Close your eyes and notice where your body meets the floor. Burgs starts there, not with a thought or an image, but with weight. In his 2021 video "GO BEYOND. deep state meditation," the first instruction is to let the body become "resting dead weight upon the floor," and the rest of the practice grows out of that single act of settling. Over roughly twenty minutes of guidance, he moves attention from the hands to the chest to the whole body, and he keeps returning to one distinction: the awareness that feels the body is already in the body. You do not have to carry it there. This article walks through the ideas behind that practice, why the mirror image runs through it, and where the method can slip into something else.
Most of us learn to meditate as a kind of aiming. We pick a point, point the mind at it, and hold it there. Burgs takes issue with that posture in the opening minutes. "When I say relax back into your body it's not a command you give yourself from your mind," he says (0:13). Instead, you bring awareness into the body and feel from within it how relaxed or tense it is.
The hands example makes the point concrete. When he asks you to feel your hands resting in your lap, he adds that "the awareness that feels them is already in the hands" (2:48 in the transcript's timing, around 2:50 in the video). The instruction is not to send a beam of focus down from the head. He describes the mistake directly: "you're not directing intention from your head like some illuminating spotlight that's trying to concentrate upon your hands" (3:35). A spotlight is a useful image because it captures what the practice is trying to release. A spotlight is aimed, it has a source, and it throws everything else into shadow. Burgs is asking for something closer to the light already present in the room.
For a meditator who has spent years concentrating, this can feel like losing a tool. The reframing is that awareness is not something you manufacture. It is the ground in which the body, breath and room appear. The practice becomes less about strength and more about noticing what is already happening without adding to it.
The central image of the talk arrives around the five-minute mark. "Awareness is in a state of rest. Like a mirror. It is not disturbed by that which it reflects" (4:54). A mirror does not grip the things it shows. A face passes across it, a candle flickers, and the surface stays what it is. Burgs asks you to bring that quality to your own experience: "Leave everything as it is, just rest within awareness" (8:36).
The image does a lot of work. The mind, he notes, "is constantly flitting around" (4:39). Thoughts, sensations and stories are all reflections. The effort of most meditation is to chase or reject them. The mirror metaphor suggests a different relationship: let the reflections come and go, and do not confuse them with the surface. He returns to this with a warning against narrative drift: "Try to not drift off into your story. Stay in the nakedness of the experience" (14:06).
What is striking is how concrete the instruction stays. You are not asked to imagine a mirror or visualize a lake. You are asked to check, moment by moment, whether you are adding something: "stop adding your ideas, adding your story, adding your commentary and adding your reaction" (10:19). The mirror is a way of naming a quality you can test directly, not a symbol to believe in.
Around the nine-minute mark, Burgs shifts from the body to the heart. He asks you to feel "the area of your heart slightly to the left of centre of your chest" (9:16), and again to recognise "where it is disturbed or unsettled" and leave it to settle "naturally like water" (9:40). The water image is quieter than the mirror, but it works in the same direction. Still water reflects accurately. Agitated water distorts.
He ties the two together in a line that is worth slowing down for: "your heart settles like water and becomes mirror-like. And starts to reflect perfectly and undistortedly the experience you were actually having" (10:36). The aim is not a calm heart staged for the meditation. It is an honest one. Burgs also says plainly that disturbance will still arise: "try to be undisturbed even when you feel disturbance within you" (11:10). Settling, in this account, does not mean the absence of agitation. It means you stop stirring it.
There is a practical implication here for anyone who has tried to force a peaceful state. Force is itself a form of gripping. Burgs repeatedly names "the gripping quality of your mind" as the thing to release, and asks you to let it go "grasping at the experience of watching the experience" (12:12). The grip can be subtle: it can be the effort to watch yourself watching.
The most useful warning in the talk comes near the sixteen-minute mark. Burgs describes what happens when attention is not anchored to the experience itself: "you will drop into a calm but peaceful trance and you will lose your sense of presence" (15:46). The state feels pleasant. It is also, in his framing, a departure from the presence the practice is trying to reveal.
He offers a diagnostic. If you cannot sustain attention on the experience, the body is still physically present in the room, and the room is still still, "whether you recognise it or not" (17:23). In other words, the basics of presence are already there. You do not need to produce a special state to confirm them. "These aspects are innate within the experience," he says. "They're not produced within your mind. You do not need your mind to know them. You only need awareness" (17:34).
For a practitioner, the trance trap is worth naming because it looks like success. The breath is slow, the thoughts quiet, the body heavy. Burgs asks you to check whether presence is still there in that quiet. If it has faded, the practice is to resettle attention on the experience rather than to enjoy the drift. The instruction is "settle your attention within the experience," and he adds that this is done "without adding with the mind, without taking with the mind" (18:22).
The last few minutes shift from settling to offering. "Feel your whole body as one," Burgs says, and then "feel from your heart with gentleness" (19:27). The phrase "May all beings be happy and peaceful" follows, first for all beings, then for oneself, then repeated three times for all beings (20:01 through the close).
The turn is deliberate. The method has been about releasing the grip of the mind, and the closing verses point that released attention outward. A heart that has stopped distorting its own reflections is, by the logic of the talk, a heart that can offer something without strain. The blessing is not an add-on to the practice. It is what the settled heart does when nothing is being added to it.
Burgs does not explain this transition at length, and the video does not say how long a listener should sit with it. That openness fits the rest of the talk. He gives you a direction and a set of checks, then leaves the experience to you.
If you want to try this method, begin small. Sit with your eyes closed and let your body rest on the floor or a cushion. Feel the hands, then the heart, without sending a spotlight from the head. When you notice a story forming, do not argue with it. Notice that you are adding, and let the addition go. If you slide into a pleasant blur, bring attention back to the physical experience of the room and the body in it. And when you are ready, end with the same line Burgs uses: "May all beings be happy."
The full guided practice runs about twenty minutes in the video, though the listing title says twenty and the running time is closer to twenty-two. It is worth watching once with the transcript in view, then sitting with the instructions on your own. Many of the most important lines are short: "awareness is in a state of rest," "there is nothing to add," "you only need awareness." Those are the ones to return to between sessions.
Burgs also points to the wider body of his teaching through his channel and website, Burgs & The Art of Meditation, where his retreats, workshops and inspirational talks are offered. If you want to continue, look there for his longer guidance, and let the mirror be your reference point.
