A talk dealing with Buddha, Dharma and Sangha. From The Three Jewels.
Discussion on the issues of developing and maintaining your own meditation practice.
Bringing attention to how you view things and bringing attention to intention. From The Eightfold Path 1.
Group contemplation: “I can’t know what this experience called life is — and I can’t know what follows it. So how do I live this life?” If tears are allowed in the zendo, why not laughter? From Death: Friend or Foe 6
A series of guided meditations beginning with “body like a mountain”, opening to the experience of the body sitting, free from any kind of effort, and grounding awareness in the present. With “breath like the sea”, opening to the constant movement of the breath, like the waves in the sea, up and down. Finally, “mind like the sky”, receiving everything that arises and not reacting or controlling. Participant experience at each stage of the process.
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A talk given at San Luis Obispo on how prayer and meditation are complementary spiritual practices.
Questions on the student-teacher relationship, taking responsibility for one’s own practice, and how to practice effectively without depending on external conditions.
Resting and looking; application: be completely in your experience at all times. From Heart Sutra Workshop 4
A two-part talk dealing with Buddha, Dharma and Sangha (the Three Jewels) and about appropriate efforts for the student. Part two of this talk is unavailable.
A talk on the three marks of existence.
Discussion and questions on the similarities and differences between prayer and meditation. Looking at the religious icons of Christ on the cross and the Buddha sitting in meditation. Descriptions of some different types of prayer – petitionary, centering, and unitive. Is meditation directed inward and prayer directed outward? Prayer as a way of building an emotional connection; meditation as a way of building capacity. Questions from participants.
Recorded shortly after a tsunami in Asia, this talk centers on using one’s reactions to sudden tragedies as a basis for practice.