Latest / Lama Lena Teachings / [3/3] Lama Lena at Centro Mahasandhi — Murcia, Spain (Sep 2018)

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[3/3] Lama Lena at Centro Mahasandhi — Murcia, Spain (Sep 2018) · Lama Lena Teachings

4:18
SPEAKER_01: Hola,
4:19
SPEAKER_01: quería recordaros que hoy es el último día y si en algún momento al final de la
4:28
SPEAKER_01: sesión alguien quiere hacerle una ofrenda o entregarle una cata o algo de eso,
4:33
SPEAKER_01: hoy es el mejor momento.
4:35
SPEAKER_01: Lo digo por si luego salís corriendo a buscar la cata,
4:38
SPEAKER_01: el sobre o lo que sea,
4:39
SPEAKER_01: que os lo podéis preparar ahora que vamos a empezar enseguida.
5:42
SPEAKER_01: Una aclaración respecto a las donaciones.
5:46
SPEAKER_01: Si alguien quiere hacerle una donación a la malina,
5:48
SPEAKER_01: hay unos sobres ahí que pone su nombre,
5:51
SPEAKER_01: metéis el dinero ahí y se lo dejáis directamente a ella al final de la sesión,
5:55
SPEAKER_01: cuando vaya a dar las bendiciones.
5:58
SPEAKER_01: Podéis dejarlo encima de la mesa y después le entregáis
6:05
SPEAKER_01: la cata si queréis y ella os
6:07
SPEAKER_01: la pone, os da la bendición y todo eso.
6:09
SPEAKER_01: Si queréis hacer donaciones al centro,
6:11
SPEAKER_01: que son destinadas
6:12
SPEAKER_01: a esta y otras muchas actividades para poderlas proporcionar de forma libre,
6:17
SPEAKER_01: esas donaciones las podéis hacer en las cajas de donaciones que hay,
6:21
SPEAKER_01: o el dinero directamente suelto o en los sobres que hay.
6:24
SPEAKER_01: ¿Vale?
6:26
SPEAKER_01: Gracias.
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SPEAKER_00: Text holder.
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SPEAKER_03: Text holder.
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SPEAKER_00: No, it's just to put this
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SPEAKER_03: in it so I don't lose it.
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Okay.
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[music]
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[music]
15:11
SPEAKER_00: So tonight, I believe you asked me to talk about Dzogchen.
15:16
SPEAKER_00: The thing with Dzogchen
15:28
SPEAKER_00: is,
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SPEAKER_00: It doesn't really fit into words.
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SPEAKER_00: None of the analogies quite go all the way.
15:53
SPEAKER_00: None of the analogies quite go all the way.
15:58
SPEAKER_02: Zogchen is about your own innate Buddha nature.
16:10
SPEAKER_02: Shokchen trata de vuestra propia naturaleza innata de Buda.
16:15
SPEAKER_00: Lo cual ya tenéis.
16:16
SPEAKER_03: No la podéis conseguir de ningún sitio.
16:18
SPEAKER_03: Ningún gran maestro os lo puede dar.
16:20
SPEAKER_03: Siempre ha estado ahí.
16:22
SPEAKER_02: Y siempre estará.
16:23
SPEAKER_02: No puedes romperlo.
16:38
SPEAKER_02: No lo podéis estropear.
16:40
SPEAKER_00: Pero para la mayoría de la gente es un poco difícil de darse
16:46
SPEAKER_02: cuenta de lo que es.
16:47
SPEAKER_02: El problema es que estamos obsesionados con las cosas.
16:50
SPEAKER_00: Y siempre habéis estado.
17:05
SPEAKER_00: We use the word in Tibetan, the equivalent of the word phenomena.
17:16
SPEAKER_00: To refer to inner and outer stuff.
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SPEAKER_02: Que se refiere a todas las cosas que son externas e internas, los fenómenos.
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SPEAKER_00: Inner phenomena.
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SPEAKER_02: Inner stuff.
17:32
SPEAKER_00: That's your thoughts and your feelings.
17:34
SPEAKER_02: Because it seems as if they are inside of you.
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SPEAKER_02: Outer phenomena or outer stuff.
17:37
SPEAKER_02: That's things.
17:38
SPEAKER_02: In glasses of water, trees, buildings, altars, statues.
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SPEAKER_02: Las estatuas, los vasos de agua, los árboles, las montañas, todo lo de fuera.
18:06
SPEAKER_00: Se llaman cosas de fuera o los fenómenos externos porque
18:10
SPEAKER_02: da la sensación o se
18:12
SPEAKER_02: sienten como si estuvieran
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SPEAKER_00: fuera o al lado de nosotros.
18:16
SPEAKER_02: Y esas son las cosas con las que nosotros nos obsesionamos.
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SPEAKER_00: Compulsivamente
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SPEAKER_02: le prestáis atención a vuestros
18:35
SPEAKER_02: pensamientos, vuestras emociones
18:38
SPEAKER_00: y a las cosas, a los fenómenos internos y externos.
18:41
SPEAKER_02: ¿A qué le habéis prestado atención hoy?
18:43
SPEAKER_02: Pensad en el día que lleváis experimentado
19:01
SPEAKER_00: What has your attention been focused on?
19:04
SPEAKER_02: What you think?
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SPEAKER_02: How you feel about
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SPEAKER_00: what you think?
19:09
SPEAKER_02: And the people
19:11
SPEAKER_00: and objects?
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SPEAKER_00: About what you are thinking?
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SPEAKER_02: Sobre los que habéis pensado?
19:29
SPEAKER_00: Anybody here have their attention on anything else today?
19:33
SPEAKER_02: Yeah, maybe not.
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SPEAKER_02: The thing is, your own innate Buddha nature, it's not a stuff, it's not a thought,
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SPEAKER_00: Because it is said to be inconceivable.
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SPEAKER_02: So you cannot think it.
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SPEAKER_02: Unthinkable, inconceivable.
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SPEAKER_02: It's not a feeling.
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SPEAKER_00: You can't surround it
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SPEAKER_02: with your feeling.
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SPEAKER_02: It is not happy or sad or blissful.
20:27
SPEAKER_00: You cannot surround it and composite.
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SPEAKER_02: And it's not an object made of metal or cloth.
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SPEAKER_02: This is why you haven't noticed it.
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SPEAKER_03: Because your attention is so firmly and obsessively focused on stuff.
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SPEAKER_03: It's a compulsion
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SPEAKER_02: for sentient beings.
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SPEAKER_02: To pay attention to phenomena.
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SPEAKER_02: You compulsively listen to your thoughts.
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SPEAKER_02: Compulsivamente escuchamos los pensamientos y los creemos.
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SPEAKER_00: Cada palabra que nos dicen.
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SPEAKER_00: Independientemente de lo estúpido que suene si lo
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SPEAKER_02: dijéramos en voz alta.
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SPEAKER_02: De hecho hay una práctica
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SPEAKER_00: As part of a Dzogchen
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SPEAKER_02: nundro.
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SPEAKER_00: Where you go off alone for a certain amount of time.
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SPEAKER_02: And say everything you think out loud.
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SPEAKER_02: Imagine what that would be like for five minutes.
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SPEAKER_02: Imaginaos lo que puede parecer eso en cinco minutos solo.
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SPEAKER_02: Lo que
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SPEAKER_02: hace esta práctica es permitirte darte cuenta
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SPEAKER_00: de lo estúpidos que son,
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SPEAKER_02: simplemente de lo estúpidos que son la
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SPEAKER_00: mayoría de los pensamientos.
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SPEAKER_02: Yo, mi mente, me gusta redecorar cosas.
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SPEAKER_02: A ella especialmente le gusta decorar las cosas con su mente.
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SPEAKER_01: Si me siento en silencio y dejo que la mente juegue
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SPEAKER_02: a su voluntad,
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SPEAKER_00: It will imagine furniture and put it in different places and clothes and put it
23:15
SPEAKER_00: on different people.
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SPEAKER_02: Apparently I'm not the only one with that one.
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SPEAKER_02: Some other person might always be thinking how something is made,
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SPEAKER_02: what's it made of, how is it put together.
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SPEAKER_02: Otras personas suelen pensar en cómo están hechas las cosas,
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SPEAKER_02: cómo ha surgido algo,
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SPEAKER_02: cómo aparece algo, de qué están hechas, de qué partes están hechas.
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SPEAKER_02: Otras personas suelen pensar en la gente que han conocido, en la gente con la que se encuentran.
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SPEAKER_00: However you personally do it,
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SPEAKER_02: Sin embargo, vosotros de forma personal lo hacéis.
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SPEAKER_00: When you are left to sit somewhere without a book,
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SPEAKER_00: when you are left in a waiting room to sit somewhere without a
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SPEAKER_02: book,
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SPEAKER_00: without a book or a television or someone to talk to,
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SPEAKER_02: you won't just sit there.
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SPEAKER_02: No te vas a sentar simplemente.
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SPEAKER_00: You will start telling yourself stories about your favorite thing
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SPEAKER_00: to tell yourself stories about.
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SPEAKER_02: And you know, while you're thinking these stories, you believe them.
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SPEAKER_02: You think you're saying true things.
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SPEAKER_02: Pensáis que estáis diciendo cosas reales,
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SPEAKER_02: verdaderas, y luego tenéis emociones
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SPEAKER_00: sobre ellas.
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SPEAKER_02: Las emociones son con respecto a las historias que os contáis a vosotros mismos.
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SPEAKER_00: Por ejemplo,
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SPEAKER_02: digamos que yo soy vuestra profesora o vuestra maestra.
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SPEAKER_00: And you have great passionate devotion for me.
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SPEAKER_00: And you run into me in the grocery store.
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SPEAKER_02: And what?
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SPEAKER_00: You encounter me in the market.
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SPEAKER_02: And
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SPEAKER_00: I look at you like
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SPEAKER_02: this.
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SPEAKER_00: What do you think?
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SPEAKER_00: What story do you then tell yourself?
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SPEAKER_03: Can you imagine the stories you will tell yourself?
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SPEAKER_00: But really, I am just trying not to fart.
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SPEAKER_02: Es que lo que realmente estaba intentando es no tirarse un pedo.
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SPEAKER_00: Because there's a good one coming and I've encountered you to try to interact
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SPEAKER_00: because you are my student and I care how you feel.
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SPEAKER_00: But I am so busy trying not to fart that...
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SPEAKER_02: Does this not happen?
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SPEAKER_02: No ocurre eso, no nos ocurre ese tipo de cosas.
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SPEAKER_00: If not personally with your teacher, perhaps with your crush.
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SPEAKER_00: Would you say crush?
27:01
SPEAKER_00: There's usually someone you think is very cute,
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SPEAKER_00: but you are too shy to make their acquaintance,
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SPEAKER_00: or they are older than you are for some reason,
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SPEAKER_00: but you really, they are in your fantasy, but they are not in your life.
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SPEAKER_00: So we call that person a crush, your crush.
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SPEAKER_00: Children have it for their teachers when they are teenagers.
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SPEAKER_02: Like a platonic love?
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SPEAKER_00: No, not anything fancy like platonic love.
27:31
SPEAKER_00: Let's see.
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SPEAKER_00: Okay, you are very attractive.
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SPEAKER_02: Yeah, you.
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SPEAKER_00: Such a nice beard.
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SPEAKER_00: We don't really know each other that well.
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SPEAKER_00: We have known each other for a couple of years, but only here.
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SPEAKER_02: No nos conocemos demasiado,
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SPEAKER_02: nos hemos visto aquí un par de años,
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SPEAKER_02: un par de veces, pero no nos conocemos todavía mucho.
