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TPS3 Deleted Session January 10, 1977 5/75 (7%) conventionalized goals classifications proposals Caesar
– The Personal Sessions: Book 3 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session January 10, 1977 9:15 PM Monday

[... 7 paragraphs ...]

Psychological events have their own integrity, wholeness, but as the dimensions of an object can be more or less ascertained and agreed upon by many, the greater free flow granted to psychological events allows for no such easy conventional recognition. An object such as a piece of furniture comes to you manufactured in a particular fashion. Psychological events are automatically manufactured by each individual, and no one but the individual can really ascertain the quality of the product.

You can return a badly wrought piece of furniture and get your money back—but what do you do when you understand that you form your own reality, and also decide that you aren’t pleased with large segments, at least, of the product?

[... 6 paragraphs ...]

Some of this involves the learning process. At the general world level there are many teachers, and the ways are known. There are periods of balance, where for example—and I am using analogies, understand me—you may find a product, a person at a certain balance point, pleased with all aspects of life, in good health, well-off financially, and meeting goals. Everything is even, and within that framework all is well.

[... 33 paragraphs ...]

When you had a job the issue was clear for each of you: in your free time you felt you had a perfect right to paint or write, do relaxation exercises or psychological time. Later, when you did not need jobs and the books began to sell, then your creative time also became productive-money time to some extent.

Ruburt began to allow only psychic experiences that could be translated also—not primarily, you see—but also into financial productivity. You also wanted to wed your abilities in the same manner. You felt you could not afford free creative work. Ruburt felt that creative work could pay. Because of your ideas about time and creative work you felt that painting could not pay. Ruburt tricked you quite cleverly into doing the sketches for Dialogues—for your own good, he felt, and you did not enjoy the experience, allowing your beliefs to contaminate your creativity. You do not feel the world deserves creative work. Yet you have a nature that demands that you produce it.

[... 23 paragraphs ...]

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