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DEaVF1 Chapter 6: Session 908, April 16, 1980 3/36 (8%) cognition classified mathematical savants musician
– Dreams, "Evolution", and Value Fulfillment: Volume One
– © 2012 Laurel Davies-Butts
– Chapter 6: Genetic Heritage and Reincarnational Predilections
– Session 908, April 16, 1980 8:49 P.M. Wednesday

[... 8 paragraphs ...]

I have not touched upon some of these subjects before, since I wanted to present them in that larger context of man’s origins and historic appearance as a species. I also wanted to make certain points, stressing the importance of dreams as they impinge upon and help form cultural environments. Dreams also sometimes help in showing the pathways that can be taken to advantage by an individual, or by a group of individuals, and therefore help clarify the ways in which free will might most advantageously be directed. So I hope to cover all of these subjects.

(Long pause.) Let us first of all return momentarily to the subject of the reasoning mind, its uses and characteristics. It seems to the reasoning mind that it must look outside of itself for information, for it operates in concert with the physical senses, which present it with only a limited amount of information about the environment at any given time. The physical eyes cannot see today the dawn that will come in the morning. The legs today cannot walk down tomorrow’s street, so if the mind wants to know what is going to happen tomorrow, or what is happening now, outside of the physical senses’ domain, then it must try through reason to deduce the information that it wants from the available information that it has. It must rely upon observation to make its deductions accordingly. In a fashion, it must divide to conquer. It must try to deduce the nature of the whole it cannot perceive from the portions that are physically available.

[... 15 paragraphs ...]

To some extent each vision, each subject matter, will itself make minute alterations in technique if you allow it to. Your impulses have shadings as your colors do. They should mix and merge with your brushstrokes, so that the idea of your subject matter is almost magically contained in each spot of paint, and that is what you are learning. Or rather, you are learning to take advantage of your direct cognition.

[... 9 paragraphs ...]

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