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3/15/2014 How to Meditate

http://www.vipassanadhura.com/howto-p.htm

How to MeditateNote: These instructions are drawn from the vipassana traditions of Mahasi Sayadaw and

Chao Khun Bhavanapirama Thera. It is assumed the reader is familiar with the article, What is

Vipassana?

Contents

A Suitable Place

Clothing

SittingStyles

ResolutionExercise 1: Risingand Falling

Observing Movement

Limit Your Goal

Primaryand Secondary Objects

MentalNoting

Wandering Mind

One Object at a Time

Know and Let Go

Itching

Pain

Mental Images

Mindfulness When Changing Posture

Exercise 2: Walking Meditation

Exercise 3: Hand Motions

Exercise 4: Sitting

If Strong Emotions Arise

Letting Go of "I"

Sleepiness

How to Observe ObjectsMomentary Knowing

Exercise 5: Sitting-Touching

Exercise 6: Rising-Falling-Sitt ing

Exercise 7: Rising-Falling-Sitting-Touching

Exercise 8: The Lying Down Posture

Exercise 9: TheStanding Posture

If You Experience Bliss

Desire is Not Your Guide

Paying Respect to the Teachings

The Moral Precepts

A Natural Method?

Mindful Eating

Sharing Merit and Lovingkindness (Metta)

Mindfulness in Daily Life

This article offers step-by-step instructions for nine insight meditation exercises, as well as a

detailed explanation of mindful eating, hints on dealing with problems such as wandering

mind, sleepiness, disturbing mental images, unpleasant emotions, and more.

The following exercises are not necessarily listed in order of difficulty. Exercises suitable for

beginners are noted. We generally recommend beginners start with the rising and falling or

hand motions exercise. Basic walking meditation is also appropriate for beginners.

To start, choose one or two exercises and practice them daily. Even after you gain more

experience, you don't have to do all the exercises. Practicing just one exercise consistently

is more important.

If there's something you don't understand at first, please don't let that daunt you. Although

vipassana is a very simple method, many aspects of meditation only become clear by actually

doing it. The best way to understand is to practice the exercises.
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http://www.vipassanadhura.com/howto-p.htm 2

Although these Buddhist meditation exercises come from the traditions of the Burmese

teacher Mahasi Sayadaw and the Thai teacher Chao Khun Bhavanapirama Thera, you don't

have to be a Buddhist to practice them. Vipassana is a non-secular method.

[Note: This information is not meant to substitute for the guidance of a qualified instructor.

Anyone serious about insight meditation should eventually find a teacher who can offer

individualized counsel. In order to better understand some of the ideas presented here we

recommend reading the link: What is Vipassana?]

A Suitable Place

Find a place where you can sit comfortably, without interruptions, for at least ten minutes.

Although complete silence isn't necessaryor even desirablefor insight meditation, the

room should be free of obtrusive noises such as music, television, constantly-ringing phones,

and nearby conversations. Even quiet talk can distract you because the mind will try to

understand the words.

On the other hand, background noises like the sound of traffic, the bark of a dog or a ticking

clock should not be considered hindrances, and in fact can be legitimate objects ofmindfulness. Don't wear earplugs in an attempt to "soundproof" your practice.

If you meditate in the bedroom it's better to sit on the floor instead of the bed, which may

cause sleepiness. (If you are ill or disabled, however, it is fine to practice in bed). Your

sitting meditation space doesn't have to be large. Even a walk-in closet will do.

Clothing

Wear loose clothing if possible, and remove your shoes. Sometimes you might want to

practice away from home (at the office, perhaps) and you won't be able to change clothes.

But as long as you have privacy you can loosen your belt, remove your jacket and footwear,and find a comfortable place to sit.

Sitting Styles

The following postures are suitable for sitting meditation: 1. Half lotus; 2. Full lotus; 3.

Cross-legged tailor fashion; 4. Legs bent with one leg in front (Burmese style); 5. Kneeling on

a meditation bench; 6. Sitting in a chair.

The first pose, half lotus, is the one most often seen in the Buddha statues of Southeast

Asia. The legs are crossed and the right foot rests on the left thigh. This position is

appropriate for most meditators. The next pose, full lotus, is only practical if you are very

flexible. The right foot rests on the left thigh, the left foot on the right thigh.

Tailor fashion is less stable but easier than half lotus. Easiest of all the floor positions is the

Burmese pose in which the legs are bent but not crossed. One leg lies in front of or "outside"

the other. Both legs rest on the floor but don't touch each other. If these postures are too

difficult you can sit on a chair or a meditation bench.

When using a chair, keep your feet flat on the ground and try not to let your back touch the

chair. If you need to change posture because of discomfort, do so slowly and mindfully,
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observing the intention to move before shifting the body. Whatever pose you choose should

be comfortable enough that you can maintain it without moving for at least twenty minutes

(unless you're practicing for a shorter time, of course).

When sitting on the floor it will help to use a cushion. The cushion should be firm enough that

it won't be compressed flat when sat on. The ideal thickness is somewhere between two and

six inches. You'll want to experiment and find out what works best for you. Place the cushion

under your buttocks with your legs touching the floor. The legs should not rest on the

cushion. Elevating the hips takes stress off the neck and back vertebrae and aligns the

spine, which allows you to sit comfortably for longer periods.

Regardless of which position you choose, don't let your back slump too much. On the other

hand, you shouldn't sit so straight that you tense the body. Mind and body should feel

relaxed, yet alert. Striking the right balance between the two extremes will take some

experimenting. Think of tuning a guitar string: it should be just rightneither too tight nor

too loose.

Having found a comfortable position, put your hands in your lap, one on top of the other,

with the palms facing upward. Traditionally the back of the right hand rests on top of the left

palm. Don't clench your hands. In all the exercises except walking meditation your eyes can

be either open or closed (in walking meditation your eyes must be open).

We advise beginners to close their eyes, which allows for easier concentration. But

sometimes concentration becomes stronger than mindfulness. In that case opening the eyes

may help disperse the excess concentration and bring the two factors into balance again.

Only momentary concentration is needed for insight meditation. Occasionally a meditator may

experience disturbing mental images, in which case it may help to open the eyes.

Now you are ready to begin meditating. Choose one of the following exercises and practice it

for at least ten minutes. Remember that all physical movements, such as walking and moving

the hands, should be performed slowly, with continuous mindfulness. Shall we dive in?

Resolution(Optional)

You may wish to make a resolution before each practice-session. Doing so will help

strengthen your determination. You can use your own words, but the spirit of the aspiration

should be something like this: "By this practice of insight meditation may I reach the end of

suffering. May others also benefit from this wholesome action." Don't just repeat the words.

Really concentrate on the resolve for a moment or two.

Exercise 1: Rising and Falling

(Suitable for beginners)

We recommend this vipassana technique for everyone. Adopt one of the sitting postures. If

you are disabled or have a chronic illness you can do the exercise lying down.

If you choose a sitting position, place your hands in your lap, palms facing upward, the right

hand on top of the left. If doing the exercise lying down, put your hands on the abdomen,

one on top of the other, or at your sides. Close your eyes.

Next, direct your attention to the abdomen, an inch or two above the navel. Find the point
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that seems clearest to you. Don't actually look at the spot. Just place your mind there. Thepoint should lie along the vertical midline of the body.

As you breathe in, the abdomen expands; as you breathe out, it contracts. In meditation

these movements are called, respectively, "rising" and "falling." They never cease to

alternate as long as you live.