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SPEAKER_02: Si
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SPEAKER_00: fuera joven,
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SPEAKER_00: a lo mejor con 20 años,
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SPEAKER_00: un hombre
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SPEAKER_02: que se te pareciera,
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SPEAKER_02: o sea, con tu apariencia y que cruzara la habitación, ella pensaría mucho en ti.
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SPEAKER_00: You would not even want to know what I was thinking if
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SPEAKER_02: I were 20.
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SPEAKER_00: But remembering being 20 and you being a grown adult,
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SPEAKER_00: I would not approach you, I would not come to you and say something.
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SPEAKER_02: Pero si ella recuerda en sus 20 años y tú fueras adulto,
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SPEAKER_02: no iría y te diría nada, no se atrevería.
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SPEAKER_02: Sería todavía tímida para ir a decirte nada.
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SPEAKER_02: Sería muy tímida, tendría vergüenza de ir a decirte nada.
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SPEAKER_02: Pero tendría muchos pensamientos.
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SPEAKER_00: Hay una palabra en inglés
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SPEAKER_02: que se refiere a ese tipo de sentimiento, ¿no?
29:05
SPEAKER_02: Que se dice, él es mi crush.
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SPEAKER_02: Es que en español no sé cómo dice.
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SPEAKER_00: Idealizar.
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SPEAKER_00: Que no es una relación real, es como una relación
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SPEAKER_02: imaginaria, ¿no?
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SPEAKER_02: Sí, y los jóvenes lo sienten mucho, los adolescentes, hacia los famosos, ¿no?
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SPEAKER_00: Hacia las estrellas de cine y todo eso.
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SPEAKER_02: Ídolos, sí.
29:27
SPEAKER_02: Toda esta explicación era para una palabra.
29:43
SPEAKER_00: Lo que está tratando de explicar toda esta historia también es
29:54
SPEAKER_02: para explicar que ese
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SPEAKER_02: tipo de imaginaciones que nosotros nos hacemos o como la historia cuando dice me
30:02
SPEAKER_02: encuentro en el mercado contigo,
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SPEAKER_02: dice y tú te haces una historia con eso que te crees que estoy enfadada contigo y es
30:09
SPEAKER_02: una emoción que sientes y que tienes que digerir.
30:20
SPEAKER_00: So you are all familiar with these stories you can make up.
30:23
SPEAKER_02: But you believe them.
30:27
SPEAKER_00: But you believe them.
30:30
SPEAKER_00: While you are thinking them.
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SPEAKER_02: Mientras las estamos pensando.
30:33
SPEAKER_00: Oh, ten years later you can look back and say how could I believe that?
30:37
SPEAKER_00: But in the moment you believe it.
30:39
SPEAKER_02: Diez años después puedes mirar hacia atrás y decir, madre mía, ¿cómo podría yo creerme esto?
30:45
SPEAKER_02: Pero en ese momento te lo crees totalmente.
30:50
SPEAKER_00: Entonces tenéis muchas emociones.
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SPEAKER_02: Lloráis, os reís acerca de cosas que ni siquiera a lo mejor están
30:56
SPEAKER_00: ocurriendo o han ocurrido.
31:08
SPEAKER_00: Simplemente las creáis con vuestros pensamientos.
31:10
SPEAKER_02: O también puede pasar al contrario.
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SPEAKER_00: O de otra manera, que es que te levantas por la mañana y no te queda café.
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SPEAKER_02: No hay café.
31:35
SPEAKER_00: Your mood because of this thing is bad.
31:42
SPEAKER_02: Or
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SPEAKER_02: maybe
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SPEAKER_00: it is not a matter of no coffee.
31:50
SPEAKER_00: You wake up one morning and it is the day before your period.
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SPEAKER_02: And you're just in a bad mood.
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SPEAKER_02: No story.
32:07
SPEAKER_00: And your roommate, your friend comes and says, good morning.
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SPEAKER_02: And you tell yourself now a story about how terrible they are.
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SPEAKER_00: And maybe even you tell them.
32:30
SPEAKER_02: Al contrario,
32:30
SPEAKER_02: quiere decir que primero tienes la sensación y el mal humor y después te montas la
32:35
SPEAKER_02: historia para justificar ese mal humor.
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SPEAKER_02: Primero hay una emoción y después haces historias
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SPEAKER_00: para explicarlas.
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SPEAKER_00: A lo mejor te levantas enfadado
32:58
SPEAKER_00: You look for what is wrong in your life to make you sad.
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SPEAKER_02: Or you will find something.
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SPEAKER_02: Maybe your car is the wrong color.
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SPEAKER_02: Your car is not the color you would like.
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SPEAKER_00: Really, if you look, you will find something.
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SPEAKER_02: You
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SPEAKER_00: all familiar with this?
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SPEAKER_00: So part of it is the most of it is the obsession with thoughts and feelings.
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SPEAKER_02: But in general what we are having the thoughts and feelings about
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SPEAKER_02: Our external perceptions.
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SPEAKER_02: We have our thoughts and feelings about our car,
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SPEAKER_00: our house, our friends,
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SPEAKER_02: our lovers, our babies.
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SPEAKER_00: Most of your thoughts and feelings
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SPEAKER_02: And how it's not good enough.
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SPEAKER_02: Your car could be cleaner.
34:27
SPEAKER_00: Your house needs some work.
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SPEAKER_02: La casa necesita arreglarla.
34:56
SPEAKER_00: Y alguno de tus amigos no te quiere de la forma perfecta.
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SPEAKER_02: Ninguno de ellos te quiere de la forma perfecta.
35:03
SPEAKER_02: O sea que estamos insatisfechos.
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SPEAKER_02: La razón por la que hablamos de todo
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SPEAKER_00: esto es para que dirijáis vuestra atención
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SPEAKER_02: otra dirección todos juntos.
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SPEAKER_00: First we need to understand what has distracted us from our Buddha nature.
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SPEAKER_02: Which is not thoughts, feelings and perceptions.
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SPEAKER_02: It's our obsession.
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SPEAKER_00: Con los pensamientos, sentimientos y percepciones.
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SPEAKER_02: No hay nada malo en tener emociones y sentimientos.
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SPEAKER_00: Y el pensamiento también puede ser un gran placer y gozo.
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SPEAKER_02: Por ejemplo, jugar al ajedrez.
36:00
SPEAKER_02: ¿Os gustan los puzzles?
36:01
SPEAKER_02: Estáis pensando en eso.
36:20
SPEAKER_00: Percibir la belleza.
36:25
SPEAKER_00: Símbolos.
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SPEAKER_00: No hay nada malo en los pensamientos, las percepciones y los sentimientos.
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SPEAKER_02: No tenemos que eliminarlos ni huir de ellos.
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SPEAKER_02: La cuestión es parar de estar obsesionados con ellos.
36:50
SPEAKER_00: The obsession is the problem, not what it is aimed at.
36:54
SPEAKER_02: Some people think that having equanimity means not having feelings.
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SPEAKER_02: This is not correct.
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SPEAKER_02: Equanimity is not a lack of feeling.
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SPEAKER_02: It's not minding having feelings.
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SPEAKER_00: For example, when you are angry, someone has parked
37:25
SPEAKER_02: and scratched your car and said,
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SPEAKER_02: And so you are angry.
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SPEAKER_02: A good reason.
37:45
SPEAKER_02: But you don't like the feeling of being angry.
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SPEAKER_02: You want that feeling to go away.
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SPEAKER_02: It is tight, it is here.
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SPEAKER_02: You don't like it.
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SPEAKER_02: So you want to release it.
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SPEAKER_02: What releases your anger?
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SPEAKER_02: Get him.
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SPEAKER_02: You will feel much better.
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SPEAKER_02: And now he's angry.
38:44
SPEAKER_00: But you have released your anger.
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SPEAKER_00: To need to release your anger.
38:54
SPEAKER_00: To be unable to accept being angry.
38:58
SPEAKER_02: Ser incapaz de aceptar que estás enfadado.
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SPEAKER_00: The pure sensation of it.
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SPEAKER_02: This leads to the two extremes.
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SPEAKER_02: Of
39:15
SPEAKER_00: suppressing your anger.
39:16
SPEAKER_02: I'm a good Dharma student.
39:18
SPEAKER_02: I never get angry.
39:20
SPEAKER_02: What?
39:21
SPEAKER_00: I'm a good Dharma student.
39:23
SPEAKER_02: I never get angry.
39:24
SPEAKER_00: Or acting out your anger.
39:38
SPEAKER_02: O actuar con rabia, ¿no?
39:41
SPEAKER_02: Dejarte llevar por ella.
39:44
SPEAKER_02: Para aliviarte y que se vaya.
39:46
SPEAKER_00: La próxima vez que tengáis una emoción
39:51
SPEAKER_02: fuerte, tratar de no hacer ninguna de esas dos cosas.
39:52
SPEAKER_02: No las suprimas.
40:06
SPEAKER_00: Don't try to get rid
40:07
SPEAKER_00: of it by acting it out.
40:10
SPEAKER_02: No hagáis ninguna de esas cosas para conseguir deshaceros del sentimiento.
40:15
SPEAKER_02: Aceptar el sentimiento.
40:33
SPEAKER_00: Con equanimidad de la sensación del sentimiento.
40:37
SPEAKER_02: La rabia, el miedo, el deseo, la soledad y la pérdida.
41:03
SPEAKER_00: Los celos y la competitividad, incluso la
41:08
SPEAKER_03: depresión, no merece la pena.
41:10
SPEAKER_03: Todos esos sentimientos o emociones,
41:16
SPEAKER_00: la próxima vez
41:18
SPEAKER_02: que los sintáis y sean fuertes,
41:33
SPEAKER_00: No hagáis nada con ello.
41:35
SPEAKER_00: Dejadlo ser.
41:35
SPEAKER_02: Sentirlos.
41:37
SPEAKER_02: No rechacéis los sentimientos.
41:42
SPEAKER_03: No me quiero sentir así.
41:42
SPEAKER_03: Tampoco agarréis el sentimiento.
42:01
SPEAKER_02: Quiero sentir más de esto.
42:03
SPEAKER_02: No solo se hace con los sentimientos negativos.
42:06
SPEAKER_00: Cuando uno se enamora,
42:07
SPEAKER_00: la felicidad, un sabor
42:09
SPEAKER_02: delicioso y el placer de sentirlo, todos los sentimientos
42:32
SPEAKER_00: Leave them be.
42:38
SPEAKER_00: There's more to it,
42:41
SPEAKER_00: but I want to talk just for a moment
42:45
SPEAKER_00: about the perceptions about
42:48
SPEAKER_00: which you're having your feelings.
42:53
SPEAKER_01: Hay más que decir de todo esto,
42:56
SPEAKER_01: pero primero quisiera hablar más sobre The external phenomena,
43:06
SPEAKER_00: the external phenomena,
43:11
SPEAKER_00: that you are experiencing with your six sense organs,
43:15
SPEAKER_01: sight and sound, scent and taste, olfato, gusto,
43:30
SPEAKER_01: Touch.
43:33
SPEAKER_00: And... Yeah!
43:39
SPEAKER_00: Okay, feel that sensation there?
43:41
SPEAKER_01: That's your Yi.
43:41
SPEAKER_01: It feels neurotransmitters.
