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NoME Part One: Chapter 2: Session 814, October 8, 1977 2/61 (3%) flu inoculations season disease shots
– The Individual and the Nature of Mass Events
– © 2012 Laurel Davies-Butts
– Part One: The Events of “Nature.” Epidemics and Natural Disasters
– Chapter 2: “Mass Meditations.” “Health” Plans for Disease. Epidemics of Beliefs, and Effective Mental “Inoculations” Against Despair
– Session 814, October 8, 1977 9:43 P.M. Saturday

[... 35 paragraphs ...]

Your private beliefs merge with those of others, and form your cultural reality. The distorted ideas of the medical profession or the scientists, or of any other group, are not thrust upon you, therefore. They are the result of your mass beliefs — isolated in the form of separate disciplines. Medical men, for example, are often extremely unhealthy because they are so saddled with those specific health beliefs that their attention is concentrated in that area more than others not so involved. The idea of prevention is always based upon fear — for you do not want to prevent something that is joyful. Often, therefore, preventative medicine causes what it hopes to avoid. Not only does the idea [of prevention] continually promote the entire system of fear, but specific steps taken to prevent a disease in a body not already stricken, again, often set up reactions that bring about side effects that would occur if the disease had in fact been suffered.

[... 15 paragraphs ...]

As I sorted through the mass of material Seth-Jane has produced these last weeks, I found myself once again charmed and mystified by the challenges contained in the art of writing. The painted image can be taken in at a glance, at any stage of its development, but the cognition of the written word takes much more time, no matter how fast one reads or absorbs new material. With a single look the artist has an immediate grasp of the entire work before him; he (or she) can tell what he’s done and has to do, what he may have to change or “fix up,” even if he fails at it. Not so the writer, who while reading must pass up the artist’s simultaneous perception for his own linear cognition as he makes a multitude of decisions involving sentence structure, what to use or eliminate, and so forth.

[... 8 paragraphs ...]

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