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NotP Chapter 3: Session 764, January 26, 1976 7/47 (15%) modes exercises scenes associations daydream
– The Nature of the Psyche: Its Human Expression
– © 2011 Laurel Davies-Butts
– Chapter 3: Association, the Emotions, and a Different Frame of Reference
– Session 764, January 26, 1976 9:12 P.M. Monday

[... 4 paragraphs ...]

First of all, the various kinds of organizations used by the psyche can be compared at one level, at least, with different arts. Music is not better than the visual arts, for example. A sculpture cannot be compared with a musical note. I am not saying, then, that one mode of organization is better than another. You have simply specialized in one of the many arts of consciousness, and that one can be vastly enriched by knowledge and practice of the others.

[... 4 paragraphs ...]

Thoughts of your own next birthday, for instance, may instantly lead you to think of past ones, or a series of birthday pictures may come to mind of your own twelfth birthday, your third, your seventh, in an order uniquely your own. That order will be determined by emotional associations — the same kind followed by the dreaming self.

[... 1 paragraph ...]

(9:40.) The next time an opportunity arises, and you recognize the presence of a fairly strong emotion in yourself, then let your associations flow. Events and images will spring to mind in an out-of-time context. Some such remembered events will make sense to you. You will clearly see the connection between the emotion and event, but others will not be so obvious. Experience the events as clearly as you can. When you are finished, purposefully alter the sequence. Remember an event, and then follow it with the memory of one that actually came earlier. Pretend that the future one came before the past one.

[... 1 paragraph ...]

When you have done this, ask yourself which scene evokes the strongest emotional response. Tell yourself that it will become larger and larger, then mentally watch its size change. Certain dynamics are involved here, so that such a scene will also attract elements from other scenes. Allow those other scenes to break up, then. The main picture will attract elements from all of the others, until you end up with an entirely different picture — one made up of many of the smaller scenes, but united in an entirely new fashion. You must do this exercise, however, for simply reading about it will not give you the experience that comes from the actual exercise. Do it many times.

[... 14 paragraphs ...]

I said that there were different kinds of knowledge; so will these exercises bring you in contact with knowledge in another way. Done over a period of time, they will open up alternate modes of perception, so that you can view your experience from more than one standpoint. This means that your experience will itself change in quality. Sometimes when you are awake, and it is convenient, imagine that your present experience of the moment is a dream, and is highly symbolic. Then try to interpret it as such.

[... 4 paragraphs ...]

Continue to rely upon known channels of information, but implement these and begin to explore the unrecognized ones also available. What information do you have, for example, presently unknown to yourself? Try your hand at predicting future events. In the beginning, it does not matter whether or not your predictions are “true.” You will be stretching your consciousness into areas usually unused. Do not put any great stake in your predictions, for if you do you will be very disappointed if they do not work out, and end the entire procedure.

[... 4 paragraphs ...]

There is no need to divorce the waking and dreaming states in the particular fashion that currently operates — for they are complementary states, not opposite ones. A good deal of life’s normal dimensions are dependent upon your dream experience. Your entire familiarity with the world of symbols arises directly from the dreaming self.

[... 7 paragraphs ...]

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