43:42
SPEAKER_00: If I effectively startled you,
43:58
SPEAKER_00: If I actually startled you,
44:00
SPEAKER_00: if you were truly startled,
44:06
SPEAKER_00: your adrenal glands on top of your kidneys
44:09
SPEAKER_01: would release adrenaline,
44:11
SPEAKER_01: you would jump, you would feel shaky,
44:24
SPEAKER_01: And
44:27
SPEAKER_00: you would have a very strong feeling right here.
44:34
SPEAKER_00: Since I've probably done this to you before to show you where your Yi is,
44:38
SPEAKER_01: some of you weren't startled.
44:39
SPEAKER_01: But maybe some were and now can feel this.
44:41
SPEAKER_01: So you have six sense organs.
44:53
SPEAKER_01: Pero algunos sí que puede que lo hayáis sentido, ¿no?
44:55
SPEAKER_01: O sea que si lo experimentáis, esos son nuestros seis órganos
44:59
SPEAKER_00: de los sentidos.
45:02
SPEAKER_00: El Yi percibe lo que en la medicina científica
45:08
SPEAKER_00: a menudo se
45:09
SPEAKER_01: llama el componente físico de la emoción.
45:21
SPEAKER_01: ¿Tiene sentido esto para vosotros?
45:27
SPEAKER_01: O sea, que se percibe con los seis órganos de los sentidos
45:33
SPEAKER_00: que percibimos todos los
45:34
SPEAKER_00: fenómenos externos.
45:36
SPEAKER_01: Percibís a otras personas, los objetos, completamente con los órganos de los sentidos.
45:54
SPEAKER_01: If your sense organs were not working,
46:01
SPEAKER_00: you would have no perception of any world around you.
46:04
SPEAKER_01: Sometimes in America we have a tank.
46:08
SPEAKER_01: It's like a giant bathtub.
46:20
SPEAKER_00: That you float in in the dark with salt water and a breather so you can't feel anything.
46:28
SPEAKER_00: And people pay to spend half an hour or an hour without any physical sensations as a relaxation.
46:36
SPEAKER_01: In America, well,
46:37
SPEAKER_01: and here in Murcia,
46:38
SPEAKER_01: we have what is called the Flottarium,
46:41
SPEAKER_01: which is a camera where you put and float in a hot water And then it's all closed,
46:50
SPEAKER_01: dark, so all your senses do not perceive anything.
46:52
SPEAKER_01: So it's like a therapy for relaxation.
46:55
SPEAKER_01: People pay for being there for half an hour and relaxing and not feeling anything.
47:00
SPEAKER_00: People like to do this because
47:01
SPEAKER_00: then their imagination makes up many interesting sensations and dreams.
47:06
SPEAKER_01: People like to do that because then your imagination is very free and begins
47:11
SPEAKER_01: to have many kinds of sensations, dreams,
47:15
SPEAKER_01: Pero tú
47:15
SPEAKER_00: pierdes los sentidos de todo el mundo que
47:18
SPEAKER_01: te rodea.
47:18
SPEAKER_00: Pero sabes que está ahí.
47:36
SPEAKER_00: O sea, quiere
47:38
SPEAKER_01: decir,
47:39
SPEAKER_01: todo el mundo que te rodea se pierde,
47:41
SPEAKER_01: porque tú solamente sabes que el mundo está ahí porque lo percibes
47:44
SPEAKER_01: a través de los sentidos.
47:45
SPEAKER_01: Es solo cuando lo ves,
47:46
SPEAKER_01: cuando lo oyes, cuando lo escuchas, cuando lo sientes, que tú puedes saber que está.
47:50
SPEAKER_01: Entonces, al perder esa conexión, el mundo entero desaparece para ti.
47:56
SPEAKER_01: Entonces pensamos como personas que vemos con nuestros ojos.
48:04
SPEAKER_01: You think so, yes?
48:07
SPEAKER_00: But if you inspect in medical science and physically how the eyeball works,
48:14
SPEAKER_01: in the retina there are rods and cones.
48:33
SPEAKER_00: Creo que ya he dicho esto antes aquí.
48:35
SPEAKER_01: Los conos perciben
48:36
SPEAKER_00: los colores.
48:37
SPEAKER_00: Y los bastones perciben la forma.
48:38
SPEAKER_00: La mayoría de los conos están en el centro de
48:43
SPEAKER_01: la retina.
48:58
SPEAKER_00: And the cones need a lot of light to perceive well.
49:05
SPEAKER_00: The rods do shape, they're on the edges of the retina.
49:08
SPEAKER_01: And they don't see much color.
49:10
SPEAKER_01: That's why at night it's hard to see what color something really is.
49:12
SPEAKER_01: That's why... At night, in the dark,
49:27
SPEAKER_01: So what's happening is your rods and your cones are reacting to light.
49:30
SPEAKER_01: One kind is reacting
49:32
SPEAKER_00: to the wavelength.
49:34
SPEAKER_00: Uno reacciona a las ondas de luz.
49:53
SPEAKER_00: And the other, the rods are reacting to there is or is not light.
50:01
SPEAKER_00: This is not seeing.
50:05
SPEAKER_00: These two different kinds of cells making a reaction send a signal through
50:12
SPEAKER_00: the neurons, or as we say in Tibet, transmit puffs of chi through the nadis.
50:22
SPEAKER_01: They come through here,
50:23
SPEAKER_01: where the two separate sets from the two different eyes are coordinated in
50:28
SPEAKER_01: the chakra back here.
50:48
SPEAKER_01: Also here the rods and the cones, the shapes and the colors come together.
50:53
SPEAKER_01: But you still can't see anything.
50:56
SPEAKER_01: It is not until the chi descends to here.
51:23
SPEAKER_00: That you can recognize an object.
51:28
SPEAKER_00: It's very interesting, it's not the eyeballs doing it.
51:34
SPEAKER_00: Western science says the recognition is after it goes through here, it comes back into here.
51:40
SPEAKER_01: In the Western science,
51:42
SPEAKER_01: it says that after the recognition is done here,
51:44
SPEAKER_01: it comes back to another area around the front, in the brain.
51:50
SPEAKER_00: The Tibetans say that after it transverse the eyes,
51:54
SPEAKER_00: it goes through form where shape is made, which is here, and then it goes back here.
51:59
SPEAKER_01: However, the Tibetans say that first they join in the front and then they go back.
52:07
SPEAKER_01: Either way, in any of the two cases, When you
52:11
SPEAKER_01: see something with your eyes,
52:16
SPEAKER_00: you name it.
52:19
SPEAKER_00: You recognize it as a specific individual object.
52:24
SPEAKER_01: Even if you don't particularly know what it is, you thought some kind of word when I
52:37
SPEAKER_01: The point I'm trying to show you here is that your perceptions are not in the organs.
52:40
SPEAKER_01: The organs just
52:42
SPEAKER_00: give you sensations.
52:43
SPEAKER_01: For a sensation to become a perception, it needs to be interpreted.
53:05
SPEAKER_01: For a sensation to become a perception, it must be interpreted.
53:08
SPEAKER_01: They did a terrible experiment back in Nazi Germany,
53:28
SPEAKER_01: Se hizo algún experimento de estos horribles en Alemania,
53:34
SPEAKER_01: donde se colocaba a los bebés,
53:36
SPEAKER_01: se los ponía en oscuridad durante el primer año y se volvían ciegos.
53:41
SPEAKER_01: Incluso sus ojos, aunque sus ojos reaccionaran a la luz.
53:57
SPEAKER_00: They could not interpret.
54:03
SPEAKER_00: Recently, they found ways of doing transplants to parts of the retina to let blind people see.
54:13
SPEAKER_00: Recently,
54:15
SPEAKER_00: in medicine,
54:16
SPEAKER_00: within the past 10,
54:17
SPEAKER_00: 15 years,
54:18
SPEAKER_00: they have been able to transplant parts of the retina so that blind people may see.
54:24
SPEAKER_01: Only they don't see.
54:25
SPEAKER_01: It doesn't work.
54:26
SPEAKER_01: The retina works fine.
54:27
SPEAKER_01: The people who have had this transplant complain of very confusing sensations.
54:51
SPEAKER_01: La gente que se ha hecho este tipo de retina,
54:53
SPEAKER_01: de trasplante, se queja de tener unas sensaciones muy confusas.
54:58
SPEAKER_00: Pero no ven.
54:59
SPEAKER_00: Porque no tienen el entrenamiento de la transmisión y tampoco su propio
55:04
SPEAKER_00: entrenamiento de interpretar aquello que están viendo.
55:20
SPEAKER_01: Los estímulos que están recibiendo.
55:23
SPEAKER_00: Todo esto es para guiar vuestro intelecto
55:25
SPEAKER_01: para que entendáis que vuestras
55:27
SPEAKER_01: percepciones no están fuera de vosotros.
55:30
SPEAKER_00: Las hacéis con vuestra mente.
55:33
SPEAKER_00: Las creáis.
55:34
SPEAKER_01: Las interpretáis.
55:49
SPEAKER_00: E
55:52
SPEAKER_01: interpretáis las sensaciones de vuestros
55:56
SPEAKER_00: seis órganos.
55:58
SPEAKER_01: Como si fueran esto
56:01
SPEAKER_00: o aquello.
56:02
SPEAKER_01: Y así es como percibís todo el mundo.
56:07
SPEAKER_00: ¿Entendéis este punto?
56:10
SPEAKER_00: Es importante, otherwise your intellect will argue with other things later.
56:15
SPEAKER_01: Es importante que todo esto lo tengáis claro porque si no vuestro intelecto va
56:19
SPEAKER_01: a entrar un poco en discursión con lo que va a enseñar después,
56:23
SPEAKER_01: va a entrar en conflicto con lo que venga después.
56:25
SPEAKER_01: Es importante que esto se quede claro para todo el mundo.
56:29
SPEAKER_00: Hay cuatro wongs de Zogchen.
56:31
SPEAKER_00: Hay cuatro tipos de iniciaciones o empoderamientos
56:35
SPEAKER_01: en Zogchen.
56:35
SPEAKER_01: La primera es pacificar el intelecto.
56:43
SPEAKER_01: El primero es pacificar el intelecto,
56:46
SPEAKER_00: explicando
56:49
SPEAKER_01: las cosas de forma lógica.
56:53
SPEAKER_00: ¿Entendéis de esta manera cómo tenéis percepciones
57:00
SPEAKER_01: de las cuales pensáis o tenéis
57:01
SPEAKER_01: pensamientos y tenéis un puñado de sensaciones?
57:13
SPEAKER_01: Of your six sense organs.
57:19
SPEAKER_00: With your mind, you interpret these sensations as a
57:23
SPEAKER_01: perception.
57:24
SPEAKER_01: He is wearing red pants.
57:27
SPEAKER_00: It's a perception.
57:28
SPEAKER_01: It's my interpretation
57:29
SPEAKER_00: that you are male.
57:32
SPEAKER_01: Could be wrong.
57:42
SPEAKER_01: Pero puede que me esté equivocando.
57:44
SPEAKER_00: Y que esos son unos pantalones y no es un doti.
57:47
SPEAKER_01: Desde este ángulo la verdad es que no lo podría jurar.
57:49
SPEAKER_00: O sea que yo ya he construido algo acerca de lo que he percibido.
57:53
SPEAKER_01: Y entonces ya me cuento yo ciertas historias sobre tus pantalones rojos.
58:12
SPEAKER_00: How wearing red pants with a white t-shirt.
58:15
SPEAKER_01: Cómo queda el pantalón rojo con la camisa blanca.
58:17
SPEAKER_00: Que simbolizan el fuego del tumo con la sustancia blanca del chakra del corazón y en
58:24
SPEAKER_00: su...
