1 result for (book:tps2 AND session:604 AND stemmed:work)

TPS2 Session 604 January 12, 1972 5/85 (6%) Sumarians Sumerian carving Baalbek instrument
– The Personal Sessions: Book 2 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 604 January 12, 1972 9:19 PM Wednesday

[... 1 paragraph ...]

(Notes on an abortive projection attempt: I lay down for a nap after supper on Friday evening, January 14. I used the bedroom in apartment four. We had been working long hours on our own, and I had been putting in overtime at Artistic, so I was quite tired. I dozed for a few moments upon lying down, then came awake to find myself with the unmistakable feeling of floating halfway to the ceiling of the bedroom.

[... 8 paragraphs ...]

(In addition, I have always doubted the block-and-tackle idea used in constructing such massive, enormous wonders as Baalbek. With this goes my questions concerning the ability of sculptors to do the marvelously intricate carving adorning all of these buildings, on such an enormous scale. I have always wondered just how it was possible, with the few tools then available, according to our history, to do this work. It seems beyond the tools’ scope. I would delight in seeing it duplicated today, using identical stone, tools, etc., with time trials.

[... 21 paragraphs ...]

They maintain their inner knowledge and integrity, and are born within any given system. They always use their native abilities and talents to help the system, working very strongly in psychic or creative endeavors.

I do not necessarily mean that they are consciously aware of their affiliation. This is an individual matter. They are often inventors, always then involved with the initiation of new ideas or discoveries. All of this follows inner patterns that are specifically human in your terms. Humanity therefore has its own characteristics, and no (in quotes) “outside influence” can go counter to these, but must work with them.

[... 8 paragraphs ...]

(During break I referred again to the photos of the massive ruins of Baalbek, in one of the books Shirley Bickford lent us. I explained to Jane my feeling that the amazingly intricate stone carving, particularly the bas-relief work, seemed beyond the abilities of the hammer and chisel. Jane broke in to tell me that this carving was done by small instruments that used inaudible sound waves; these radiations softened the stone, she said, so that the work could be performed. She didn’t know where this data came from. If from Seth, it wasn’t obvious to her.

[... 41 paragraphs ...]

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