As the abdomen rises, observe the motion from beginning to end with your mind. When the

abdomen falls, do the same. That's all there is to it. Just keep watching the rising and falling

movements. You don't have to do anything to them. Just know the movements without

judging or describing them.

If it is difficult to perceive the rising and falling motions, put your hand on your stomach in

order to feel them clearly.

Instead of making a continuous loop, the rising and falling motions are actually separate

movements. Imagine a rock thrown straight up in the air. When reaching the highest point

the rock stops for a fraction of a second before falling. Likewise, the abdomen stops rising for

a moment before falling back.

As you do the exercise, restrict your attention to what is occurring in the immediate presentmoment. Don't think about the past or futuredon't think about anything at all. Let go of

worries, concerns, and memories. Empty your mind of everything except the abdominal

movements occurring right now. But don't thinkabout them; just knowthem.

It's important to understand that knowingbodily motion (or knowing anything) as it actually

is in the present moment is entirely different from thinking about it. In insight meditation the

aim is not to think, but only to know.

To know an object during vipassana meditation means to experience it with bare, nonverbal

awareness. You merely register the sensation with impartial attention, without identifying,

naming, judging or describing it. You don't have to comment on the movements: "That falling

motion lasted longer than the previous one. That rising movement wasn't as clear as the

others," and so on.

As soon as there is bare awareness of the rising or falling movement, you are already

knowing it. The same is true of everything you might observe during meditation practice. No

matter what appears, just know it with bare attention for one moment and then let it go.

Keeping your mind on the rising and falling movements may not be as easy as you'd think. Be

patient and don't judge yourself, even if the mind wanders out often. Remember that you're

learning a new skill. When learning to play the piano, for example, you wouldn't expect

perfection right away. Likewise, you shouldn't expect it in meditation. Don't get discouraged

if your progress seems slow. As long as you stick with the practice, results are sure to come.

As a beginner, you should label the abdominal movements with a mental note. A mental note

also called a "label"is a word or short phrase said silently in the mind. The practice ofmental noting helps keep the mind on the meditation object and prevents you from getting

distracted. But this technique is only a temporary crutch. You should stop using the mental

notes when mindfulness is strong enough to observe objects without them. If you're not sure

whether mindfulness is strong enough, don't worry. In fact, the labels will fall away

automatically when no longer useful, so you don't have to make a deliberate decision to stop

using them.

Labeling an object with a mental note should not be confused with recognizing and inwardly

saying the ordinary name of the object, which is what we do in daily life as soon as we see


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or hear something. Nor should we confuse mental noting with describing the object further.

Mental notes support mindfulness in the early stages by increasing momentary concentration.

But even when using the noting technique, we should focus on the actual experience of the

object instead of on the label, letting go of the conventional names, associations and

meanings that in ordinary life are automatically attached to sense- impressions.

Here's how to use the mental noting technique with this exercise: As the abdomen expands,

say the word "rising" in your mind. When the abdomen contracts, say "falling." Continue to

note rising, falling, rising, falling, rising, falling,from one moment to the next.

Only say the mental note one time per movement. For example, during one rising motion you

would say the word "rising" once, stretching the word out to last as long as the inhalation.

When beginning to exhale you would say "falling," stretching the word out to last as long as

the exhalation. Again, these words are said silently. And as we mentioned a moment ago,

even when using the mental notes, try to keep your attention on the actual movement

instead of on the word. The aim is to know the experience itself.

The mental note should coincide with the motion, not be tagged on afterwards. Sometimes

you might catch yourself saying "falling" after the rising movement has begun, or vice-versa.

In that case you are no longer knowing the present moment. Just start over again from that

point, noticing what is actually happening now. Later we'll talk more about mental notes.

During the rising-falling exercise don't focus on the breath or the physical components of the

abdomen. Keep your attention on the surface of the body and focus only on the movement,

which is perceived subjectively as a subtle sensation of tactile pressure, a sensation which

keeps changing from moment to moment.

Imagine lying on your back, putting a coin or some other object on your stomach and, with

your eyes closed, mentally "watching" the coin move up and down as you breathe. Or think

of a buoy on the water, moving up and down with the waves. The coin and the buoy are like

the spot on the abdomen, and the meditator just follows the up and down movement.

A couple of pointers: the abdomen should not be visualized. You only have to be aware of

the movements. And be sure to breathe naturally. Don't try to control your breath (but if youcan't perceive the abdominal motions you may take a few very deep breaths with your hand

on your stomach in order to help you sense the movements. Afterwards, let your breathing

return to normal).

If you can watch your abdomen rising and falling one time, you can practice insight

meditation. Why not try it right now before you continue reading? It will only take a few

seconds.

Close your eyes and inhale, observing one rising motion; then exhale, observing one falling

motion. Don't worrythis page will still be here waiting for you. It isn't going anywhere. You

can continue reading after trying the exercise. Let any resistance drop away. Go ahead and

try it now, on the count of three. One, two, three: Begin.

Congratulations. You see? Insight meditation isn't difficult.

Here is some additional information about observing the abdominal movements. A single rising

movement of the abdomen lasts about two or three seconds. It has a beginning, middle and

end (and so does the falling movement). Ideally your attention should be equally alert for the

entire duration of the movement. Notice the motion as the abdomen first begins to expand,

keeping your attention continuous throughout the development of the movement, until the

abdomen reaches the highest point and stops expanding. Don't just focus on the middle

stage, which is the most obvious part. The beginning- and end-points should be noticed, too.


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When the abdomen stops expanding, let go of the rising movement and re-focus your

attention on the beginning of the falling movement. Observe the falling movement in the

same way, from beginning to end.

Please note, we're not saying you should mentally chop one abdominal movement into

sections. One rising or falling motion should be noticed smoothly, without breaks, until it is

over, at which point you would let it go. The same applies to the motion of the feet in

walking meditation, the movements of the hands in Exercise 3, and so on.

The rising-falling exercise is not only for beginners. Most experienced meditators continue to

use it as their main practice. Even if you move on to the other exercises you should not

forget about this one, since the abdominal movements can be noted anywhere, any time.

Motion belongs to the first foundation of mindfulness, the body. The rising-falling motions are

material form (in Pali, "rupa"). Regard them with a detached, scientific attitude. In the

ultimate sense, these movements do not belong to you. They are only impersonal

phenomena, not your self. In truth, they are not a part of you. They are not the mind,

either. It is the mind (nama) that knows them. Yet in ultimate terms the mindwhat you call

"your mind"is not a self, but just an impersonal faculty whose function is to be aware of

something.

Practice the rising-falling exercise anywhere from ten minutes to one hour. If you want to

meditate longer than an hour, it is best to alternate this exercise with walking meditation.

Observing Movement

In many of the exercises presented here, the meditator watches bodily movement. When

observing the abdominal motions or any other form of bodily movement, the student shouldfocus on themovement itself instead of on the physical body part.

The two ways of focusing might be compared to looking at a windmill in two different ways.

We might look at a windmill in order to discover the direction of the wind, or we might study

the windmill's structure because we're going to repair it. In the first case we only pay

attention to the motion of the windmill-bladestheir speed and direction. We don't notice

details about their shape, structure and color. Who cares? The physical details of the blades

tell us nothing whatsoever about the wind, so there's no reason to focus on them. All we

care about is the path they make through space as they move.
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does not refer to a three-dimensional Thing like a desk or a bicycle. An object means

something that is known bythe mind (something you're aware of) in the present moment, as

opposed to the subject that is knowing it. The subject is the mind or "knower." (Yet, in the

ultimate sense, the subject is not a self but the mere faculty of knowing).