58:25
SPEAKER_01: Perdón, el chakra de la coronilla y cómo tienen una forma de unirse el uno al otro.
58:39
SPEAKER_00: I made that story up out of my past experience.
58:41
SPEAKER_00: I bet you weren't thinking that when you got dressed this morning.
58:45
SPEAKER_01: Okay, now I have a perception.
58:48
SPEAKER_01: Which is my interpretation of a visual input.
59:06
SPEAKER_00: Una historia que me cuento a mí misma acerca de eso
59:09
SPEAKER_01: que estoy viendo.
59:09
SPEAKER_01: Y ahora me gustas.
59:10
SPEAKER_01: Porque me gusta tu gusto de vestir.
59:11
SPEAKER_01: Por todos los símbolos que tiene para mí
59:13
SPEAKER_00: en mi propia historia que yo me
59:14
SPEAKER_01: he contado
59:15
SPEAKER_01: sobre cómo vas vestido.
59:28
SPEAKER_01: Now I'm having a feeling about a story I told myself about an interpretation of a sensation.
59:34
SPEAKER_01: That's what you're doing all the time.
59:35
SPEAKER_01: This is why we say
59:58
SPEAKER_00: All phenomena arises in mind.
1:00:01
SPEAKER_01: There is no phenomena that is other than that
1:00:04
SPEAKER_00: which arises in mind.
1:00:05
SPEAKER_00: And this is very important.
1:00:06
SPEAKER_00: The second one
1:00:25
SPEAKER_01: El segundo wong,
1:00:27
SPEAKER_01: como hemos
1:00:28
SPEAKER_00: dicho que era wong,
1:00:31
SPEAKER_01: todavía, o sea,
1:00:32
SPEAKER_01: para el segundo wong de Sochen,
1:00:34
SPEAKER_01: que es como el segundo empoderamiento de Sochen,
1:00:38
SPEAKER_01: aún se usan palabras y
1:00:40
SPEAKER_00: se hace a través de las analogías.
1:00:43
SPEAKER_01: Pero para que podáis seguir las analogías, tengo que recordarles que
1:00:54
SPEAKER_01: Tengo que recordaros rápidamente
1:00:57
SPEAKER_01: cómo medita uno, cómo se medita.
1:01:03
SPEAKER_00: Acordaros de que hay enseñanzas del cuerpo, del habla y de la mente.
1:01:08
SPEAKER_01: Las enseñanzas del cuerpo son sentarse recto con los canales alineados.
1:01:23
SPEAKER_00: Either in a full lotus,
1:01:28
SPEAKER_00: or a half
1:01:28
SPEAKER_01: lotus,
1:01:31
SPEAKER_00: and with the right leg in front and the left leg behind,
1:01:35
SPEAKER_01: or in the kneeling position of the Japanese,
1:01:38
SPEAKER_01: or in the Maitreya position which uses a chair.
1:01:54
SPEAKER_00: To avoid doing yourself mischief,
1:02:03
SPEAKER_00: it is necessary to sit in one of these positions.
1:02:06
SPEAKER_01: If you are sitting in a different position,
1:02:08
SPEAKER_01: in which your back is slightly curved like this from the tailbone,
1:02:20
SPEAKER_01: You can cause yourself a depression.
1:02:23
SPEAKER_01: If you are sitting like this, leaning back, feet sticking out,
1:02:26
SPEAKER_00: you can cause yourself insomnia.
1:02:51
SPEAKER_00: And if you are sitting with your legs crossed and your body twisted,
1:02:55
SPEAKER_01: you will only feed your neurosis.
1:02:56
SPEAKER_01: Therefore it is important to work on the body position.
1:03:15
SPEAKER_01: Trabajar en las posiciones del cuerpo.
1:03:17
SPEAKER_00: Tener un asiento que
1:03:19
SPEAKER_01: te apoye, que te dé apoyo o soporte.
1:03:24
SPEAKER_00: Utilizar un cinturón de meditación si es que eso te sirve.
1:03:29
SPEAKER_01: Y hay otras formas de sentarse para otras prácticas.
1:03:32
SPEAKER_01: Different positions than this for Togyal.
1:03:45
SPEAKER_01: And for other yogic exercises or practices.
1:03:48
SPEAKER_00: But for the direct perception of mind as it is, these are the positions used.
1:03:53
SPEAKER_01: That's the teaching of the body.
1:03:54
SPEAKER_01: The teaching of the speech is very simple.
1:04:14
SPEAKER_01: Las enseñanzas del habla son muy simples.
1:04:18
SPEAKER_00: Cállate.
1:04:18
SPEAKER_01: ¿Tú sabes esa pequeña
1:04:22
SPEAKER_00: voz que tienes ahí que te está hablando continuamente?
1:04:24
SPEAKER_01: Esa que te va diciendo lo que está ocurriendo,
1:04:26
SPEAKER_01: lo describe todo, lo que va a pasar después, etc.
1:04:28
SPEAKER_01: Esa es la que tienes que callar.
1:04:43
SPEAKER_00: But if you cannot shut it up,
1:04:47
SPEAKER_00: because you don't know where your switch is,
1:04:52
SPEAKER_00: then at least, if you can't turn the engine off, at least put it in neutral.
1:04:57
SPEAKER_01: Or as Guru Rinpoche said, Shanta Slast,
1:05:11
SPEAKER_00: Shunt aside the sluice gate of your water wheel.
1:05:15
SPEAKER_01: What?
1:05:16
SPEAKER_00: Never mind.
1:05:17
SPEAKER_01: Sorry.
1:05:19
SPEAKER_00: That was just the original.
1:05:21
SPEAKER_00: You'll find it in the text eventually.
1:05:26
SPEAKER_00: With your speech either in silence or relaxed and making no sense.
1:05:34
SPEAKER_01: Con vuestra voz en silencio o relajada para que no haga...
1:05:42
SPEAKER_01: No ha mucho ruido, no tenga mucho sentido, no tenga mucha fuerza.
1:05:48
SPEAKER_01: Los labios ligeramente
1:05:54
SPEAKER_00: abiertos.
1:05:55
SPEAKER_01: También los dientes ligeramente
1:06:00
SPEAKER_00: abiertos.
1:06:01
SPEAKER_01: Es como que la lengua por las esquinas se coloca entre los dientes y los deja un
1:06:06
SPEAKER_01: poquito abiertos.
1:06:08
SPEAKER_00: While sitting naturally on the roof of the mouth.
1:06:10
SPEAKER_01: Y es como que se aposenta naturalmente detrás de la punta del paladar.
1:06:16
SPEAKER_00: También hay otras prácticas en las que se hacen cosas distintas
1:06:19
SPEAKER_01: con la lengua.
1:06:20
SPEAKER_01: Pero en esta práctica se deja aposentada de forma natural detrás del paladar
1:06:39
SPEAKER_01: O sea, detrás de los dientes delante,
1:06:42
SPEAKER_01: que es lo que se hace en esta práctica de la percepción directa,
1:06:45
SPEAKER_01: que se llama trecho o gom, depende de...
1:06:48
SPEAKER_00: Now, your eyes are the key.
1:06:51
SPEAKER_01: Your eyes?
1:06:52
SPEAKER_00: Your eyes are the key to this, the most important.
1:06:55
SPEAKER_00: Your back being straight and what you do with your eyes.
1:06:58
SPEAKER_00: These are most important.
1:06:59
SPEAKER_01: La parte más importante es lo que se hace con los ojos.
1:07:03
SPEAKER_00: When you look at something,
1:07:07
SPEAKER_00: You pay attention to what you are looking at.
1:07:09
SPEAKER_01: Prestas atención a eso que estás mirando.
1:07:12
SPEAKER_00: In fact, you can't not.
1:07:15
SPEAKER_01: Pero de hecho, no puedes.
1:07:19
SPEAKER_00: I want you to look at this and not pay any attention to it.
1:07:23
SPEAKER_01: De hecho, no puedes no hacerlo.
1:07:24
SPEAKER_01: O sea, le gustaría que miréis a esto y no le prestéis atención.
1:07:28
SPEAKER_00: Miradlo con vuestros ojos, con vuestro ojo
1:07:31
SPEAKER_01: físico, pero no le prestéis atención.
1:07:32
SPEAKER_01: ¿Ves lo que quiero decir?
1:07:38
SPEAKER_01: The attention follows the gaze.
1:07:41
SPEAKER_01: If I
1:07:47
SPEAKER_00: tell you to look over here, your attention will go over here.
1:07:50
SPEAKER_01: This is a wonderful thing because now we have a way of aiming our attention
1:07:54
SPEAKER_01: by using our eyeballs.
1:08:06
SPEAKER_01: Y esto es algo genial porque ahora tenemos un objetivo de cómo podemos,
1:08:11
SPEAKER_01: o sea, nosotros podemos dirigir nuestra atención
1:08:16
SPEAKER_01: utilizando nuestros
1:08:18
SPEAKER_00: ojos.
1:08:20
SPEAKER_00: Lo que quieres hacer
1:08:23
SPEAKER_01: es permitir la mirada,
1:08:27
SPEAKER_01: que vuestra mirada,
1:08:28
SPEAKER_00: to naturally and approximately follow the line of your nose outward and down.
1:08:34
SPEAKER_01: De forma natural siga la línea de vuestra nariz hacia abajo en la misma línea
1:08:43
SPEAKER_00: de la
1:08:44
SPEAKER_00: nariz y que miréis el punto que hay en
1:08:51
SPEAKER_01: el suelo siguiendo la línea de la nariz o
1:08:57
SPEAKER_01: la persona que os caiga delante o donde sea que esa línea de la nariz termine,
1:09:01
SPEAKER_01: que miréis ese punto.
1:09:04
SPEAKER_00: Now, those of you wearing glasses,
1:09:10
SPEAKER_00: you will find it much easier to do this if you take them
1:09:14
SPEAKER_01: off.
1:09:17
SPEAKER_00: You have the advantage of having something you can take off.
1:09:21
SPEAKER_01: Because what you have to do is first look,
1:09:32
SPEAKER_00: And then relax the focus of your eyes.
1:09:43
SPEAKER_00: Do you remember
1:09:46
SPEAKER_00: back in college or high school
1:09:49
SPEAKER_01: when you learned what is perhaps
1:09:50
SPEAKER_01: the most important skill of your education?
1:09:59
SPEAKER_01: How to sleep with your eyes open.
1:10:01
SPEAKER_01: We learn this in school.
1:10:02
SPEAKER_01: When the teacher is boring.
1:10:02
SPEAKER_01: And we have been up all night with a friend or a good book.
1:10:26
SPEAKER_01: Do that with your eyes.
1:10:27
SPEAKER_01: Relax them so completely.
1:10:28
SPEAKER_01: That they are not focused.
1:10:29
SPEAKER_00: This will allow your attention.
1:10:34
SPEAKER_01: To relax its point focus.
1:10:57
SPEAKER_01: Relajarse en su punto de enfoque.
1:11:00
SPEAKER_00: Y de hecho es en el punto de enfoque
1:11:03
SPEAKER_00: al que has estado prestando la atención de forma obsesiva a tus pensamientos,
1:11:08
SPEAKER_00: sensaciones y percepciones.
1:11:10
SPEAKER_01: Vamos a permitir nuestra atención
1:11:25
SPEAKER_01: Entonces ahora vamos
1:11:26
SPEAKER_01: a permitir que nuestra
1:11:29
SPEAKER_00: atención se
1:11:31
SPEAKER_00: abra y se expanda en su estado
1:11:37
SPEAKER_01: natural de
1:11:38
SPEAKER_01: conciencia despierta.
