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NoPR Part Two: Chapter 10: Session 640, February 14, 1973 5/54 (9%) therapeutic therapy illumination grace chemicals
– The Nature of Personal Reality
– © 2011 Laurel Davies-Butts
– Part Two: Your Body as Your Own Unique Living Sculpture. Your Life as Your Most Intimate Work of Art, and the Nature of Creativity as It Applies to Your Personal Experience
– Chapter 10: The Nature of Spontaneous Illumination, and the Nature of Enforced Illumination. The Soul in Chemical Clothes
– Session 640, February 14, 1973 9:27 P.M. Wednesday

[... 3 paragraphs ...]

Now: Dictation: There are natural feedback systems within the body and psyche that operate to set up optimum frameworks of balance, in which your growth and development can take place. There is some difference here, which was mentioned earlier (in the 636th session in Chapter Nine), between you and the animals and the particular way in which you create your reality….

[... 19 paragraphs ...]

The dream state provides you with a trial framework in which you explore probable actions and decide upon the ones you want to physically materialize. Not only nightmares, as mentioned earlier (in the last session), but many other dreams follow rhythms of a therapeutic nature far more effectively than any that are drug-induced. Sleeping pills can interfere with this activity.

[... 9 paragraphs ...]

The framework of sex is another natural therapeutic system if you have not already hampered its effectiveness by contrary beliefs. Natural “mystical” experience, unclothed in dogma, is the original religious therapy that is so often distorted in ecclesiastical organizations, but it represents man’s innate recognition of his oneness with the source of his own being, and of his own experience.

[... 12 paragraphs ...]

A painter does not look out of his creation’s eyes into the room upon whose wall the painting hangs. But you peer out through your own eyes at the universe. (Pause.) You create not only the body, then, but its entire experience, the context in which it takes place. You endow yourself with a three-dimensional existence. It is the framework in which you have your experience, created by you as the artist gives his paintings their dimension.

The trees in a landscape painting cannot physically move with the wind that may blow through the three-dimensional room. The head in a portrait cannot close its eyes if they are open, but you move within the framework of the temporal space that you have created for yourself.

[... 5 paragraphs ...]

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