In vipassana, an object of awareness can be either material or mental. Practically speaking, a

"material object" refers to a sense-impression: color, sound, odor, tactile sensation (including

bodily movement), and flavor. A mental object refers to such things as pleasant or

unpleasant feeling, desire, anxiety, peacefulness, anger, thought, and so on.

As we said, while you're observing the rising-falling movements other phenomena will be

appearing and disappearing. You might be aware of sounds. Sometimes you'll experience

emotions and thoughts. You might feel itches, numbness or discomfort in the body, or you

might feel very peaceful. All of these are secondary objects. In short, a secondary object is

anything you're aware of that is not the primary meditation object.

When should you deliberately focus on a secondary object? If a secondary object makes only

a faint impression on the periphery of your awareness and does not strongly hook your

attention, ignore it and continue observing the primary meditation object. In that case, of

course, you don't need to label the secondary object with a mental note.

But if a secondary object hooks your attention and pulls it away, or if it causes desire or

aversion to appear, you should focus on the secondary object for a moment or two, labeling

it with a mental note. After that, drop it and resume watching the primary meditation object.

Only observe one thing at a time.

Mental Noting

A mental note identifies an object in general but not in detail. When you're aware of a sound,

for example, label it "hearing" instead of "motorcycle," "voices" or "barking dog." If an

unpleasant sensation arises, note "pain" or "feeling" instead of "knee pain" or "my back pain."

Then return your attention to the primary meditation object. When aware of a fragrance, saythe mental note "smelling" for a moment or two. You don't have to identify the scent.

Your eyes will usually be closed during the rising-falling exercise, so you won't have much

occasion to see. But sometimes you might want to open your eyes, such as when changing

posture. When you are aware of color, note the bare sensation of seeing for a moment or

two, labeling it "seeing." Don't pay attention to what the sight is an image of, or whether it's

attractive or unattractive. Then go back to observing the primary meditation object.

Using mental notes helps prevent clinging and aversion from arising. But as soon as an object

is noted it should be let go of. Even the sensation or thought you noted one moment before

should not be kept in the mind. In meditation practice every phenomenon should be dropped

as soon as it is noticed.

A mental note should usually be limited to one or two words. If it's too long another object

will have arisen before you finish saying the note. A mental note should also be a word easily

recalled so you don't have to search your mind for it. Don't waste time looking for the right

mental note. That will take you out of the present moment. If you don't know what to call

something use the general label "knowing."

If an object has already disappeared before you were able to label it, don't go back and tag

on the label. Let go of all the previous objects and start over again from this moment, by

noting whatever is being experienced now. But if most of the objects that arise seem "faster"
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than the mental notes, you don't need to use the notes any more.

However, although the labeling technique is mainly for beginners, even advanced meditators

benefit from using it when mindfulness and concentration are weak. Don't be afraid to

compare both procedures. Use the mental notes, and then drop them for awhile. What is the

difference? Are you able to focus on the present-moment object equally well in both cases?

Eventually you'll know instinctively when the labels are useful and when they merely get in

the way.

Remember: the mental notes are said silently at the exact moment of perceiving the object,

not added later.

The instructions for noting secondary objects apply to all the meditation exercises in this

article.

Wandering Mind

In the beginning your mind will often wander during meditation, spinning out thoughts about

the past and future. Be assured this is normal; but what should you do when it happens? Thestrategy is simple: When you catch yourself thinking, silently say the mental note "thinking"

for a moment or two, and then gently return your attention to the rising-falling movements

(or whatever primary meditation object you were observing).

But after gaining some experience in vipassana practice you may notice thoughts that are

very faint or in the "background" of awareness and don't hook your attention. Before you can

label them with a mental note, they're already gone. In that case there's no need to label

the thoughts. Just keep observing the primary meditation object and ignore the thoughts,

which will fall away on their own.

The latter approach is mainly for intermediate and advanced meditators. Since it is more

difficult for beginners to notice when they are thinking, there's a greater chance the mind will

be hooked by a thought and get carried away on a long tangent before you realize it.Immediately labeling thinking with a mental note helps prevent this.

Don't get upset or judge yourself when the mind wanders away. Keep gently bringing it back

to the main meditation object. Be patient with yourself and understand that it's the nature of

the mind to think, so training it to stay in the present moment and just knowtakes time.

Actually, if you are aware the mind has wandered it means you are being mindful. If you

didn't have mindfulness, you wouldn't know the mind had drifted away. In daily life we're

unaware how distracted and agitated our minds truly are. Only when making an effort to

meditate can we see the full extent of the mind's restlessness as it jumps from one thought

to the next. The suttas compare it to a monkey in a tree jumping from branch to branch.

When you catch the mind wandering you might be tempted to wonder, "How long have Ibeen thinking? When did I lose track of the rising-falling motions?" But those are more

thoughts, and even as you're thinking them more rising-falling movements are passing by

unnoticed. Don't go back to find the spot where you lost mindfulness or try to reconstruct

the links in the cognitive chain. You can't bring those past moments back in order to

acknowledge them. Let them go and start over again from this moment.

One reason the mind easily wanders off on tangents is that we tend to believe

wholeheartedly in the content of our thoughts, and so whenever a thought arises we get

mesmerized by its "story." We may not think of ourselves as people who are easily fooled, but
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this is one area in which most of us are completely gullible, especially when the thought

carries an emotional charge. When pleasant thoughts appear we get caught up in the

fantasies, fueled by desire. When unpleasant memories arise we focus on how we were

wronged, getting more and more upset. Whether the content of the thought is pleasant or

unpleasant, we tend to assume it has substance instead of recognizing that it's just anempty vibration arising and passing away.

During vipassana practice meditators should try to ignore the content of their thoughts

completely. It doesn't matter whether a thought is good or bad, pleasant or unpleasant; the

conventional meaning is irrelevant in meditation. The attitude is to look upon all thoughts as

general instances of "thinking," without paying attention to the details that differentiate one

thought from another. All thoughts (indeed, all objects) have equal value in vipassana

practice.

We don't have to feel guilty about having unwholesome thoughts. The key is to be aware of

them as soon as they arise. If we're aware of them in the present moment, mindfulness is

already there. Everyone has bad thoughts at times. In reality most thoughts arise

spontaneously due to causes we cannot directly control. Instead of trying to suppress them

during meditation, the right approach is to "know and let go."

Imagine two meditators: the first has many angry thoughts but doesn't get involved in them(or act on them, of course). He notes and lets go of them right away. The second meditator

clings to beautiful thoughts about the Buddhist teachings. Which student is practicing

vipassana correctly? The first.

When a meditator is aware of a thought early enough, he realizes, "The thought was not in

existence before; it appeared just now and disappeared at once. I had previously imagined

thought to be permanent because I had not carefully observed it. Now that I have watched

it, and seen it disappearing, I know it truly as it is, impermanent" (Mahasi Sayadaw, The

Great Discourse on Not-Self, pp. 1156).

It is important to understand how to observe thinking correctly because, as Mahasi Sayadaw

explains, thoughts and tactile sensationsespecially sensations of bodily movementare the

most frequent objects of contemplation. Even exalted thoughts about the Buddhist teachingsshould be let go of, as should painful thoughts.

When no thoughts or other secondary objects distract you, your attention should stay with

the primary meditat ion object.

One Object at a Time

The vipassana technique involves focusing on one thing at a time. That doesn't mean you

have to observe one object exclusively for the entire meditation period. It means focusing on

one thing per moment. Observing two objects or sense-impressions in the same moment

"confuses" mindfulness. Therefore, when observing a rising or a falling motion, ignore otherobjects. Don't pay attention to sounds, thoughts, feelings or smells.