1:11:42
SPEAKER_00: This is awareness aware of itself but without an object for it is not an object.
1:11:50
SPEAKER_00: This is awareness aware of itself
1:11:54
SPEAKER_01: Esta es la conciencia, despierta, consciente de sí misma.
1:12:02
SPEAKER_00: Pero ya que ella misma no es un objeto,
1:12:05
SPEAKER_01: no es consciente de una cosa.
1:12:07
SPEAKER_01: Relájate.
1:12:07
SPEAKER_01: Relájate.
1:12:28
SPEAKER_01: If you are thinking, that's
1:12:32
SPEAKER_00: okay,
1:12:35
SPEAKER_00: pay no attention to what you are thinking.
1:12:37
SPEAKER_01: If you are feeling, that's okay, but pay no particular attention to what
1:12:42
SPEAKER_00: you are feeling.
1:12:57
SPEAKER_00: If you are perceiving a color or a shape, relax.
1:13:06
SPEAKER_00: Release that.
1:13:08
SPEAKER_01: Alivia eso, libera eso.
1:13:14
SPEAKER_00: Color and shape are ideas.
1:13:18
SPEAKER_01: Ideas que surgen en la mente.
1:13:27
SPEAKER_00: Mind, the thinker of the thoughts.
1:13:31
SPEAKER_01: The feeler of the feelings.
1:13:34
SPEAKER_00: The perceiver of the perceptions.
1:13:36
SPEAKER_01: Just as all objects exist in space but no object.
1:13:57
SPEAKER_01: Pero no hay objetos,
1:14:00
SPEAKER_00: no hay un objeto
1:14:02
SPEAKER_01: que sea capaz de abarcar todo el espacio.
1:14:05
SPEAKER_00: Así, de
1:14:09
SPEAKER_01: esa manera también vuestra mente,
1:14:12
SPEAKER_00: el experimentador de todas las experiencias
1:14:15
SPEAKER_01: que tienes,
1:14:15
SPEAKER_01: el pensador de los pensamientos,
1:14:23
SPEAKER_00: El que siente las sensaciones.
1:14:25
SPEAKER_01: Quien percibe las percepciones.
1:14:27
SPEAKER_00: Sí, tú.
1:14:29
SPEAKER_00: Ese eres tú mismo desde detrás
1:14:31
SPEAKER_01: de tus propios ojos.
1:14:32
SPEAKER_01: Esa es la conciencia.
1:14:33
SPEAKER_00: Quien ve lo que es visto.
1:14:53
SPEAKER_00: The feeler of what is felt.
1:14:55
SPEAKER_01: The thinker of what is thought.
1:14:57
SPEAKER_01: Gently and softly.
1:14:59
SPEAKER_00: Without forcing it.
1:15:00
SPEAKER_00: Relax.
1:15:00
SPEAKER_00: Relax.
1:15:17
SPEAKER_00: Let go of your grasp of attention on the objects of attention.
1:15:24
SPEAKER_01: We call the awareness when it is not focused on an object.
1:15:46
SPEAKER_01: Cuando no está enfocada en
1:15:50
SPEAKER_00: un objeto.
1:15:52
SPEAKER_01: Un pensamiento, una sensación, una percepción.
1:15:58
SPEAKER_01: Una consciencia despierta, abierta.
1:16:04
SPEAKER_01: ¿Por qué abierta?
1:16:06
SPEAKER_01: Ampliamente abierta.
1:16:08
SPEAKER_01: Infinitamente abierta.
1:16:19
SPEAKER_00: Unlimited open.
1:16:25
SPEAKER_00: And this inherent vast openness of your own mind is
1:16:30
SPEAKER_01: too big to wrap your thoughts around.
1:16:45
SPEAKER_01: Para ser agarrada por vuestros pensamientos.
1:16:52
SPEAKER_00: Por eso es por lo que se le llama inconcebible.
1:16:56
SPEAKER_01: Relájate.
1:16:56
SPEAKER_01: Y relájate de nuevo.
1:16:58
SPEAKER_01: Todos los
1:17:04
SPEAKER_00: pensamientos...
1:17:16
SPEAKER_00: Surgen en la mente y se disuelven en la mente.
1:17:19
SPEAKER_01: Déjalos que hagan eso.
1:17:20
SPEAKER_01: No mirad a los pensamientos.
1:17:21
SPEAKER_00: No los miréis uno a uno, como normalmente estáis
1:17:25
SPEAKER_01: acostumbrados a hacer.
1:17:40
SPEAKER_00: Open your attention and look at the infinite spaciousness in
1:17:45
SPEAKER_00: which those thoughts arise and vanish.
1:17:49
SPEAKER_01: Just as all form arises in the infinite emptiness of space.
1:18:07
SPEAKER_01: Surgen en el espacio infinito, en el vacío, en el espacio vacío infinito.
1:18:15
SPEAKER_00: Y aún así no hay
1:18:17
SPEAKER_01: ninguna forma,
1:18:19
SPEAKER_01: no hay formas,
1:18:20
SPEAKER_01: no hay objetos que puedan abarcar todo el espacio entero infinito del universo
1:18:38
SPEAKER_00: De esa misma manera, todas las sensaciones
1:18:40
SPEAKER_01: surgen en la mente.
1:18:41
SPEAKER_01: Pero ya que todas las sensaciones
1:18:43
SPEAKER_00: son sensaciones
1:18:45
SPEAKER_01: sobre esto
1:18:47
SPEAKER_01: o aquello, feliz, triste, deseo, aversión,
1:19:06
SPEAKER_00: Ellas no pueden abarcar la espaciosidad infinita como el cielo,
1:19:13
SPEAKER_00: que es
1:19:14
SPEAKER_01: la base de la mente en sí misma.
1:19:16
SPEAKER_01: Vuestras percepciones
1:19:37
SPEAKER_00: Themselves a combination of karmically caused sensations
1:19:43
SPEAKER_01: and your story,
1:19:44
SPEAKER_01: your perception, your evaluation of those
1:20:02
SPEAKER_01: Y vuestras historias, vuestras evaluaciones, vuestras percepciones sobre
1:20:18
SPEAKER_00: eso.
1:20:20
SPEAKER_01: Todos tus sentimientos, tus pensamientos,
1:20:23
SPEAKER_00: surgen en la mente, están hechos de mente,
1:20:33
SPEAKER_00: Disuelven en la mente.
1:20:34
SPEAKER_00: Si te relajas y los dejas ser, finalmente lo vas
1:20:38
SPEAKER_01: a reconocer.
1:20:40
SPEAKER_00: Vas a darte cuenta,
1:20:43
SPEAKER_00: mejor dicho, que no hay pensamientos que
1:20:47
SPEAKER_01: tengan sustancia o duración.
1:21:03
SPEAKER_00: Tus pensamientos no están hechos de papel
1:21:08
SPEAKER_01: o de madera.
1:21:09
SPEAKER_01: No están hechos de metal o de carne.
1:21:10
SPEAKER_00: No hay ni un solo pensamiento
1:21:14
SPEAKER_01: que tenga ni un solo momento de duración.
1:21:34
SPEAKER_00: It is only when they hook together,
1:21:39
SPEAKER_00: by your way of paying attention to them,
1:21:43
SPEAKER_01: that they may be changed from being talk to nam talk.
1:21:45
SPEAKER_00: Nam talk is thoughts that tell a story.
1:22:07
SPEAKER_00: Nam talk.
1:22:08
SPEAKER_00: Nam talk is a thought particle.
1:22:13
SPEAKER_00: Talk has no duration.
1:22:15
SPEAKER_00: It's the barest instant of concept.
1:22:20
SPEAKER_00: When you line up a bunch of talks and connect them, you get a nam talk.
1:22:27
SPEAKER_00: A nam talk is an idea.
1:22:30
SPEAKER_00: It usually has a noun and a verb in it.
1:22:33
SPEAKER_00: It doesn't have to, but it's an idea, it's a full idea.
1:22:37
SPEAKER_00: It's made up of a whole bunch of itty-bitty, teeny-tiny talks stuck together.
1:22:42
SPEAKER_01: Yeah, it's like the movie, the film.
1:22:44
SPEAKER_01: Yes.
1:22:45
SPEAKER_01: It's like that every thought is like a photogram.
1:22:50
SPEAKER_01: In itself, it doesn't have any connection.
1:22:53
SPEAKER_01: Treccho.
1:22:54
SPEAKER_01: Treccho.
1:22:54
SPEAKER_01: Treccho.
1:22:55
SPEAKER_01: The meditation of Dzogchen.
1:22:56
SPEAKER_01: Cutting through.
1:22:58
SPEAKER_01: Cutting through.
1:23:25
SPEAKER_01: Y entonces lo que corta es a través de la conexión entre los talks.
1:23:31
SPEAKER_01: Para que se queden simplemente, para permitirles que sean simplemente lo que son.
1:23:39
SPEAKER_00: En lugar de construir una idea y una historia acerca
1:23:44
SPEAKER_01: de ellos.
1:23:44
SPEAKER_01: Así que cuando meditamos,
1:23:55
SPEAKER_00: We sit in the infinite open awareness which is our natural state.
1:24:00
SPEAKER_01: Without grabbing ideas, feelings or perceptions.
1:24:04
SPEAKER_01: And without rejecting them.
1:24:05
SPEAKER_01: When you sit and watch
1:24:24
SPEAKER_01: Cuando te sientas
1:24:27
SPEAKER_01: y miras, tu propia mente,
1:24:30
SPEAKER_00: bailando en su vida vacía, y ves
1:24:34
SPEAKER_01: que todo lo que surge, como dibujar en el agua,
1:24:54
SPEAKER_00: No se queda ninguna marca, no deja huella.
1:24:57
SPEAKER_01: No puedes arañar el cielo o dañarlo.
1:24:59
SPEAKER_01: Tus pensamientos, sensaciones y percepciones
1:25:02
SPEAKER_00: no tienen efecto.
1:25:23
SPEAKER_00: On the infinite vast emptiness,
1:25:26
SPEAKER_01: which we call Great Mother Ocean of Dharmakaya.
1:25:28
SPEAKER_00: All your thoughts, without exception,
1:25:52
SPEAKER_00: Surgen en la mente y se
1:25:53
SPEAKER_00: disuelven en la mente sin dejar ningún
1:25:57
SPEAKER_01: residuo en ella.
1:25:57
SPEAKER_00: Todos tus sentimientos sin excepción surgen
1:26:01
SPEAKER_01: en la mente y se disuelven en la mente
1:26:02
SPEAKER_01: sin dejar residuo en ella.
1:26:24
SPEAKER_01: All your perceptions,
1:26:28
SPEAKER_00: without exception,
1:26:29
SPEAKER_00: arise in mind, disperse in mind, leaving
1:26:33
SPEAKER_01: no residue there.
1:26:33
SPEAKER_01: You cannot harm,
1:26:52
SPEAKER_00: Your own enlightened nature.
1:26:54
SPEAKER_01: No matter how messed up you get.
1:26:58
SPEAKER_00: No matter what you say, do, feel or perceive.
1:27:00
SPEAKER_01: You can trust the infinite open awareness of your own mind.
1:27:19
SPEAKER_01: Puedes confiar en la infinita apertura de la conciencia despierta de tu propia mente.
1:27:25
SPEAKER_00: Puedes confiar en que esa conciencia no va a cambiar
1:27:29
SPEAKER_01: ni le va
1:27:29
SPEAKER_01: a afectar ningún error que tú cometas.
