1 result for (book:tps4 AND heading:"delet session octob 31 1977" AND stemmed:need)

TPS4 Deleted Session October 31, 1977 3/41 (7%) Cézanne firewalker Trafzer Waldo Framework
– The Personal Sessions: Book 4 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session October 31, 1977 9:40 PM Monday

[... 5 paragraphs ...]

(Instances of the operation of Framework 2 keep cropping up. Two happened today, or at least I felt that one happened today, and we heard about the other one today. Frank Longwell cited a case whereby his brother Waldo obtained encouraging answers to a set of business problems that had been bugging the Longwells for some time. The setting was a restaurant Waldo had never been in before; the urban renewal director came up to Waldo and offered just the help needed, without being asked or previously contacted, etc. This is a simplified version.

(The second instance involved the hassle we’ve been involved in with Elmira Video over mistakes in our billing. Has been dragging on since July. All the details are on file if needed for reference. Friday afternoon, when we received another erroneous bill, Jane called Elmira Video; the bookkeeper, Mrs. Trafzer, promised to call Monday to tell us what we owed. Over the weekend I found myself stewing about the silliness of the whole thing several times. I thought of legal action, among other things. Monday morning as I painted, I found myself doing the same thing. Rather irritably I told myself that I was throwing the whole thing into Framework 2, and that I wanted it taken care of.

[... 15 paragraphs ...]

The Cézanne book, the show, your own interest in Cézanne, and your own painting abilities are also connected in Framework 2, along with the fact that Cézanne himself had a secondary interest in writing, that fell by the board, so to speak. Your own art interests have always attracted artists to our books in general, through Framework 2’s constant communication. There are individuals who go through many lifetimes with one main interest or desire, attaining finally a culmination that they have sought for. Cézanne was such a one. In those terms, his interests are now the same, but he no longer looks upon his historically known works, but considers them as background pieces, so to speak. He paints in another reality to which his own intent has led him, except that his creativity has opened up so that he no longer feels the same need for isolation.

[... 17 paragraphs ...]

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