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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

[... 1 paragraph ...]

Projections from the dream state intrigue me because in them I believe we encounter the inside of our own consciousness in a most direct fashion. In a way, we are completely on our own, manipulating in a subjective environment, aware of the workings of consciousness when it is not soaked up or fastened upon objective specifics. Such exploration is full of surprises. In these states, consciousness operates within definite conditions, within an ordered system of experience. But we must struggle to discover what these are as opposed to the hallucinatory images we set up ourselves against or superimposed upon this reality.

[... 19 paragraphs ...]

‘This is how dreams work,’ you may think. ‘This cannot be a legitimate projection.’ Yet you may be perceiving the street and the field that existed ‘before’ it, and the images may be transposed one upon the other. If you try to judge such an experience with physical root assumptions, it will be meaningless. As mentioned earlier, you may also perceive a building that will never exist in physical reality. This does not mean that the form is illusion. You are simply in a position where you can pick up and translate the energy pattern before you.

[... 51 paragraphs ...]

However, it is possible to travel under such circumstances, and some of the data would be retained by inner portions of the self. In a creative individual, some of this information might be symbolically expressed in a painting or other work of art.

[... 1 paragraph ...]

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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