1:27:31
SPEAKER_01: Y por tanto, como se extiende a tu imaginación, su mente extiende
1:27:49
SPEAKER_01: Hasta donde llegue tu imaginación, hasta allí llega tu mente
1:27:56
SPEAKER_00: también.
1:27:58
SPEAKER_01: Y tan lejos como se extienda tu mente,
1:28:03
SPEAKER_00: también
1:28:05
SPEAKER_01: hasta allí se extiende el Dharmakaya.
1:28:09
SPEAKER_00: Infinito y abierto,
1:28:14
SPEAKER_01: no es ninguna cosa.
1:28:17
SPEAKER_00: You can rest there.
1:28:21
SPEAKER_01: It's who you really are, it's your own mind.
1:28:27
SPEAKER_00: Now don't be worried that it's a big dead old nothing.
1:28:31
SPEAKER_01: Dead nothingness.
1:28:33
SPEAKER_01: Dark and empty.
1:28:34
SPEAKER_01: It's alive.
1:28:48
SPEAKER_01: You are alive.
1:28:49
SPEAKER_01: Feel the vitality
1:28:51
SPEAKER_01: of your own aliveness.
1:28:53
SPEAKER_01: This vitality, Sambhogakaya nature of mind,
1:29:17
SPEAKER_00: La esencia
1:29:19
SPEAKER_01: de la consciencia despierta,
1:29:22
SPEAKER_00: donde nacen todos los arquetipos,
1:29:24
SPEAKER_00: es vuestra
1:29:25
SPEAKER_01: propia naturaleza,
1:29:26
SPEAKER_01: verdadera,
1:29:29
SPEAKER_00: infinitamente abierta,
1:29:31
SPEAKER_00: una consciencia despierta infinitamente abierta como el cielo.
1:29:47
SPEAKER_00: Lucid and vital.
1:29:55
SPEAKER_00: Dancing
1:30:02
SPEAKER_03: with thoughts,
1:30:05
SPEAKER_03: feelings and perceptions.
1:30:11
SPEAKER_00: The lively imagination of mind itself.
1:30:15
SPEAKER_02: La imaginación viva de la propia mente,
1:30:19
SPEAKER_00: los fenómenos que surgen en la mente como mente y que nunca han sido otra cosa
1:30:26
SPEAKER_02: diferente a la mente, es la verdadera vida de su lucidez.
1:30:44
SPEAKER_00: Sky,
1:30:48
SPEAKER_00: we use the same word in Tibetan for sky and space, naonka.
1:30:53
SPEAKER_02: Sky, space, look at the light between my hands.
1:31:14
SPEAKER_03: This is called clear light, transparent light.
1:31:17
SPEAKER_03: It has no color, no shape, but it
1:31:19
SPEAKER_02: illuminates all forms.
1:31:21
SPEAKER_00: You wouldn't be able to see
1:31:26
SPEAKER_02: my Dorji if there
1:31:27
SPEAKER_03: was no light.
1:31:42
SPEAKER_03: And yet it is utterly transparent.
1:31:47
SPEAKER_03: The infinite vast openness of the sky space is lucid and vital with clear light.
1:31:53
SPEAKER_02: It is the clear light nature of open awareness.
1:32:09
SPEAKER_02: Es la naturaleza de luz clara de la consciencia despierta
1:32:13
SPEAKER_02: a través
1:32:14
SPEAKER_00: de la cual el que ve puede ver infinitamente abierta brillante y lúcida
1:32:37
SPEAKER_00: Dancing with the continuous creative lively manifestation of everything,
1:32:44
SPEAKER_00: thoughts, feelings and perceptions, all phenomena.
1:32:48
SPEAKER_02: The dance of life experiencing life.
1:33:07
SPEAKER_02: The earth-touching mudra.
1:33:14
SPEAKER_00: The nature of the arising.
1:33:20
SPEAKER_00: Which arise in the infinite, open, vast, empty sky-like awareness of your own mind.
1:33:30
SPEAKER_02: Which what?
1:33:31
SPEAKER_00: That arise in the infinite open sky like awareness of your own mind.
1:33:36
SPEAKER_02: Que surge en la espaciosidad vasta abierta de vuestra propia mente.
1:33:43
SPEAKER_02: Que es como el espacio.
1:33:45
SPEAKER_03: Surgen.
1:33:46
SPEAKER_03: Los fenómenos.
1:33:49
SPEAKER_02: Los pensamientos, los sentimientos y las percepciones.
1:33:52
SPEAKER_02: Surgen porque estáis vivos.
1:34:03
SPEAKER_00: When the clear light nature of infinite open awareness
1:34:07
SPEAKER_02: strikes the prism of
1:34:08
SPEAKER_02: the vitality of mind, strikes the prism, a crystal that shatters things, of what?
1:34:29
SPEAKER_00: De la vitalidad o la lucidez de la mente,
1:34:31
SPEAKER_00: entonces brilla
1:34:32
SPEAKER_03: como la luz del arco iris en la forma de fenómenos.
1:34:34
SPEAKER_03: Estamos hablando de ti.
1:34:34
SPEAKER_03: Lo que vosotros sois realmente.
1:34:35
SPEAKER_03: Vuestra personalidad
1:34:58
SPEAKER_03: It's just a little bit of impermanent arising.
1:35:02
SPEAKER_03: It's gone.
1:35:03
SPEAKER_03: It changed.
1:35:04
SPEAKER_03: You're always changing.
1:35:06
SPEAKER_03: You are changed by your experiences.
1:35:09
SPEAKER_03: What is an experience?
1:35:26
SPEAKER_02: What is an experience?
1:35:34
SPEAKER_00: It is simply an interpretation of sensations arising as a perception about
1:35:42
SPEAKER_00: which you think and tell a story and then have feelings about the story.
1:35:48
SPEAKER_02: Simplemente la interpretación sobre el surgimiento de una percepción sobre la que tú
1:35:57
SPEAKER_02: cuentas una historia y sientes.
1:35:58
SPEAKER_03: Tú, ese que crees que eres, simplemente estás hecho de eso.
1:36:03
SPEAKER_03: No hay nadie dentro de ti teniendo eso.
1:36:16
SPEAKER_02: No hay nadie dentro de ti teniendo eso.
1:36:18
SPEAKER_00: No hay un propietario de eso.
1:36:21
SPEAKER_02: Otro que no sea esa consciencia despierta,
1:36:24
SPEAKER_00: abierta y lúcida.
1:36:41
SPEAKER_03: Y su creatividad se manifiesta como eso, constantemente cambiando.
1:36:44
SPEAKER_03: Mostrar la naturaleza de la mente por una analogía, a través de analogía, es el segundo Wong.
1:37:34
SPEAKER_00: Relájate.
1:37:36
SPEAKER_02: Deja ir.
1:37:40
SPEAKER_02: Deja que los pensamientos,
1:37:51
SPEAKER_00: los sentimientos y las percepciones
1:37:54
SPEAKER_02: surjan y se desvanezcan.
1:38:04
SPEAKER_02: As they do, relax your attention
1:38:09
SPEAKER_00: from its grasp of phenomena.
1:38:14
SPEAKER_00: For a moment, you don't
1:38:15
SPEAKER_02: have to hold it all together.
1:38:16
SPEAKER_02: Let go.
1:38:48
SPEAKER_00: Mind resting its attention on itself.
1:38:52
SPEAKER_02: Not point focus.
1:39:04
SPEAKER_00: Just as you cannot see the entirety of the sky,
1:39:08
SPEAKER_02: by looking at it with your eyes,
1:39:10
SPEAKER_02: but you can sort of feel it, when you relax your eyeballs,
1:39:32
SPEAKER_00: So with the infinite vast open awareness,
1:39:35
SPEAKER_02: beyond even the idea of center or edge, mind, mind looking.
1:39:37
SPEAKER_02: La mente mira la mente.
1:40:03
SPEAKER_00: Awareness relaxed into its natural state.
1:40:13
SPEAKER_00: Without rejecting phenomena,
1:40:15
SPEAKER_02: sin rechazar a los fenómenos,
1:40:19
SPEAKER_00: ni agarrarlos.
1:40:24
SPEAKER_00: Without suppressing your own vitality,
1:40:27
SPEAKER_02: sin suprimir tu propia vitalidad,
1:40:31
SPEAKER_00: And without trying to do anything with it either.
1:40:35
SPEAKER_02: Relax.
1:40:36
SPEAKER_02: And relax again into who, what you
1:40:40
SPEAKER_00: really are.
1:40:41
SPEAKER_02: And always have been.
1:41:00
SPEAKER_00: It is not oneness.
1:41:05
SPEAKER_00: For multiplicity is obvious in its manifestations.
1:41:09
SPEAKER_02: It is not multiple.
1:41:10
SPEAKER_02: For there is no thing to have many of.
1:41:28
SPEAKER_00: For there are no things, objects to have many of.
1:41:33
SPEAKER_02: No hay objetos para tener muchos de esos.
1:41:37
SPEAKER_01: Que no es un objeto y por
1:41:39
SPEAKER_02: lo tanto no puede tener muchos.
1:41:42
SPEAKER_01: Cada momento que surge y cada momento cesa.
1:41:58
SPEAKER_00: Without grasping or rejecting.
1:42:05
SPEAKER_03: Without concentrating or being distracted.
1:42:08
SPEAKER_03: Without objection or affirmation.
1:42:27
SPEAKER_02: Sin objeciones ni afirmaciones.
1:42:36
SPEAKER_00: Relax
1:42:37
SPEAKER_02: and leave
1:42:38
SPEAKER_00: it be.
1:43:22
SPEAKER_02: This is the point of Dzogchen.
1:43:28
SPEAKER_00: To recognize your own true nature is
1:43:30
SPEAKER_02: the first vital point.
1:43:31
SPEAKER_02: To relax again and again into your own true nature.
1:43:52
SPEAKER_00: En todo momento.
1:43:54
SPEAKER_03: Y en todas las ocasiones.
1:43:56
SPEAKER_03: Mientras piensas, sientes y percibes y mientras no, mientras no lo haces.
1:44:03
SPEAKER_00: Esa es la práctica de Dzogchen.
1:44:07
SPEAKER_02: Y los pensamientos surgen
1:44:22
SPEAKER_00: Como ninguna cosa.
1:44:24
SPEAKER_02: No hechos de ninguna cosa.
1:44:26
SPEAKER_00: Sin duración.
1:44:27
SPEAKER_02: El punto, la clave para la libertad,
1:44:30
SPEAKER_00: para la liberación, no
1:44:31
SPEAKER_02: es meditar en lugar de pensar.
1:44:48
SPEAKER_00: It's to meditate while
1:44:50
SPEAKER_02: thinking.
1:44:54
SPEAKER_00: Because you see you
1:44:54
SPEAKER_03: are alive.
1:44:57
SPEAKER_00: You are lucid.
1:45:01
SPEAKER_00: You have the vitality of all life of the universe.
1:45:05
SPEAKER_00: All life adds this.
1:45:07
SPEAKER_02: And that vital lucidity arises as
1:45:17
SPEAKER_00: The creativity.
1:45:19
SPEAKER_02: That arises phenomena in and as itself.
1:45:22
SPEAKER_02: And which automatically,
1:45:25
SPEAKER_03: without any effort on your part, dissolves of its own accord back into itself.
1:45:45
SPEAKER_03: Y también se disuelve por sí mismo, hacia sí mismo otra vez.
