this is a headache remedy, but it only works half the time, and then still call it a headache remedy?

No thanks. You see? Because the times it doesn't work, it's so painful.

You see? A car which doesn't work every time you turn the key, you can't call, in my mind, you can't call it a car. Try to get used to that, okay?

You have grown up in a world, you have grown up in a life where the things around you don't work, because they only work sometimes. Don't get on a plane if they tell you that it's going to fall down half the time. That's not a plane, okay?

You're going to fight with me. You're going to say, that's a defective plane. That's a lousy plane.

That's a poorly made plane. I say it's not a plane. Get used to it, okay?

It's just not a plane. If it doesn't fly you from one place to another safely, it's not a plane. It's just a death trap or something.

You see what I mean? It's an occasional death trap. Call it that, but don't call it a plane.

A plane means a functioning thing which flies you from one city to another safely, okay? That's what a plane is. If it falls down ever, then it's not a plane.

Just try to struggle with that. You have, this is where I get into planet B and planet A, okay? There's a whole planet of people called planet A.

They live on a planet, six billion of them. And they put up with this crap, you know? It's amazing.

It's unthinkable. They will buy a bottle of pills knowing that half of them don't work. And they won't even ask for half their money back, you know?

They'll take a bottle of aspirin from the store. They'll pay the full price. They'll take it home.

And if you ask them to their face, how many of these are going to work? They'll say half, maybe, I hope, you know? And then you're like, planet B, people are like, what's wrong with you?

I mean, wake up already, you know? Why do you put up with a world where stuff only works sometimes, you know? Like, why do you go to a job that might work out or might not work out?

You know, why do you buy a house that might make money or might lose money? You know, why do you enter a relationship with a woman or a man and know that it might not work out half the time? So why not just enter a better relationship?

On our planet, we wouldn't even call that a relationship. If you didn't know if it was going to work out, we wouldn't call it a relationship. We'd call it like, I don't know, gambling or something.

Everything you do is like gambling here. Everything on your planet is like gambling. You're really strange people, you know?

Because the ironic thing is you put up with it, you know? You don't complain anymore. It's, you say it's good enough.

You know, my car starts most days, that's okay. And you know, it breaks sometimes and I just be graceful with it. And then religious, religiosity to you is gracefulness in the face of fuck-ups, you know?

You know, the car breaks and I try to stay calm and I'm a good person. You know, we're like, planet B people are like, why don't we just get a car that doesn't break and you don't have to be a nice person? You know?

You know, we don't understand. How many things in your life don't work? Everything, those are all gotchas, okay?

Try to grasp that. They're all gotchas. None of them even exist.

Try to grasp it, okay? They don't even exist, okay? If an object in your life only works sometimes, if a car only works sometimes, it's not a car, okay?

Try to get it. It's so frustrating to come from planet B and talk to planet A people. It's a gotcha.

That car is a gotcha. It's not a car. The aspirin that you take is not aspirin.

If it doesn't work every time you take it, I swear to God, it's not aspirin.

[Говорящий 2] (1:23:56 - 1:23:57)
Okay?

[Говорящий 1] (1:24:01 - 1:24:13)
Okay? You try to, I'm just throwing it out before you, I'm trying to put you to bed with something common. That you've never seen incorrectly in your whole life.

[Говорящий 2] (1:24:14 - 1:24:15)
Nothing. Okay?

[Говорящий 1] (1:24:17 - 1:30:14)
Because they don't work, okay? So, you are surrounded by gotchas. You are living in a world of gotchas.

You are living in a fantasy world. You are living in a world of holograms or something, you know? It's all fake cars and fake friends and fake relationships and fake medicines.

And you put up with it. At least be a little dissatisfied, you know? I mean, if someone comes from another planet and says, it could be different.

Every car you ever bought could work forever. Without gas. No, I mean, if you said 20 years ago, you could communicate instantaneously with everybody on the planet for free, you'd laugh at the person.

You'd say, not possible. The internet's a good example of potential, you know? Try to grasp that...

Okay, I'll tell you, this is the last thing, okay? The thing we remember Grant for before he went into retreat is Becky. Yeah, okay.

The big contribution, you can remember something, is to a class. He's a great student and he said a very beautiful thing. He said, Geshe-la, I got to see this comedy act that was on Merriman or...

I don't know the guy's name. Merriman? Merriman or whatever.

