1 result for (book:tes1 AND session:31 AND stemmed:pattern)

TES1 Session 31 March 2, 1964 8/94 (9%) camouflage creation killing plane entities
– The Early Sessions: Book 1 of The Seth Material
– © 2012 Laurel Davies-Butts
– Session 31 March 2, 1964 Monday 9 PM as Instructed

[... 8 paragraphs ...]

The question has to do with the so-called creation of your universe, the introduction of entities upon it, and of course with the cause or causes behind such creation. You know by now that you create your own camouflage-patterned universe, and I have tried to cover some of the mechanisms involved in this continuous, seemingly automatic creation.

[... 1 paragraph ...]

You know then that you yourselves create your universe and that each generation creates it anew in its own image. There is a growth principle operating in the realm of ideas and in the construction of these ideas into camouflage patterns.

The patterns evolve according to certain laws. They merely reflect the ideas behind them, and these ideas you must realize originate from different sources. They originate in the subconscious, it is true, but before this an idea quality is received by the inner senses. Sometimes this idea quality is received as intuition, where it sparks into the conscious mind. But the conscious ego is the primary manipulator of camouflage patterns and the obvious mover. The actual material from which camouflage patterns are formed is the vitality which exists and which is unconsciously used by your personalities.

[... 33 paragraphs ...]

Nevertheless it also partakes of the strange unity that unites all personalities beneath the camouflage pattern, while at the same time it is only partially connected to the camouflage pattern. In some respects art creations are a meeting of the dream world and the world of camouflage patterns, but in a deeper way art creations represent the appearance or materialization in the actual element of physical time of inner realities. That is, the inner individualistic self forces its vision and knowledge into the world of camouflage pattern, giving its dreams a physical reality denied to the usual dream. And here the use of energy for this purpose is conscious, that is the strong hidden self actually makes use of the camouflage conscious self and molds the two into a reality that combines two planes. This I hope will become clear as you read it over.

[... 2 paragraphs ...]

I suggest a brief break, and let me congratulate you my dear Joseph upon your latest manipulation of camouflage pattern in terms of your entryway. You will find it very beneficial. It will however mark the end of my suggestions. If possible heed the ones I have already made, but unless queried I will leave your physical situation at rest as it is very much better now.

[... 6 paragraphs ...]

The inner senses operate on all planes and under all circumstances. The outer senses vary according to plane and circumstance. The outer senses are dependable only in terms of the definite plane for which they were constructed. Their purpose of course is to enable the conscious personality to recognize as valid camouflage patterns which are only valid under certain conditions.

[... 4 paragraphs ...]

Art creations represent such an awareness, but here the creation of another plane must be intertwined with the camouflage pattern with which you are involved. That is, paintings would have no reality in your present stage of development as long as they remained simply in your mind, even to you. You are driven to give them “reality,” and put that word in quotes, through materializing them in terms of camouflage pattern. You do this to the best of your ability, but in order for the painting to have a reality in your world it must be materialized to some degree on the physical plane.

Art creation is a most basic creation then, not even a mimicking act but a genuine creation of another plane, done self-consciously from the perspective of an imprisoning camouflage pattern. Quite an achievement, therefore. It should be simple as an analogy to consider the next point, where the figure in a painting would not only have a certain consciousness for example but would have other freedoms also; and this would give you a limited conception of what is involved in the creation of other planes of more varied scope.

[... 31 paragraphs ...]

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