1:45:51
SPEAKER_03: Y no pasa nada.
1:45:52
SPEAKER_03: Esos son los cuatro wongs de Zogchen.
1:45:56
SPEAKER_00: El primero es pacificar
1:45:58
SPEAKER_03: el intelecto.
1:45:59
SPEAKER_03: El segundo, la poesía de los símbolos.
1:46:14
SPEAKER_02: El segundo es la poesía de los símbolos.
1:46:18
SPEAKER_00: El tercero es el cristal, sin palabras.
1:46:20
SPEAKER_03: Y el cuarto es lo que
1:46:22
SPEAKER_03: acaba de mostrar.
1:46:23
SPEAKER_03: Con la práctica del Guru Yoga, one hopes to allow one's mind to relax enough
1:46:40
SPEAKER_02: Uno espera relajarse lo suficiente
1:46:46
SPEAKER_00: con cualquiera
1:46:50
SPEAKER_03: de los símbolos con los que ha
1:46:51
SPEAKER_03: trabajado el maestro para que el punto telepático pueda
1:46:57
SPEAKER_02: pillar el punto telepático.
1:46:59
SPEAKER_02: Ese es el punto, el verdadero
1:47:02
SPEAKER_00: punto a todo lo que va el Guru Yoga.
1:47:11
SPEAKER_00: Is to allow that to happen so that the teachings can be manifest for you.
1:47:17
SPEAKER_02: Don't worry, we try again every year.
1:47:18
SPEAKER_02: Are there questions?
1:47:19
SPEAKER_02: I have a question.
1:47:20
SPEAKER_02: Yes.
1:47:38
SPEAKER_03: It is what allows you to receive that transmission.
1:47:41
SPEAKER_00: The idea is the
1:47:43
SPEAKER_03: transmission.
1:47:44
SPEAKER_02: All teachers, all archetypes,
1:48:07
SPEAKER_03: Are performing the transmission at all times.
1:48:11
SPEAKER_03: Whether they think they are doing so in this moment.
1:48:15
SPEAKER_03: Or they think they are eating a fish.
1:48:17
SPEAKER_03: Because it is really your own innate
1:48:39
SPEAKER_00: Es
1:48:41
SPEAKER_02: realmente tu propia innata
1:48:45
SPEAKER_00: o innato naturaleza
1:48:47
SPEAKER_00: de Buda, que de ninguna forma está
1:48:50
SPEAKER_03: separada
1:48:51
SPEAKER_03: de la naturaleza de Buda del Maestro,
1:48:54
SPEAKER_03: del linaje y de todos los Budas de los cuatro tiempos.
1:49:06
SPEAKER_03: And that is continuously manifesting as the potential for you to perceive it.
1:49:11
SPEAKER_03: As the what?
1:49:11
SPEAKER_00: As the what?
1:49:12
SPEAKER_00: As the potential for you to perceive it.
1:49:15
SPEAKER_02: You don't have to put the teacher in the crown?
1:49:19
SPEAKER_00: No.
1:49:19
SPEAKER_00: No.
1:49:36
SPEAKER_03: I put a double dorgie on my crown.
1:49:40
SPEAKER_03: You can have any hairstyle you want.
1:49:46
SPEAKER_03: It would
1:49:48
SPEAKER_00: be very hard to carry a man around on top of your head.
1:49:51
SPEAKER_01: No, the idea is to let them... Nah.
1:50:05
SPEAKER_00: La idea es dejar que la esencia del maestro,
1:50:09
SPEAKER_00: por ejemplo,
1:50:09
SPEAKER_03: aquí está Lina, y luego está Lama Lena.
1:50:10
SPEAKER_03: Lina se rasca la nariz,
1:50:11
SPEAKER_03: se mete el dedo en la nariz, pero Lama Lena transmite un Zogchen impecable.
1:50:35
SPEAKER_03: No hay conflicto en esto.
1:50:37
SPEAKER_03: Pero es el Zogchen impecable el que tú quieres llevar a tu corazón.
1:50:45
SPEAKER_03: Pero no quieres rascarte la nariz con el dedo gordo.
1:50:47
SPEAKER_03: No quieres llevarte al corazón y estar haciéndote esto en la nariz.
1:51:04
SPEAKER_00: Enfócate en lo que se está señalando.
1:51:07
SPEAKER_02: El reconocimiento de ti mismo entre todos los Budas de los cuatro tiempos.
1:51:27
SPEAKER_03: El punto no está en que tu maestro haya visto su propia naturaleza de Buda.
1:51:37
SPEAKER_03: El punto es que tú puedas ver la tuya.
1:51:40
SPEAKER_03: El punto es que él pueda ver la tuya y que sepa señalártela.
1:51:54
SPEAKER_02: Otherwise, how could he teach you how to find it?
1:51:57
SPEAKER_02: Si no, ¿cómo puede ser que te la pueda enseñar?
1:52:01
SPEAKER_02: ¿O cómo podríamos nosotros encontrarla si no es él quien la ve y te la apunta?
1:52:05
SPEAKER_01: No, es que estoy diciendo que si él no la ve y te la apunta, ¿cómo te la va a enseñar?
1:52:11
SPEAKER_01: No te la puede enseñar si él no te la ve.
1:52:13
SPEAKER_01: Lo importante de aquí no es que él haya visto la suya,
1:52:16
SPEAKER_01: sino que pueda ver la tuya y apuntarte para
1:52:19
SPEAKER_03: que tú la veas.
1:52:22
SPEAKER_03: Ya que es la misma naturaleza de Buda, Beyond time and space.
1:52:28
SPEAKER_03: Beyond the fragmentation of personalities.
1:52:35
SPEAKER_03: Which comes and goes.
1:52:38
SPEAKER_03: Habits.
1:52:41
SPEAKER_03: All that crap.
1:52:43
SPEAKER_03: All that crap.
1:52:45
SPEAKER_03: Crap.
1:52:46
SPEAKER_01: Crap.
1:52:46
SPEAKER_03: Crap.
1:52:47
SPEAKER_01: Crap.
1:52:47
SPEAKER_01: Crap.
1:52:48
SPEAKER_01: Crap.
1:52:48
SPEAKER_03: Mind when it is not crap.
1:52:54
SPEAKER_00: Cuando la mente no está obsesionada,
1:52:57
SPEAKER_00: mente limitada y fijada compulsivamente en los pensamientos,
1:53:00
SPEAKER_00: las percepciones y
1:53:01
SPEAKER_02: los sentimientos,
1:53:02
SPEAKER_02: cuando descansa en esa conciencia despierta,
1:53:05
SPEAKER_02: abierta, junto con todos los pensamientos, sentimientos y percepciones,
1:53:25
SPEAKER_02: Not grabbing, no agarrándolos,
1:53:27
SPEAKER_02: me gusta este.
1:53:30
SPEAKER_02: Not shoving, no rechazando,
1:53:34
SPEAKER_00: no quiero este, pero no quiero fijarlo.
1:53:36
SPEAKER_02: No quiero que se arregle, porque eso no me gusta.
1:53:38
SPEAKER_01: Siempre estamos intentando arreglar las cosas.
1:53:39
SPEAKER_01: Siempre estamos intentando arreglar las cosas.
1:53:50
SPEAKER_02: Nunca las cosas están como queremos y entonces siempre las arreglamos para que estén
1:53:54
SPEAKER_02: como nos gusta.
1:53:58
SPEAKER_03: Yeah, you do this.
1:54:00
SPEAKER_02: Sí, ¿no?
1:54:00
SPEAKER_02: Lo hacéis,
1:54:03
SPEAKER_00: ¿no?
1:54:04
SPEAKER_00: El pelo.
1:54:06
SPEAKER_00: Nunca está perfecto el pelo.
1:54:08
SPEAKER_02: Algún día a lo mejor está muy bien, pero seguro que podría estar un poquito mejor.
1:54:16
SPEAKER_00: Samsara is a dissatisfaction.
1:54:19
SPEAKER_02: Samsara es insatisfacción
1:54:22
SPEAKER_00: con los fenómenos de este momento.
1:54:24
SPEAKER_03: Siempre estás intentando manipular, arreglar, regologar.
1:54:28
SPEAKER_03: Nunca estamos satisfechos.
1:54:48
SPEAKER_03: Los sufrimientos de Samsara tienen que ver con su impermanencia.
1:54:53
SPEAKER_03: Vuestra propia naturaleza de Buda,
1:54:54
SPEAKER_02: la totalidad de vuestro ser,
1:54:56
SPEAKER_02: que también es la totalidad
1:54:59
SPEAKER_02: de los Budas de los cuatro tiempos, de vuestro Maestro,
1:55:17
SPEAKER_00: De vuestros estudiantes.
1:55:18
SPEAKER_02: Más allá del tiempo y el espacio, todos lo tenemos.
1:55:21
SPEAKER_02: Relajaos.
1:55:22
SPEAKER_00: No tienes que poner a tu maestro en la coronilla de tu cabeza.
1:55:47
SPEAKER_03: You have to open your heart,
1:55:50
SPEAKER_03: your mind,
1:55:55
SPEAKER_03: to what your teacher is trying
1:55:57
SPEAKER_02: to show you effortlessly.
1:55:59
SPEAKER_02: What do you mean?
1:56:02
SPEAKER_00: Effortlessly.
1:56:03
SPEAKER_02: Your teacher is not
1:56:08
SPEAKER_01: trying with great effort to show you.
1:56:16
SPEAKER_02: I speak as a teacher, you can really fuck up doing that.
1:56:20
SPEAKER_02: You can't shake someone, grab someone and go, look at your mind.
1:56:42
SPEAKER_00: They'll just tense up.
1:56:43
SPEAKER_00: They won't see anything.
1:56:45
SPEAKER_02: Sí, que si lo haces a propósito,
1:56:47
SPEAKER_02: de esa manera, como queriendo mostrárselo con esfuerzo, la puedes cagar.
1:56:51
SPEAKER_02: Entonces,
1:56:52
SPEAKER_02: no puedes coger a alguien y decirle,
1:56:54
SPEAKER_02: mira tu mente, así,
1:56:56
SPEAKER_02: como obligando,
1:56:57
SPEAKER_02: porque simplemente se puede tensar y entonces no tiene ningún efecto ni no la va
1:57:02
SPEAKER_02: a ver.
1:57:03
SPEAKER_03: Tiene que manifestarse de forma natural y suavemente.
1:57:12
SPEAKER_03: So it must be effortless for the teacher.
1:57:14
SPEAKER_03: You will think that it is effortful for you because you think you're real.
1:57:18
SPEAKER_03: You could not be otherwise than you are.
1:57:46
SPEAKER_03: And it will be effortful for you
1:57:53
SPEAKER_00: until it isn't.
1:57:55
SPEAKER_00: It is a time for effort and a time for relaxation,
1:58:02
SPEAKER_00: but the full culmination of the meditation is a total relaxation into isness.
1:58:09
SPEAKER_02: O sea, que hay momentos de esfuerzo y hay momentos de relajación,
1:58:14
SPEAKER_02: pero la culminación de lo que tiene que ser en realidad al final de la meditación es
1:58:21
SPEAKER_02: el relajarse absolutamente en lo que es.
1:58:31
SPEAKER_02: May I ask something?
1:58:34
SPEAKER_02: What is the difference between Samatha Mahamudra and Trecho?
1:58:41
SPEAKER_00: I do not speak Sanskrit, but Samatha, I believe, is Shine.
1:58:46
SPEAKER_00: Yeah, Shine.
1:58:48
SPEAKER_00: Resting in stillness is the literal.