But it should be understood that in any two consecutive moments the meditation object may

be different. In vipassana your attention may jump from one meditation object to another.

You might observe a falling movement of the abdomen, and then in the next moment observe

a sound. So even if you sit down to practice the rising-falling exercise for thirty minutes, it

doesn't mean you will observe the abdominal movements during every single moment of that

half-hour period. Secondary objects will sometimes hook you, and whenever you deliberately

note a secondary object you should switch all of your attention to it (even if just for that
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one moment). Whatever object you're observing at any given moment should be the only

thing you focus on in that moment.

For instance, if a sound pulls your attention away from the abdominal movements, switch

your attention to the sound and note "hearing" for a moment or two. For those few seconds

ignore everything else, including the rising-falling motions. (While doing this you might still be

aware of other phenomena in the background or on the periphery of consciousness. That's all

right. The point is you are not intentionallyfocusing on them). After one or two moments of

noting "hearing," return your attention to the primary meditation object and forget about the

sound. The same procedure applies to anything else you might observethoughts, emotions,

itches, smells, feelings, and so on.

By focusing on one object at a time, a meditator is able to perceive the three phases of each

momentarising, persisting, and vanishingmore and more clearly. On the other hand, if a

beginner tries to be aware in a general way of whatever comes up, noticing is vague.

Because his attention is scattered across several objects at once, none is particularly clear.Since he is trying to observe the whole stream of experience simultaneously, he may not

know which object hes noticing at any given moment, and it is difficult to gain insight.

When two or more objectssuch as a movement and a soundoccur simultaneously, the

general rule is to observe the one that makes the strongest impact on the mind, or the onethat triggers more desire or aversion.

Know and Let Go

As we explain throughout this article, the vipassana motto is: know and let go. Or we can

say, "Focus and forget it." They mean the same thing. All insight meditators should memorize

one of these phrases.

The letting go or "forgetting" is just as important as the knowing or focusing. During

meditation practice a student focuses on one thing at a time and then lets it go. He keeps

"knowing and letting go" repeatedly, from one moment to the next. In Exercise 1, forexample, we focus on the rising movement of the abdomen, and then drop it. In the next

moment we observe the falling movement, and then let it go. The moment after that we're

aware of the rising movement again; as soon as it ends we forget it. And so on.

That's how to describe the procedure in words. But in practice, as we explain elsewhere,

"letting go" is not a separate action. Letting go of the previous meditation object happens

automatically every time we focus in the present again.

Let's take another look at Exercise 1. We observe one rising movement of the abdomen until

it ends. Immediately after that, in the next moment, we bring our attention to observe the

falling movement. But in the act of bringing our attention into the present again to see the

falling movement, the rising motion is simultaneously forgotten. In truth, consciousness can

only be aware of one thing at a time. It has to let go of the previous object in order to knowsomething else.

That's why we don't have to let go as a separate step. Letting go and re-establishing our

attention in the present moment are the same. Letting go of the past happens by itself

whenever we truly bring the mind back to the here and now. But re-establishing our

attention in the present is something we have to keep doing, gently, with every single

moment. The present is not static. There is always a new "present moment."

Therefore, what we are actually doing during vipassana practice is: knowing, knowing,
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knowing, in a chain of moments. Or we could describe it like this: knowing-the-present,

knowing-the-present, knowing-the-present. In an article for tricycle.com, Joseph Goldstein

describes how to do this with the abdominal movements: "Train your awareness to connect

clearly with the first moment of the beginning in-breath. Then sustain the attention for the

duration of just that one in-coming breath. Connect again at the beginning of the outbreath

and sustain your attention till the end." (http://www.tricycle.com/brief-

teachings/meditation-instructions). As meditators, our only job is keep bringing the mind backto knowing what is happening right here in this present moment. And now this one. And thisone.

Itching

During vipassana practice you might feel an itch somewhere on the body. In daily life

sensations of itchiness arise frequently, but since the normal response is to scratch the itch

unconsciously, without clear mindfulness, people don't realize it happens hundreds of times

per day. As a result of meditating, you begin to see that uncomfortable bodily sensations

arise much more often than you had thought.

If you can keep your attention on the principal object and let the itch stay in the"background," it will often disappear by itself. If it doesn't disappear but becomes more

uncomfortable, just watch the sensation for a few moments, saying the mental note "feeling"

or "itching." Desire might arisedesire to be rid of the feeling. Label it "wanting" or "desire."

(Here you don't observe the sensation of itchiness per se, but the wanting itself, which is a

different object).

If the itch persists and you have to scratch it, use the following step-by-step technique:

1. Observe the desire to be rid of the feeling, saying the mental note "desire."

2. Before moving your hand, note "intending to move."

3. Mindfully move your hand to the itchy spot, not ing "moving."

4. When you reach the spot, stop moving your hand for a moment and note, "intending to

scratch."

5. Scratch the itch, noting "moving" or "scratching." Stop.

6. Move your hand back, saying the mental note "moving." Stop.

7. Put your hand in your lap, noting "placing." Now you are back in the original meditation

posture.

8. Note the pleasant feeling that has replaced the unpleasant one, labeling it "feeling" for

one or two moments. Notice if liking arises for the good sensation. If it does, label it

"liking" or "desire."

9. Resume watching the primary meditation object.

Pain

Whenever you keep the body in the same position without moving it, sooner or later pain will

arise. How should you deal with pain during meditation practice?

Instead of automatically shifting the body when you feel discomfort, try to observe the
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With this method you let the pain be there in the background if it's going to, but you don't

pay attention to it. The attitude is that you don't have to get involved with the pain or

worry about it. The unpleasant feeling is solely the business of the body. If you can separate

your mind from the pain and let go of it, you won't experience the suffering in the same way

as before. Then, even though the physical sensation may still be there, it won't be

experienced as "hurt", and it won't make the mind suffer. But this is an advanced technique

which is not recommended for beginners.

Generally speaking, when feelings arise during meditation they should be observed and

labeled with a mental note. That is not only true of unpleasant feelings such as pain. If you

fail to observe a pleasant feeling when it arises, attachment can develop. Before you're even

aware of it, you will cling to the feeling. It is easy to get caught up in pleasure and forget

about staying in the present moment. Whether a feeling is painful or pleasant, after noting it

for a moment or two, let it go.

You should also be aware of any desire that arises in connection with feelingwhether the

desire to get rid of a painful sensation or to prolong a pleasant one. When desire arises, label

it with a mental note.

Mental Images

Some meditators see vivid mental images when reaching a certain stage of insight. Others

never see such visions. Whether or not they appear depends in part on the student's

temperament. The images might be of anything at all: people, animals, gardens, colors,

decaying bodies, abstract shapes, or even the Buddha.

These visions can range from exquisitely beautiful to very frightening. But no matter how

vivid they seem, these images are not real. They are mental formations that arise from

imagination (coupled with concentration) and have no significance. They are neither good nor

bad. The meditator should neither desire nor fear them.

If an image occurs, try to focus on the primary meditation object again (such as the rising-falling motions), ignoring the image. Let the image remain in the "background," but don't pay

attention to it. Eventually the image will fade away.

If the image persists and interferes with your practice, there are several things you can do:

1. Pract ice with your eyes open.

2. Label the image with a mental note. (You can use the word "image" or "seeing,"

although it should be understood that knowing a mental image is not the same as

genuine seeing.) Continue to note the image from moment-to-moment until it

disappears. The image will often disappear after several notings.