Yeah, whatever. And I said, you know, people constantly send me links to things and I get CDs all the time. I have a whole stack of CDs that people thought was important music.

And I save them and then once a year I play them. And I just, I have a 10 second test. I listen to any 10 seconds of it and if it's not good, I just throw it out.

You know, I listen to the next one. So anyway, he sends me a link and I'm like, okay, Grant, thanks, you know? But I actually looked at it.

And so it's this guy, he's a comedian. He sits down and he's talking to some game show, what do you call it? Night show host?

Talk show host. And the guy says, the comedian is saying, I don't do it very well, but he's saying, look, you know, the world's a little special. You know, the world's, it's a pretty amazing world, you know?

And like I was on a plane the other day and I'm sitting next to this guy and he's working on his laptop. And then the stewardess comes on and says, we're proud to announce that American Airlines is the first airline to have wireless in the plane while you're flying, you know? So the guy's like, oh great, wireless, you know?

And he's watching the guy next to him. The guy next to him is all excited. He's like, oh, wireless on a plane, this is fantastic.

You know, I can get on Facebook, you know? And he's like, you know, and he's like, he's like clicking, you know, and then he's like clicking, and then he starts banging on the keys, you know? And the guy says, what's wrong?

He says, isn't it working? He says, yeah, it's working, but it's slow. It's slow, you know?

And then the other guy is like, but no other plane ever had internet ever before. You're on a plane that has internet for the first time in history. You have, yeah, but it's goddamn slow, you know?

And then the guy says, take it easy, man. Look, the signal goes to a satellite, okay? It comes back down to the airplane from a satellite.

Give me some goddamn time already. It's a long way to go, you know? It's gotta go up to outer space, hit this little satellite, how it hits a little satellite out of the whole space, and then it comes back to this plane, and you're on Facebook.

So if it's a little slow, just deal with it already. And then he says, and by the way, you're flying through the goddamn air in a chair made of steel, of iron, of iron in an iron chair. Of all the people who lived on this planet in history, you are flying through the air in a chair made of iron.

Like, be a little appreciative. You know? It was nice.

But what's it mean for us? No, it means big things can happen. Strange, weird things can happen.

Don't think there can't be a day when all the aspirins work, and when a car that doesn't work is unknown. There's no word for a car that's broken or a car that doesn't start. Like, if we understood how things work, if the cars are coming from cars, then okay, you can live on your planet A, and you can live like you are, hit or miss, gambling, and then dying, because you didn't do the gamble right, right?

You can go on like that. If things were coming from themselves, it's not so, what do you call it, tragic. But they're not.

The things are coming from you. And then to put up with a world where you get killed at the end, and you lose everything, that's a tragedy. That's a huge tragedy, you know?

And we don't, people on our planet, we're like, you know, try to work it out. Try to understand emptiness, right? And then those, don't tell me things can't change radically.

Don't tell me that anybody in the world for free can contact another person in the world instantaneously. Right? In any language, you got Google Translator?

I have whole conversations with people from the Ukraine, and it always ends with, I did this on Google Translator, please excuse if it's not quite right, you know? They just type Ukrainian into Google Translator, and they hit a button, and it changes it into this really interesting English.

[Говорящий 2] (1:30:14 - 1:30:18)
And, well, but we are working.

[Говорящий 1] (1:30:18 - 1:30:46)
We are doing projects together. And you know, every once in a while, there's some weird sentence, but isn't that amazing? Now, if you use Google Translator, it doesn't even matter if you don't speak the person's language.

You can have instant, and they have Chinese. You can do anything. So instantaneous communication between people of different languages in any part of the world for free.

[Говорящий 2] (1:30:46 - 1:30:47)
Do you know what that means?

[Говорящий 1] (1:30:47 - 1:31:44)
Yeah. Yeah, it does. You paste it into Google.

Yeah, you copy and paste. 300 word limit, okay? It's a little cumbersome that you're doing in the Encyclopedia Russia.

But don't tell me weird stuff can't happen, in your lifetime, in your lifetime. You must have some really weird karma because in your lifetime, it's become, this has happened in your lifetime, okay? You must be something special because this thing, which never existed in 50,000 years of recorded history, has happened in a few years of your life.

So don't tell me you can't take it a little further, all right? Okay, have a nice bed, all right? We'll do this more tomorrow, okay?

All right.