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DEaVF1 Chapter 2: Session 885, October 24, 1979 5/50 (10%) Ankh Hermes materialists Spreekt Mitzi
– Dreams, "Evolution", and Value Fulfillment: Volume One
– © 2012 Laurel Davies-Butts
– Chapter 2: In the Beginning
– Session 885, October 24, 1979 9:20 P.M. Wednesday

[... 5 paragraphs ...]

Jane surprised me at the last moment by asking if I wanted the session; I’d thought she was going to pass it up because of her general discontent with herself. Seth didn’t call this one book dictation, but it certainly applies to Dreams. And in his opening delivery he referred to the creative freedoms that—seemingly in spite of her conscious fussing—Jane had allowed herself today.)

[... 2 paragraphs ...]

A few notes. When Ruburt forgot to worry because “he wasn’t working,” his natural playful creativity bubbled to the surface, and today he wrote poetry. Poetry, however, did not fit into his current ideas about work, and so that excellent creativity was hardly counted at all.

[... 5 paragraphs ...]

There is a part of man that Knows, with a capital K. That is the portion of him, of course, that is born and grows to maturity even while the lungs or digestive processes do not read learned treatises on the body’s “machinery,” 6 so in our book we will hope to arouse within the reader, of whatever persuasion, a kind of subjective evidence, a resonance between ideas and being. Many people write, saying that they feel as if somehow they have always been acquainted with our material—and of course they have, for it represents the inner knowing within each individual. (Pause.) In a fashion, creative play is your human version of far greater characteristics from which your universe itself was formed. There are all kinds of definite, even specific, subjective evidence for the nature of your own reality—evidence that is readily apparent once you really begin to look for it, particularly by comparing the world of your dreams with your daily life.

In other words, subjective play is the basis for all creativity, of course—but far more, it is responsible for the great inner play of subjective and objective reality.

[... 2 paragraphs ...]

As for Ruburt, he became overconcerned about work because of the contracts (for Mass Events and God of Jane, which we have yet to sign with Prentice-Hall), and the foreign hassles. It would be nice if you took it for granted that all of those issues were also being creatively worked out to your advantage. He is still somewhat afraid of relaxing. It makes him feel guilty. His body is responding, however, so let him remember that creativity is playful, and that it always surfaces when he allows his mind to drop its worries.

[... 30 paragraphs ...]

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