3. Switch to a different meditation exercise. If you are sitt ing, get up and pract ice

walking meditation or do the hand motions exercise.

If you note the image with the aim of getting rid of it due to aversion or fear, it will last

longer. Enjoying the vision will also make it persist. Whether it is pleasant or unpleasant, try

to note the image impartially, just as you would any other object, without liking or disliking it.

Mindfulness When Changing Posture
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Insight meditators usually alternate a period of sitting with an equal period of walking

meditation, especially during an intensive retreat in which vipassana is practiced many hours

per day.

During the transition between postures it is crucial to maintain step-by-step mindfulness.

When the sitting time is over, resist the temptation to jump up suddenly or automatically

stretch your back or legs without being mindful of your movements. In the long run, even a

few moments of speeding up will slow you down. Careless movements cause a break in

continuity that scatters mindfulness.

In the old days before lighters and matches, fire could only be produced by rubbing two

sticks together until the friction created a spark. Continuity of effort was essential in getting

a flame. If you stopped to rest, the sticks would go cold and you'd have to start over.

Continuity is just as important in vipassana practice.

Here we'll describe how to change from sitting to standing in a step-by-step manner,

enabling you to maintain mindfulness. The same principles apply to all the other postures.

First, note your intention as "intending to move." Next, start moving the body slowly,

breaking the motion down into a series of separate actions. Stop completely after each

movement. Bring each hand to your stomach one at a time. Tilt your torso forward as youprepare to stand. Uncross your legs. Lift one leg and then the other. Note the feeling of

pressure against each foot as you place it on the floor, and then slowly stand up.

Each of these actions should be performed slowly, methodically, and observed from beginning

to end. Whenever possible, move only one body part at a time. It's very important to stop

fully at the end of each movement. Label each action with an appropriate mental note or

simply note "moving."

Once the body is upright you should observe the standing posture for a few moments, noting

"standing." This means to focus awareness on the position or shape of the body, being aware

of how it feels. If this is difficult you can focus on one point, such as the spot where the

soles of your feet touch the floor. (For a more detailed description of how to observe bodily

posture, please see Exercise 4).

Whether you are standing, sitting, or lying down, apply this step-by-step technique

whenever you change posture during vipassana practice.

Below are a series of drawings that illustrate the reverse process, changing from standing to

sitting, in even more detail. Here the process has been broken down into sixteen steps (this

information has been adapted from Helen Jandamit's book, The Way to Vipassana, Bangkok,

V.H. Publications, 1990).

1. Begin by standing with your feet together, arms at your sides (alternatively, you may

hold your arms in front of the body, one hand clasping the wrist of the other). Move

your left foot backwards, noting "moving."

2. Slowly bend your knees, not ing "moving" or "down".


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3. As your left knee touches the ground, note "touching".

4. Move your left hand toward the floor, noting "moving."

5. Place your left hand on the floor, noting "touching" (your hand needs to be in this

position to support the body prior to moving the right leg).


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6. Move the right leg back until it is parallel with the left leg, noting "moving."

7. When the right leg touches the floor, note "touching".

8. Move your left hand backwards, noting "moving."

9. As your left hand touches the floor, note "touching".


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13. Reach your right arm forward and take hold of your right ankle, noting "grasping".

14. Lift the right foot, noting "lifting."

15. Move the foot towards the body, noting, "moving".


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16. Set your foot on the floor, noting "placing".

17. Put your hands in your lap one by one, noting "moving."

This series of movements is only one of many possibilities, and does not have to be followed

precisely. If you have a disability or other chronic physical problem you may need to alter the

steps. Adjustments will also have to be made if you meditate in a chair. The important thing

is to follow the principle of breaking down larger movements into separate, smaller actions

that can be noted one at a time, and to stop completely at the end of each action before

beginning the next. Also, be sure to acknowledge each movement with a mental note,

especially if you're a beginner. You may devise your own notes; the ones given here are onlysuggestions.

Exercise 2: Walking Meditation

Walking meditation is an important vipassana technique. The basic walking meditation

exercise is similar to normal walking, only slower and more deliberate. Your attention should
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be minutely focused on each action.

The primary object during walking meditation is the motion of the feet. Observing the

movement of the feet is essentially no different from watching the abdominal movements or

the motions of the hand in Exercise 3. Don't try to feel the muscles in the foot, or a

sensation in the foot. Instead, observe the movement itself. In other words, with each step

observe the path the foot makes as it moves through space.

Pay no attention to the abdominal movements during this exercise. As we said before, only

observe one object per moment.

One final note: don't look at your feet. Just be aware of the movements with your mind.

The best environment is one with few visual distractions. Remove your shoes, if possible. You

should have enough space to walk at least seven paces in a straight line.

Follow the instructions on changing from sitting to standing.

Once you are standing, hold your hands in front of your body, one hand gently clasping the

wrist of the other. Instead of looking around the room, keep your eyes directed straight

ahead or slightly downcast toward the floor (but don't bend your neck too far forward, whichmay cause discomfort). Try not to turn your head independently. Even when you turn around

at the end of the walking path, keep your head in a straight line with your spine, as if you

were wearing a neck brace. Move your whole body as one unit on the turn. Relax your

shoulders.

Basic Walking Exercise

(Suitable for beginners)

1. Observe the standing posture, noting "standing" for a few moments. This means to

focus awareness on the posture of the body as you stand (for a more detailed

description of how to observe posture, see Exercise 4). If this is difficult you can

choose one point to focus on, such as the soles of your feet, being aware of the

feeling of pressure from touching the floor.

2. Before moving, note "intending to walk." (Don't skip this step).

3. Slowly lift the right foot and place it down, taking one step. This should be a single

fluid motion without breaks. Be aware of the entire arc of movement from beginning to

end. As you do so, label the step "placing" (remember to label while the motion is

happening, not afterwards). The left foot should not have moved and the left heel

should still be on the ground. After placing the right foot down, stop completely for a

moment.

4. Slowly take a step with the left foot, noting "placing." Stop.

5. Continue walking, making sure to stop completely after each step. Only move one foot

at a time.

6. When you reach the end of the walking path, place your feet together on the last

step, noting "stopping."

7. Note "standing" for two or three moments.

8. Now you will begin to turn, in four steps. Note "intending to turn."

9. Lift the toes of your right foot and pivot on the heel, turning to your right. At the same

time, say the mental note "turning." The right heel should stay on the ground. Be sure


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to keep your head in line with your torso. The left foot should not move. Stop.

10. Lift the left foot and place it down next to the right, while noting "turning". (The left

foot doesn't pivot, but steps.) You should have moved about ninety degrees. Stop.

11. Pivot on the right heel again, noting "turning." Stop.

12. Lift the left foot and place it down next to the right, not ing "turning." By now you

should be facing in the opposite direction, having turned one-hundred-and-eighty

degrees.

13. Repeat steps 1-12 as many times as you wish.

That is the basic exercise. Next we'll give five variations in which each step is broken down

into a series of smaller movements. Substitute any variation for instructions number 3 and 4

above. The rest of the exercise is the same.

A word of advice: don't try the variations until you are adept at the basic exercise. And don't

proceed to the next variation until you've mastered the previous one, even if that takes a

month, a year, or longer. (During an intensive meditation retreat, however, you might spend

only one day on each variation.)

Remember that the "resting" foot should not come off the floor until the active foot has

finished moving. Don't forget to stop completely after each segment of a step.

