now

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TES6 Session 279 August 15, 1966 10/137 (7%) card greeting Tunkhannock monumental envelope
– The Early Sessions: Book 6 of The Seth Material
– © 2013 Laurel Davies-Butts
– Session 279 August 15, 1966 9 PM Monday

[... 18 paragraphs ...]

Now. Projections further extend the self and the identity, only this time in realms where the physical self cannot follow. Now this kind of projection, this extension of identity, is the true nature and the creative aspect of aggression. This and not war, is the meaning of aggression. It is a forward thrust of creative activity, forever extending itself in this manner, and instantly changed, and no longer what it was.

[... 4 paragraphs ...]

A projection, an out-of-body experience, is a creative act, and again all creative acts are basically aggressive. Now, you change those dimensions in which your projections take place. You cannot visit them and leave no mark.

[... 6 paragraphs ...]

Now, you see, when you paint a picture you use your physical body as a tool to create your inner idea. When you create physical matter you are not aware of doing so, but you affect energy directly in such an execution, your own attention being focused primarily in the physical system.

[... 1 paragraph ...]

(One of our cats now scratched at the hall door for admittance, as is customary. Without pausing, her eyes open and dark, Jane rose and went to the door and let the cat in. She resumed her seat in the rocker without interruption.)

[... 1 paragraph ...]

Now. Most systems have more reality than a painting, but not all of them. The very nature of some would be frightening to you. Your paintings are a creation, and yet by their nature they are limitations. They are limitations because their reality is necessarily limited by the elements you have chosen. You paint one house within a landscape for example. This is a creation. But two houses will never appear.

Now in the realities of other systems another house, you see, could appear (smile) and another person could appear, and the projecting consciousness would be such a person. He must instantly adapt to the new surroundings.

Now. Do you have an envelope?

(“Yes.” 10:05. Jane’s eyes now closed, and remained so.)

[... 2 paragraphs ...]

(Jane now took the sealed double envelope from me without opening her eyes. This is our 67th such experiment. She pressed the envelope to her forehead horizontally.)

[... 84 paragraphs ...]

We will now close our session.

[... 10 paragraphs ...]

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