Note: Upasaka Nandaka is using a tool called Descript to create machine-generated transcriptions of some of the talks on the TMI Archive (at a pace of up to 30 hours of audio a month). The following is one such transcript. If you’d like to help edit them for accuracy and readability, please see this Google Doc for detailed instructions: https://docs.google.com/document/d/1YxweiCr1N4YXY3Bn1mTzPBp811hTGolKroJS_RCMqo0/edit. Any editing contribution, no matter how small, is appreciated. Please remove this notice when the transcript has been fully edited.
Culadasa: The thing to remember is that it's the sensations produced by the breath that you're interested in, not the breath itself. Okay. And so the task that you're setting for yourself is to try to be continuously wear those sensations, regardless of whatever else you might be aware of simultaneously.
And to have those sensations, the, at the focal point at the center of your attention. And so that those sensations are what you are primarily aware of. Anytime that's not the case. And you realize it with that, your mind has shifted to attending to something else, or as will happen, that you completely forget the sensations of the breath.
And you're caught up in some thought process. Whenever that happens and you become aware of it. You'll want to bring your attention back to the breath. Just gently bring it back. If you have forgotten. The meditation object and you're lost in thought. And then you realize that happens, take a moment to be appreciative of that awareness you're in that moment, that awakening to the present, but to what you're doing and what you had intended to be doing, and met you.
You want. Positively reinforce that, remembering that awakening, that awareness and you are to avoid any sort of critical or negative thoughts about, oh no, I have on my, to again, know, you want to you, unless you're sound problem. Taking the sensations produced where the air Anderson leaves the body as an object.
Then you want to use that and just disregard all the other sensations associated with the prep and you'll be aware of them, but let them be in the background. Primary object is a sensation is produced by the area entering and leaving opera. The tip of the nose inside the nostrils, wherever it happens to be clearest for you.
You'd like to be able to be aware of the precisely when the sensations of the in breath began and as exactly as you can, when those sensations and then there's a bit of a pause before the out-breath sensations began and to be aware of. Pause and have that point where the allograph begins and then likewise, when the out-breath hands and that pause before the next breath cycle begins.
Putting your attention here allows you to be much more precisely aware of the stages and outside.