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TPS1 Session 563 (Deleted) December 2, 1970 11/77 (14%) noncontact tendencies spontaneity role relationship
– The Personal Sessions: Book 1 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 563 (Deleted) December 2, 1970

[... 7 paragraphs ...]

As mentioned, the far contact point is somewhat more manageable for you than for Ruburt, but affects you nevertheless. You do not dare allow your intuitions full reign even when you paint at such times for fear that they will carry up with them these repressed feelings.

The spontaneity is considered safe along certain lines, but these lines become narrowed, and the further the situation continues the more narrowed the area of spontaneity allowed in your work. In the past this has caused a tendency toward overreliance on technique. Do you follow me?

[... 34 paragraphs ...]

You may take your break. One small point: you both would have denied yourselves strong possibilities of growth had you kept up; do you follow me?

[... 10 paragraphs ...]

Now give us a moment. Some of this of course can be and has been turned to your advantage. Your tendency toward feeling safe in noncontact situations means that you do not want models in your studio, yet you are highly intrigued by personality. This has led you to develop psychic abilities for creative purposes—that you would not have needed nor sought otherwise.

[... 3 paragraphs ...]

This noncontact tendency has also had something to do with the fact that you have not attempted to sell your paintings more actively, and all of this fits in with the material I gave you lately along these lines—the male and female connotations.

You feel that abstracts in this respect are neutral, and therefore you feel safe in marketing and selling them. You do not feel that they are as much a part of your self as your other work. You do not feel that they tell as much about you, or that they contain self-revelations.

For this reason you also feel that they are not challenging to produce, as compared with your other paintings. Ordinarily you seldom paint women, feeling that in such paintings emotions would be too blatantly displayed. You may have to watch a tendency to masculinize your women if you seriously begin to do such work, for you may feel, again, that harsher lines are necessary to hold the emotional element in check.

There is no particular reason why you should do women unless you want to. I am not telling you in other words to do so. I simply wanted this evening to round out the discussion, showing how these tendencies operate in various areas of your lives.

For our next few sessions I will work on our book, do a few chapters, and then if you prefer take some time out for reincarnational material, so that it does not go by the board.

[... 1 paragraph ...]

Now do you have any questions on the last session, this one, or allied subjects that you want cleared up before we resume dictation next week?

[... 5 paragraphs ...]

I am finished with this material. It is too late to begin dictation. Are you sure you do not have questions?

[... 5 paragraphs ...]

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