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SDPC Part Three: Chapter 22 4/86 (5%) assumptions root air pseudo tangerine
– Seth, Dreams and Projections of Consciousness
– © 2011 Laurel Davies-Butts
– Part Three: Exploration of the Interior Universe — Investigation of Dream Reality
– Chapter 22: The Inside of Consciousness — More Projection Instructions — Projections as Strange Sense Experiences

[... 43 paragraphs ...]

It is not bombarded, as with the drug experiments, and forced to experience chaotic and frightening perceptions that can terrify it into complete disorder. Survival in your system is dependent upon the highly specialized, focused, limited but specific qualities of the ego. It should not be rigid. Neither should it be purposely weakened.

[... 11 paragraphs ...]

“Rob, I had the wildest experience, but unfortunately I’m back now because all that great color is gone,” I said; and I told him what happened. As I finished speaking, something caught my eye — the wallpaper. While it was not as colorful as it had been earlier, neither was it the white painted wall that should have been there.

[... 5 paragraphs ...]

When you travel beyond a certain range of intensities, even psuedo-objects must vanish. They exist in a cluster about, and connected to, your own system. The lack of these, obviously, means that you have gone beyond your own camouflage system. If it were possible, you would then travel through a range of intensities in which no camouflage existed. Then you would encounter the pseudo-camouflage of the next system. This would or would not be physical matter, according to the system. You would then encounter the heart of the camouflage area. The completely uncamouflaged areas at the outer edges of the various systems should remind you of the undifferentiated areas between various life cycles in the subconscious. This is no coincidence.

[... 13 paragraphs ...]

Each brushstroke of a painting represents concentrated experience and compressed perceptions. In a good painting, these almost explode when perceived by the lively consciousness of another. The observer is washed over by intensities. The excellent work of art recreates for the observer inner experience of his own, also, of which he has never been aware. As you know, paintings have motion, yet the painting itself does not move. This idea should help you understand experience in terms of intensities and projections or the movement of consciousness without necessarily motion through space.

[... 9 paragraphs ...]

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