1:58:53
SPEAKER_00: Shine is where your attention is wide open and you are so relaxed
1:59:01
SPEAKER_00: that you're not even thinking or feeling or even perceiving.
1:59:07
SPEAKER_00: Okay.
1:59:09
SPEAKER_00: It's a stage, but you have to get past it.
1:59:15
SPEAKER_00: Because your vitality is such that eventually you will have to pee.
1:59:21
SPEAKER_00: You're alive.
1:59:23
SPEAKER_00: You will have to get up.
1:59:24
SPEAKER_00: You will have to think, where is the bathroom?
1:59:26
SPEAKER_00: Is there any toilet paper?
1:59:29
SPEAKER_00: These are thoughts.
1:59:31
SPEAKER_00: So eventually you will have to meditate while thinking.
1:59:36
SPEAKER_00: If you like, ask me for Mahamudra rather than Dzogchen next year.
1:59:42
SPEAKER_00: Or did I already teach Mahamudra?
1:59:44
SPEAKER_02: Some Mahamudra
1:59:47
SPEAKER_03: you teach already.
1:59:48
SPEAKER_00: I thought I might have.
1:59:50
SPEAKER_00: In Mahamudra, instead of jumping into the middle of open awareness, you go there by stages.
1:59:58
SPEAKER_02: A ver si me acuerdo de todo.
2:00:03
SPEAKER_02: A ver, le he preguntado que qué diferencia hay entre Samatha Mahamudra y Treksho,
2:00:10
SPEAKER_02: que es lo que nos acaba de explicar.
2:00:12
SPEAKER_02: Entonces dice que no habla sánscrito,
2:00:15
SPEAKER_02: pero Samatha es Shiné en tibetano y es como si fuera permanecer en calma.
2:00:23
SPEAKER_02: Entonces, ¿qué pasa?
2:00:24
SPEAKER_02: Que cuando uno está meditando en eso,
2:00:26
SPEAKER_02: tienes una mente muy abierta,
2:00:27
SPEAKER_02: estás muy relajado,
2:00:29
SPEAKER_02: pero no hay pensamientos, no hay percepciones y no hay sensaciones.
2:00:32
SPEAKER_02: Y eso es un estado, sí, que acaba.
2:00:35
SPEAKER_02: Acaba porque uno está vivo,
2:00:36
SPEAKER_02: tiene que levantarse a hacer pis,
2:00:38
SPEAKER_02: tiene que pensar en dónde está el baño, si hay papel.
2:00:40
SPEAKER_02: Llega un momento en que no puedes mantener ese estado.
2:00:44
SPEAKER_02: Es como una cosa que empieza y acaba.
2:00:49
SPEAKER_02: Y ha preguntado si el año que viene me pedís que hable de Mahamudra y ha preguntado
2:00:56
SPEAKER_02: si otro año habla de Mahamudra y le hemos dicho que sí.
2:00:59
SPEAKER_01: Pero para diferenciar entre Shiné y Trecho,
2:01:03
SPEAKER_01: dice que Shiné es un estado,
2:01:06
SPEAKER_01: pero que finalmente tienes que aprender a meditar mientras piensas,
2:01:10
SPEAKER_01: que eso es Trecho, esa es la diferencia.
2:01:15
SPEAKER_03: Cerca, pero no exactamente eso.
2:01:17
SPEAKER_03: Shiné, que es permanecer en calma, va a través
2:01:22
SPEAKER_02: del proceso.
2:01:28
SPEAKER_00: A través de reconocer qué es la calma, el estado de calma de la mente.
2:01:35
SPEAKER_02: Y cuál es la idea de la calma.
2:01:38
SPEAKER_02: La percepción de la calma.
2:01:41
SPEAKER_02: Y el sentimiento de la calma.
2:01:57
SPEAKER_00: Because those are moving.
2:01:58
SPEAKER_02: All phenomena is moving.
2:02:00
SPEAKER_02: When you rest in stillness, it is still.
2:02:03
SPEAKER_03: It is important not
2:02:04
SPEAKER_02: to mistake a bit of the moving.
2:02:20
SPEAKER_00: Such as the thought of stillness, the feeling of stillness or the perception of stillness.
2:02:27
SPEAKER_02: O sea que es importante no confundir el movimiento de la calma que es un pensamiento
2:02:35
SPEAKER_02: sobre la calma o un sentimiento o sensación de calma o una percepción de calma.
2:02:42
SPEAKER_02: Al ser pensamiento, percepción o tal, se mueve.
2:02:50
SPEAKER_00: Lo entendéis?
2:02:55
SPEAKER_03: Porque los pensamientos, los sentimientos y las percepciones son fenómenos.
2:03:00
SPEAKER_03: Y todos los fenómenos son impermanentes.
2:03:03
SPEAKER_03: Se mueven.
2:03:04
SPEAKER_03: Cuando ya tienes mucha claridad sobre eso, entonces...
2:03:17
SPEAKER_03: Empiezas a descubrir ese fenómeno que se mueve.
2:03:20
SPEAKER_03: ¿De qué está hecho?
2:03:22
SPEAKER_03: Y entonces descubres, por tu propia experiencia lo descubres, que está hecho de la calma.
2:03:43
SPEAKER_03: And so you begin to recognize the stillness in the moving.
2:03:48
SPEAKER_03: And the moving in the stillness.
2:03:49
SPEAKER_03: This stage is called the yoga of moving stillness or dancing stillness.
2:04:12
SPEAKER_02: I'm out of time.
2:04:13
SPEAKER_02: Yes.
2:04:14
SPEAKER_02: We had one question.
2:04:16
SPEAKER_02: I'll try to be quick.
2:04:47
Thank you.
2:05:15
SPEAKER_02: Her question is, if you,
2:05:17
SPEAKER_02: as you teach us,
2:05:21
SPEAKER_02: we are living beings,
2:05:22
SPEAKER_02: we have thoughts and we think,
2:05:25
SPEAKER_02: so is not this,
2:05:27
SPEAKER_02: for example,
2:05:28
SPEAKER_02: this stage of Siné, which you don't think, or you, you know, is not an illusion?
2:05:36
SPEAKER_02: Because finally you have to think.
2:05:39
SPEAKER_02: It's not
2:05:40
SPEAKER_00: the end.
2:05:42
SPEAKER_00: But it is very useful in the process.
2:05:45
SPEAKER_02: Dice que ese estado de no pensamientos y tal no es el estado final, pero es útil en el proceso.
2:05:53
SPEAKER_02: ¿Qué es posible?
2:05:53
SPEAKER_02: ¿No pensar?
2:05:54
SPEAKER_02: ¿No pensar?
2:05:54
SPEAKER_02: Sí, puedes transar.
2:06:07
SPEAKER_00: Or you can take a drug and not think,
2:06:09
SPEAKER_00: you take a thousand micrograms of LSD and you won't be thinking for quite a while,
2:06:15
SPEAKER_00: at least two hours.
2:06:18
SPEAKER_02: Dice que sí es posible,
2:06:19
SPEAKER_02: que si con algunos experimentos,
2:06:22
SPEAKER_02: si tomas drogas,
2:06:22
SPEAKER_02: por ejemplo,
2:06:23
SPEAKER_02: tomas no sé cuántos gramos de LSD,
2:06:25
SPEAKER_02: pues seguramente no tengas muchos pensamientos,
2:06:27
SPEAKER_02: como muchos tendrás algunos wows, pero pensamientos pocos.
2:06:34
SPEAKER_03: Para mí, yo no he sido
2:06:36
SPEAKER_00: capaz de lograr
2:06:37
SPEAKER_03: siné.
2:06:37
SPEAKER_03: Y por eso es por lo que mi maestro
2:06:38
SPEAKER_02: me dio trecho.
2:06:39
SPEAKER_02: Yo intenté hacer siné, pero no pude, demasiado activa.
2:06:58
SPEAKER_03: So, Mahamudra is a very good method for some people.
2:07:06
SPEAKER_00: And Mahati, also known as Zogchen, is a very good method for other people.
2:07:10
SPEAKER_02: Ge-wandi-hir-nyur-du-dal.
2:07:28
SPEAKER_00: In my experience, mahamudra is easier to understand.
2:07:56
SPEAKER_00: Zogchen is easier to not do.
2:08:10
SPEAKER_00: We are complete for tonight.
2:08:12
SPEAKER_00: I have to drive to Valencia.
2:08:14
SPEAKER_02: If you have more questions,
2:08:26
SPEAKER_03: Please, you'll have to email.
2:08:28
SPEAKER_03: Cards are here.
2:08:29
SPEAKER_02: Will you assist me by helping?
2:08:32
SPEAKER_02: I said yesterday that this afternoon those who wanted to sponsor someone
2:08:48
SPEAKER_00: Is there anyone here who's hoping to sponsor one of the yogis?
2:09:18
SPEAKER_00: I cannot carry money for people, other than Wong Dor Rinpoche.
2:09:33
SPEAKER_03: Can you come and ask about that particular person afterwards?
2:09:36
SPEAKER_03: Yeah, come talk to Jan.
2:09:37
SPEAKER_00: There may be a way.
2:09:39
SPEAKER_02: Está preguntando la forma de hacerlo porque siempre ha querido sponsorizar
2:09:43
SPEAKER_02: a alguien pero ha encontrado dificultad y le está preguntando qué forma hay más
2:09:47
SPEAKER_02: fácil de poder hacerle llegar el dinero a los yoguis y a las yoguinis.
2:09:53
SPEAKER_03: Housekeeping.
2:09:56
SPEAKER_03: Housekeeping, there is a new website.
2:10:00
SPEAKER_01: Traducete un poco.
2:10:02
SPEAKER_01: Housekeeping, housekeeping.
2:10:03
SPEAKER_01: We have a new website.
2:10:04
SPEAKER_01: Sí, tienen una nueva página web.
2:10:07
SPEAKER_03: It is www.
2:10:09
SPEAKER_03: Que es www.lamalinateachings.com,
2:10:13
SPEAKER_01: que está en su tarjeta.
2:10:15
SPEAKER_01: Están las tarjetas que tiene ahí.
2:10:16
SPEAKER_01: Cuando os prometió una copia de las enseñanzas de Tara
2:10:21
SPEAKER_03: Verde que dio ayer,
2:10:34
SPEAKER_01: Para aquellos de vosotros que habéis recibido las enseñanzas,
2:10:38
SPEAKER_01: solo los que estuvisteis ayer y recibisteis las enseñanzas,
2:10:43
SPEAKER_01: se le olvidó que antes de dar la copia tenía que traducirla al español.
2:10:47
SPEAKER_03: Su promesa es que durante la próxima
2:10:53
SPEAKER_01: semana la va a traducir y si le mandáis
2:10:56
SPEAKER_03: un correo a ella
2:11:05
SPEAKER_01: Os mandará una copia.
2:11:07
SPEAKER_01: Sus tarjetas están aquí también.
2:11:12
SPEAKER_01: Es la del perro.
2:11:17
SPEAKER_01: Todas esas enseñanzas aún así van a estar en su página web.
2:11:23
SPEAKER_01: Los vídeos que hemos estado grabando durante las enseñanzas se han emitido en
2:11:29
SPEAKER_01: directo y siguen colgadas en su página web.
2:11:37
SPEAKER_01: If the people that didn't came yesterday but they saw the video,
2:11:43
SPEAKER_01: can they practice the green Tara if they did it by the camera?
2:11:50
SPEAKER_01: I would
2:11:52
SPEAKER_00: say if they have