Advanced Walking Meditation

The two-part step:(Lifting, placing). Lift the heel, noting "lifting" (the toes are still on the

floor). Stop. Now move the whole foot forward and place it on the floor, noting "placing."

The three-part step. (Lifting, moving, placing). Lift the whole foot straight up as a unit,

noting "lifting." Stop. Move the foot forward, noting "moving." Stop. Place the whole footdown as a unit, noting "placing."


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The four-part step:(Heel up, lifting, moving, placing). Lift the heel, noting "heel up." Stop.

Lift the whole foot straight up, noting "lifting." Stop. Move the foot forward, noting "moving."

Stop. Place the foot down as a unit, noting "placing."

The five-part step: (Heel up, lifting, moving, lowering, placing). Lift the heel, noting "heel

up." Stop. Lift the whole foot straight up, noting "lifting." Stop. Move the foot forward,

noting "moving." Stop. Lower the foot as a unit, noting "lowering"; stop when the foot is

about an inch from the floor (be sure to stop completely here). Place the whole foot on the

floor, noting "placing."


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The six-part step: (Heel up, lifting, moving, lowering, touching, placing). Lift the heel,

noting "heel up." Stop. Lift the foot straight up, noting "lifting." Stop. Move the foot forward,

noting "moving." Stop. Lower the foot, noting "lowering"; stop when the foot is about an inch

from the floor. Touch the toesonly the toesto the floor, noting "touching." Stop. Placethe heel on the floor, noting "placing."

Exercise 3: Hand Motions(Suitable for beginners)

This exercise is similar to walking (and rising-falling) in that you watch the body's physical

movement. By focusing on a different part of the body, however, you give mindfulness a

larger repertoire of objects, just as a weightlifter trains different muscles in rotation.

Since mindfulness sometimes gets "bored" or slows down when observing the same object for

a long time (especially during a meditation retreat), changing to another primary meditation

object can help mindfulness maintain strength and continuity. And because some of the

movements here are shorter than in the other exercises, mindfulness is able to observe more

"moments" in the same amount of practice time.

The hand motions exercise, performed while sitting or lying down, is especially useful for
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whole posture each time with the aim of understanding that this is all there is to "sitting"

only a momentary group of sensations, nothing more. It is not stable. It is constantly

changing. (Again, however, if it is difficult to be aware of the entire posture at once you may

focus on a smaller area. Eventually you will be able to "see" the whole posture.)

Every time you focus on the posture, simultaneously label it with a mental note. Keep noting

"sitting," "sitting," "sitting," from one moment to the next, over and over. Remember, it's a

light touch-and-go. You don't need to explore the details of the sensation.

A reminder: don't look at the body with your eyes. Look with your mind.

As Achan Sobin suggests, it may help to think of the mind as a camera taking a series of

snapshots. Take a "shot" of the sitting posture. Then take another snapshot of the same

thing.

Further, when a photographer adjusts a camera lens, he focuses on one spot only; but the

entire image comes out clear, not just the particular spot he was focusing on. (This is similar

to focusing only on your hands instead of on the whole sitting posture).

A few paragraphs back we spoke about letting go after observing the sitting posture. Think

of a chain of individual acts of focusing, and letting go after each one. In other words, whatyou should do is: Focus on the object and then forget it. Then immediately focus and forget

it again. And again. And so on.

That's how we explain it in words. But in actual practice the "forgetting" or "letting go" is not

a separate action. Letting go of the previous moment happens by itself every time the mind

focuses on the posture again. So really it's a matter of: focus, focus, focus, in a series of

moments. The meditator keeps taking consecutive "snapshots" of the posture, each one

lasting roughly a couple of seconds.

Some reminders: don't mentally review your body one piece at a time. That would take too

long and would pull the mind out of the present moment. And even though you use the

mental label "sitting," remember to focus on the actual posture, not the word itself.

Every moment of our lives has two components: an object of awareness, and the mind. In

this meditation exercise, the object of awareness is the sitting posture. So we have only:

the sitting posture (material form) and the thing that is knowing it (the mind). The mind itself

cannot adopt a posture. The mind doesn't have buttocks or legs to sit or stand with. It can

only be aware ofthe body's posture.

There are a couple of Pali words worth remembering, because you will hear them over and

over again in discussions about vipassana meditation. They are: "rupa" and "nama." Among

other things, rupa means material form. Nama means the mind. In summary: the sitting

posture is material form (rupa). The mind (nama) knowsis aware ofthe form.

In conventional terms, we say "I am sitting." But in truth, a "self" cannot sit. The body is not

a self. It is not your selfsitting there. It is only matter, or rupa, sitting. And when the bodysits, the mind experiences the posture as a group of temporary sensations, different from

when the body is standing or lying down. That is the only way in which posture is

experienced.

Everything we've said about observing the sitting posture applies to all the other bodily

postures as well.

Intermediate or advanced meditators may practice this exercise for the entire meditation

period, or for a few minutes before pract icing the rising-falling exercise. Beginners may do the


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reactions. If you acknowledge an emotion when it appears but don't get hooked by itdon't

get upset or intriguedthe emotion will gradually fade out.

A fire reflected in a lake cannot burn the water. Neither can emotions disturb the mind when

you dont get involved in them.

Dont identify an emotion as your self. The fear or anger is not you, but only an impersonal

phenomenon. Mentally pull back from the emotion and turn your awareness around to

observe it. Now the emotion is just another object of your attention. Instead of "becoming"

the emotion by getting caught up in it, you're looking at it from the outside.

When we're in the grip of a negative emotion we tend to believe it will never end. But

emotions are no more permanent than thoughts. With continued practice youll find that you

only have to wait and any emotion, whether pleasant or unpleasant, is bound to change.

In training the mind to know emotions as they really are, a meditator comes to realize that

even strong grief, anger or fear can last only a moment before passing away. The emotion

might come back; but even so it instantly passes away again.

An emotion is not something that belongs to you. The anger, sadness, or peace is only an

impersonal phenomenon, a kind of mental weather that arises according to certain causesand then vanishes.

When you're able to separate your awareness from an emotionable to leave the anger or

sadness alone and become the observerthe emotion has no power to control you or cause

suffering. The key is to be mindful as soon as it appears so you don't get hooked in the early

stages.

But sometimes beginners are so overwhelmed by painful emotion they cannot practice

effectively. In that case one of the following methods may help:

1. Press the fist against the center of the chest (around the heart area) and repeat

"knowing, knowing, knowing," being aware of the sensation of pressure from your hand.

Keep this up until the emotion subsides.

2. If you're sitting, get up and practice walking meditation.

3. Temporarily switch to a concentration technique until you are able to resume vipassana

practice. For example, you might repeat the word "Buddho," or another mantra (a

mantra is a special word or phrase repeated aloud and focused on in concentration

meditation).

Use the last method only when mindfulness is truly unable to cope with a strong emotion.

Switching to a concentration technique should not be used as a means of avoidingunpleasant emotions. Sooner or later, mindfulness must learn how to handle emotional

objects or we won't be able to make progress in insight.

In genuine vipassana practice we cannot avoid experiencing unpleasant emotions such asboredom, loneliness, fear, jealousy, anger, and so on. But much is learned from observing

them mindfully, and gradually we're able to let go of them sooner. Whenever these emotions

do arise they are weaker than they used to be, causing less and less suffering.

Pleasant emotions should also be known impartially, without liking or becoming attached to

them. They, too, are impermanent. If we try to make a pleasant emotion last longer it will

become a cause of frustration and unhappiness when, inevitably, it changes. Suffering

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Most painful emotions arise from memoryhence the value of staying in the present moment.

