1 result for (book:tps4 AND heading:"delet session june 3 1978" AND stemmed:work)

TPS4 Deleted Session June 3, 1978 6/42 (14%) pendulum recover walk issues specific
– The Personal Sessions: Book 4 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session June 3, 1978 9:30 PM Saturday

[... 9 paragraphs ...]

Now: you worked with the pendulum yesterday. You did not work with the pendulum however regarding those specific events (since they all took place after our morning pendulum work). A good portion of the session will deal with such issues.

[... 17 paragraphs ...]

Do this together. The suggestions should be clear and to the point. Ruburt has two old lists of such suggestions that can be used as a model—and those lists worked well, incidentally, at the time.

[... 1 paragraph ...]

I do not know how you want to handle this, but the two of you should go over that page of feelings together. According to the day, the situation, you may then want to work with the pendulum, considering some specific event or issue from that day—but this need not be a lengthy session at all. With your discussion, perhaps 10 minutes with the pendulum would be sufficient, The pendulum also can be used when any event occurs—again, when specifics apply.

[... 2 paragraphs ...]

(10:40.) Give us a moment.... The physical reasons for Ruburt’s eye problems are as I gave them. Psychologically, they began when Ruburt became worried over two issues. He began to feel hopeless when he knew he needed more dental work, and became afraid he could not make it to the office. He looked too ungainly, he felt, besides, even if he could make it. He also began to worry about helping with “Unknown” at that time, and about Psyche.

Give us a moment.... Writing things down is excellent for Ruburt in particular, and so again on those days when no specifics events occur, to be included in his notes, then I want him to write down his feelings about 1: inspiration, 2: work, 3: “Unknown” Reality, 4: Psyche, 5: Emir.

[... 4 paragraphs ...]

Again—Cézanne did not show in any way on the outside, yet the “work” was largely prepared before the first line was written. You trust the creative process in art. Only in dealing with Ruburt’s body do you both become so literal, so determined. It seems you cannot trust the creative abilities’ biological translations—but the body is certainly as creative as the mind, in those terms. Whenever the two of you manage to free your creative abilities, and set them to work on the physical situation, you do see some results.

[... 2 paragraphs ...]

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