When recalling a painful memorywhether it be of a broken heart, or the loss of home,

health, career, or loved onethe unpleasant event that triggered the feeling is no longer

actually occurring in the present. Although the event is over the mind clings to it, which

generates more suffering.

Or sometimes we worry about the future, fearing the loss of wealth, youth, or health that

hasn't yet occurred. But none of these imaginings is real in the sense that none is actually

happeningat the moment we are thinking about it.

The painful events that happened in the past do not exist now. What might or might not

happen in the future does not exist right now, either. Why should we let the mind drag us

into unnecessary suffering?

It is not wrong to plan intelligently for the future, of course. But there's a difference between

behaving responsiblydoing what needs to be doneand needlessly suffering over things

that may never happen or are already gone; things which, in any case, we cannot control.

Suffering about past or future events can only arise when we fail to stay in the present. So

don't fast-forward or rewind.

Letting Go of "I"

In the previous section we explained that an emotion is not your self. Here we will talk a little

more about not identifying objects as self.

Normally, the mind relates everything we experience in everyday life to a concept of

selfhood. If we feel a pain in the body, for example, we automatically think, "my back hurts"

or "my leg hurts." The painful body part is immediately identified as belonging to "me."

Although the false belief in self cant be willed away, in vipassana practice we try to stop

reinforcing it so that clear-seeing might arise naturally. We try to observe our bodies and

minds without automatically identifying them as self, or as things that are part of us orbelong to us. The aim is to let go of the feeling of "I" as much as possible and merely know

the bare, phenomenal experience of each moment as it is.

During meditation practice, instead of: "I am moving," "I am hearing," "Iam thinking," and so

on, simply be aware of: moving, hearing, thinking.There's no need to mix the "I" into these

experiences. In truth, there is no permanent agent executing the actions.

Try to separate your awareness and watch the mind-body process as if it had nothing at all

to do with you. If there's a pain in your back or leg, label the sensation with the mental note

"pain" or "feeling," without regarding it as "me" or linking it to a specific body part. When

thoughts come, don't assume they are yours (but that's not to say they are someone else's.

They don't belong to anyone). The Buddha taught there is thinking, but no thinker (the

"knower" of the thoughts is only a momentary awareness that does not equal a self). Applythe same principle to all the other meditation objects. In truth, none of them truly belongs to

you.

Sleepiness

Sleepiness may bother you more during an intensive meditation retreat than in your daily

practice. Nevertheless, it can be a frequent hindrance for beginners. Just be aware that
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sleepiness is present whenever it arises. You can mentally note it as "sleepiness." If it does

not disperse after repeated noting, try some skillful antidotes: 1) open your eyes; 2) do

walking meditation; 3) turn up the lights, or 4) splash your face with cold water. Cooling the

room may also help. An excess of concentration can cause sleepiness. Be careful to follow

the meditation techniques correctly so that mindfulness and concentration stay as balanced

as possible.

How to Observe Objects

It is important to understand what counts as a correct object for mindfulness. As we

explained in "What is Vipassana?" the Four Foundations of Mindfulness are the appropriate

objects for insight meditation. Once again, these are:

1. The body: i.e., bodily motion and posture.

2. Feelings: painful, pleasant and neutral feelings (these don't refer to emotions).

3. Consciousness: for example, the condition of the mind with or without hatred, delusion,

etc.

4. Dhamma objects: this group includes the five mental hindrances: lust, anger,

sleepiness, restlessness, and doubt, as well as the five sense-impressions: sights,

sounds, tastes, smells, and touches. Some objects in this group are mental, some,

material.

Reduced to their essentials, the Four Foundations of Mindfulness are simply material

phenomena (rupa) and mental phenomena (nama). But this might sound as if anything

whatsoever can be a valid object for mindfulness. Not quite.

A valid object for mindfulness must be something that actually exists, and is directly

perceived in the present moment. It isn't something that used to exist, or will exist in the

future. As Ven. Sujva points out, it isn't imaginary, conceptual, or remembered. Nor is it a

name or a word.

Let's talk for a moment about mental phenomena, since these are the hardest to understand.

In the context of vipassana meditation, some mental forms are "real," such as the intention

to move the body, or a feeling of aversion or desire. They are valid objects of mindfulness if

we observe them at the very moment in which they arise (instead of remembering them

afterwards). Mental phenomena that are not real in the same sense are names, words,

memories and fantasies.

But we should understand that during vipassana practice we won't always be able to focus

on a "real" or "correct" meditation object, even if we try hard to do so. Sometimes we'll get

lost in memories, or find ourselves planning what we're going to do the next day. We might

realize we've been focusing on a word instead of on the actual phenomenon being

experienced. At times the mind will get caught up in imaginary constructs. That's to beexpected, and it's all right. We shouldn't get upset when it happens. As soon as we're aware,

we can begin again from that point. All we need to do is label the event with an appropriate

mental note, such as "memory," "planning," or "imagining," and lightly bring the mind back to

the main meditation object.

In daily life our minds become obsessed with some forms and try to get rid of others.

Inevitably we like good feelings, beautiful sights, pleasant sounds, delicious tastes, and

fragrant smells, and dislike unpleasant ones. Partiality reigns. Yet vipassana is the ultimate

democratic technique. Whether good or bad in conventional terms, all objects are treated
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equally during meditation pract ice.

But it's not enough just to know which objects to observe. Having identified the appropriate

meditation objects, we need to understand precisely how to observe them.

The way of focusing on objects in vipassana practice differs from that of concentration

meditation, and it's important to understand the difference. In every present moment, the

mind makes contact with, or knows, an object. In other words, the mind, the knower,

experiences an object.

In order to have a complete foundation for mindfulness, a meditator observes both the mind

and its object in each moment. (But that doesn't mean observing two objects at the same

time. As we said earlier, a meditator observes only one object at a time.)

Put another way, a meditator observes the knowing. Or we could say, he observes: the mind

in the act of knowing the object. It isn't as complicated as it sounds. As soon as we're aware

of knowing an object, we'll automatically be aware of the object, too. Consciousness can't

know itself. It has to have something outside itself to be aware of. The act of knowing

cannot happen without some object "x" to be known.

So when we say, for example, "be aware of the rising motion," what should be observed is,"knowing rising," or "the-act-of-knowing-rising." That is true for all meditation objects, not

just the abdominal movements. The complete unit of observation is always "the-mind-

knowing-x" or simply, "knowingx."

There is another important aspect to observing objects in insight meditation. Every object we

observe during vipassana practice arises, persists, and then ends, and this entire

development occurs within one moment. This can be illustrated by a single step of the foot in

basic walking meditation. Every step has a clear beginning as you lift the heel, a middle

phase as the foot travels forward, and an end as you place the foot down (these three

phases segue into each other fluidly). The entire progression happens in one moment, and

our attention should be sustained through the whole arc, from the instant of lifting the heel

all the way to the end. After the movement ends we let it go and focus on the beginning of

the next object. If we want to keep walking, we would observe the beginning of the nextstep.

Although not all meditation objects will have such clearly distinct phases as a single step

does, we can use this example as a paradigm of how to observe other objects, too, even

mental events. Even though we won't be able to do it clearly at first, our eventual aim during

meditation should be to observe every object in this manner, knowing it with mindfulness

from the instant of its arising all the way through to its ending, right in the present moment.

But remember, the cycle of development we're speaking about occurs within a single

moment, a single instance of noticing, not across several moments. So the duration of the

whole process is very shortno more than two or three seconds, sometimes much less. If

you're a beginner, this will probably sound quite puzzling. Please don't worry. As you gain

experience practicing meditation the meaning will gradually become clear. This is one of many

aspects of meditation that only truly becomes clear with practical experience. But having anintellectual understanding beforehand can help point you in the right direction.

To summarize how to observe objects in vipassana practice, we should: 1) observe realities,

not concepts or names; 2) be aware of knowing each object; and 3) observe each object

from beginning to end as it arises and disappears in the present moment.

Momentary Knowing
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In insight meditation, objects should be observed momentarily. What does "momentarily"

mean? During meditation you should let go of an object after focusing on it once. In other

words, after observing something for one moment, mentally let it go and then move on to the

next object (the "next object" might be a completely different form, or it could be the same

thing again if it's still occurring, like a feeling of itchiness lasting a few minutes). An insight

meditator focuses moment-by-moment. As we said before, the motto is: "Focus and forget

it," or "know and let go."

Please don't misunderstand: we don't mean you have to change to a different meditation

object every single moment. Don't worry if you're a little confused at this point. We'll explain

further.

Some meditation objects only last a few seconds. Take the exercise of watching the rising

and falling movements, for example. We watch the abdomen rise, and then the rising

movement ends, only to be immediately replaced by the falling movement, which is a

different object.

Even if you want to observe the rising movement longer, you can't, because it doesn't last

more than a couple of seconds. After watching it for a moment you have to change to

observing the falling movement. And then after a couple of seconds the falling movement

changes to rising. And so on. That's why you can't observe the rising movement or the fallingmovement longer than one moment at a time.

But what if you're watching a meditation object that stays the same for a longer time? How

would you observe it from moment-to-moment? Let's take the example of sound. Imagine

that while observing the abdominal movements you're distracted by the sound of a car alarm

going off in the street below. The noise continues for at least five minutes. You would

observe hearing the sound for one moment, and then drop it. But since the sound would still

be happening, you would observe the same sound a second time, letting it go againand so

on, in a series of acts of knowing. (Note: that doesn't mean you have to keep observing the

sound until its over. If the sound no longer disturbs your mind after noting it once or twice,

there'd be no reason to continue focusing on it. You could then return to watching the

abdominal movements).

The same thing applies to the other meditation objects. Students sometimes get confused

because we say a meditation exercise such as the sitting posture can be practiced as long

as forty-five minutes. In that case, wouldn't a person focus on the sitting posture for the

entire meditation period?

In ordinary terms, yes. But again, we need to understand how to focus from moment to

moment during vipassana practice. Although for the sake of communication we can talk

about observing the sitting posture for three-quarters of an hour, what we are actually doing

during that time is knowing sitting for a moment and letting it go, knowing sitting and letting

go, knowing and letting go, over and over again. It's the same as in the example of the car

alarm. Each instance of focusing lasts only a moment. During those 45 minutes many

individual acts of noticing occur, and the mind starts over again with each one. Furthermore,

in between moments of knowing the sitting posture there may be times when we notice asecondary object such as a thought, a sound, or an itch, whenever those things pull our

attention away. During a single meditation session mindfulness may jump back and forth from

one object to another many times.

Most of us have seen jugglers at festivals or street fairs, and their touch-and-go skill is a

perfect example of how to focus on objects in meditation. A juggler has to concentrate in

order to catch each ball as it comes around. He can't let himself get distracted by a noise in

the crowd or allow his gaze wander. He must know where to put his attention, and then keep

his mind on that spot. Likewise, a meditator has to concentrate or he will get distracted from


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whatever object is appearing in the present moment. That's the "focus" part of the equation.

Now for the "forget it" part: as soon as a juggler catches one ball he lets it go immediately or

his hand won't be free to catch the next one. He keeps his attention moving, "jumping" from

one object to the next. In the same way, as soon a meditator notes an object he drops it, or

else he'll miss the next present moment. His attention doesn't cling to anything. Like the

juggler's, his experience is touch-and-go, touch-and-go.

In the ultimate sense, reality is a series of different phenomena coming into being and dying

out one after another, very fast. For that reason our attention has to keep moving to the

next thing in order to keep up. Mindfulness is always moving to know the next object that

appears. It drops the last moment in order to know what is arising in the next present

moment.

Exercise 5: Sitting-Touching

In this exercise your attention switches back and forth between two primary meditation

objects. The first object is the sitting posture itself, as described above.

For the second object, find a point on your right or left buttock where you can feel the

contact of the floor. That will be the touching point. The idea is to "touch" this spot with

your mindi.e., to bring your awareness to focus on that point, momentarily. During this

exercise ignore the rising-falling motions.

Adopt one of the sitting postures. As described above, observe the sitting posture for one

moment, focusing, if you wish, on your hands in your lap. In the next moment move your

mind to the touch point and observe the contact. (Note: we are referring to mental contact,

not physicalthe contact of the mind "touching" the point.) Your attention will "jump" from

the sitting posture to the touch-point.

Keep alternating between them from one moment to the next, noting, "sitting, touching,

sitting, touching, sitting, touching." Focus on each object approximately the same length oftimeabout one-and-a-half to three seconds, or roughly as long as it takes to say the

mental note. (Another way to think of it is: focus on sitting for roughly the duration of one

rising motion of the abdomen. The same with touching.) Don't try to be precise about the

length of each moment. Just observe the posture for as long as it takes to say "sitting" a

little more slowly than normal and you'll be fine. That is one moment. Then note the touch

point for about the same length of time, saying "touching." And back to knowing sitting

again, one time. Then touching, for one moment. Back and forth. Practice this exercise

anywhere from twenty minutes to one hour.

During a meditation retreat, observe the touch point on the right side of the body for one

meditation session and the left side the next, alternating sides throughout the day. In your

regular daily practice you can do the left side one day, the right side the next.
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Exercise 6: Rising-Falling-Sitting

Once you feel comfortable with the rising-falling and sitting-touching exercises individually,

you can begin to combine them as in this exercise. Like a juggler adding another ball, you add

a third object to give mindfulness more "work" to do. If you have noticed a pronounced gap

between the rising and falling movements in Exercise 1, you're ready to add "sitting." (But

that doesn't mean you have to practice this exercise all the time from now on. Even

advanced meditators still use Exercise 1 as their main meditation exercise).

Adopt one of the sitting postures. Observe one rising and one falling motion of the abdomen.

Before breathing in again, focus on the sitting posture for one moment, taking a mental

"snapshot" of the pose. Eventually the duration of these three moments should be roughly

equal, but when first learning the exercise they are often uneven. That's all right, as long

as none of the moments is longer than about three seconds. (Note that sitting is observed in

between falling and rising, so do not breathe in while observing sitting.)

After observing the sitting posture one time, start over with rising again. Keep going in

sequence: rising, falling, sitting; rising, falling, sitting. Use the corresponding mental notes:

"rising," "falling," "sitting."

At first you might have to hold your breath for a moment in order to fit the sitting object

between the old falling and the new rising motion. But with practice there will be a natural

space long enough in which to observe the posture. Practice this exercise for a minimum of

twenty minutes, working up to forty-five minutes or one hour.
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Exercise 7: Rising-Falling-Sitting-Touching

Once you feel comfortable with exercises five and six you can add a fourth object, combining

the rising-falling and sitting-touching exercises. Adopt one of the sitting postures. Observe

one rising and one falling motion of the abdomen. Before breathing in again, observe the

sitting posture for one moment. Then (also before breathing in) focus on the touch po

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