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Results 1 to 20 of 62 for stemmed:commerci
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TPS1 Session 373 (Deleted) October 18, 1967
defiance
talent
commercial
Taurus
paintings
– The Personal Sessions: Book 1 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 373 (Deleted) October 18, 1967 9 PM Wednesday
You were a commercial artist to make your mother happy, and to take your father’s place as breadwinner.
Had you continued engrossed entirely in the commercial field your painting would not have developed. Your father would not have worked as a photographer. You could have become all but sexually your mother’s husband. This was avoided.
(Long pause, eyes closed.) This session itself should aid your understanding enough to allow some improvement almost immediately in the condition itself. Two issues are involved. The painting was an act of defiance against your mother, an act of independence. She approved of the commercial art because it made money. Therefore if you made money through your paintings, then subconsciously you thought that your mother would still be getting her way. You see?
•
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TPS1 Session 556 (Deleted Portion) October 26, 1970
resentment
job
tremor
departure
leave
– The Personal Sessions: Book 1 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 556 (Deleted Portion) October 26, 1970
[...]
When you think of leaving you come face to face with the same conflict, for she wanted you to succeed as a commercial artist.
You were more affected by your friend’s (Curtis Kent) departure than you realize, wondering if you yourself should find a better-paying commercial job, and yet angry that you even had such thoughts when what you really wanted was to stay home and paint.
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TPS3 Deleted Session December 3, 1973
money
beliefs
concentrate
financial
complexion
– The Personal Sessions: Book 3 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session December 3, 1973 9:35 PM Monday
You doubted that your own good work would bring any financial success at all, while you believed that commercial work would; but you do not like commercial work.
[...]
[...]
You believe you can make money—if you are a commercial artist, or if you take a job, or if you do almost anything else but your best work as an artist.
[...]
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NoME Part One: Chapter 2: Session 805, May 16, 1977
cancer
disease
mastectomies
breast
women
– The Individual and the Nature of Mass Events
– © 2012 Laurel Davies-Butts
– Part One: The Events of “Nature.” Epidemics and Natural Disasters
– Chapter 2: “Mass Meditations.” “Health” Plans for Disease. Epidemics of Beliefs, and Effective Mental “Inoculations” Against Despair
– Session 805, May 16, 1977 9:28 P.M. Monday
[...]
Unfortunately, many of your public health programs, and commercial statements through the various media, provide you with mass meditations of a most deplorable kind.
[...]
Your “medical commercials” are equally disease-promoting.
[...]
[...]
Nowhere do any medically-oriented commercial or public service announcements mention the body’s natural defenses, its integrity, vitality, or strength.
[...]
•
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TPS2 Deleted Session July 31, 1972
emotional
rapport
sang
weren
Nebene
– The Personal Sessions: Book 2 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session July 31, 1972 9:15 PM Monday
[...]
He also helped spur your own sense of direction in your early days together, when you turned from commercial art.
The commercial art served your emotions quite simply.
[...]
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TES9 Session 495 August 13, 1969
glaze
figure
sell
entrust
character
– The Early Sessions: Book 9 of The Seth Material
– © 2014 Laurel Davies-Butts
– Session 495 August 13, 1969 9:14 PM Wednesday
[...]
You are not afraid to entrust lesser work to it in terms of commercial art.
[...]
[...]
You put in time and effort in the past to sell your commercial work, but have refused to do the same to sell your paintings.
[...]
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TPS2 Session 632 (Deleted Portion) January 15, 1973
sell
financial
marketplace
Nebene
eat
– The Personal Sessions: Book 2 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 632 (Deleted Portion) January 15, 1973
In his own way your father was saying “Since you do not trust my creativity I will deny you its benefits, even if I deny myself its benefits”—this to your mother; and you picked up a taboo: you could make money on art as long as you felt it was not really (underlined) creative—that is, commercial.
[...]
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TPS2 Deleted Session February 21, 1972
discontent
displaced
freelancing
elephants
roared
– The Personal Sessions: Book 2 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session February 21, 1972 Monday 9:43 PM
The type (underlined) of commercial art you did as a young man was not the answer, but served many purposes.
[...]
The prestige and money, tied to your mother’s hopes, could have led you into other channels of commercial art that would have led you completely astray as far as fine art is concerned.
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TPS4 Deleted Session September 19, 1977
impediments
Framework
financial
accelerated
merged
– The Personal Sessions: Book 4 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session September 19, 1977 9:22 PM Monday
[...]
You believed that commercial art could give financial results, but not necessarily good writing, or good art.
[...]
A brief point (with some humor): When you moved here you wanted to make “a fashion statement” as per your television commercials, where the gentlemen only cut hair.
[...]
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TPS1 Session 560 (Deleted) November 11, 1970
feminine
masculine
intellectual
precipitated
male
– The Personal Sessions: Book 1 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 560 (Deleted) November 11, 1970
Now commercial work and the comics meant something else again.
[...]
When the natural freely creative energies were aroused in you, you instantly dispensed with all ideas of a commercial market, and completely divorced the idea of painting from selling for the reasons given.
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TES7 Session 296 October 24, 1966
Marjorie
Ward
Bill
blue
Buck
– The Early Sessions: Book 7 of The Seth Material
– © 2014 Laurel Davies-Butts
– Session 296 October 24, 1966 9 PM Monday
[...]
You were curious also as to whether or not this kind of commercial art could pay off, and yet be held in check.
All you wanted was the opportunity, once again you see, to decide whether or not you could use commercial art for your own purposes, and you created the opportunity for trial.
[...]
(There is another possible green connection, one obvious to anyone familiar with printing or commercial art, although I do not think it applies here.
[...]
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TES2 Session 76 August 3, 1964
expectations
constructions
aggressive
money
g.i
– The Early Sessions: Book 2 of The Seth Material
– © 2012 Laurel Davies-Butts
– Session 76 August 3, 1964 9 PM Monday as Scheduled
[...]
There is certain work that you could do that could be compared to Ruburt’s science fiction; that is, commercial in that it brings in money, and yet expresses an intuitive and creative part of the personality and is not, as you say, hack work.
[...]
You could have made a much less painful transition between complete commercialism and painting than you did, but here at a crucial moment was starry-eyed Ruburt, with his ideas of the poverty-stricken artist; and you can carry on from there.
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UR2 Section 5: Session 726 December 16, 1974
island
spirit
volcano
desert
sand
– The "Unknown" Reality: Volume Two
– © 2012 Laurel Davies-Butts
– Section 5: How to Journey into the “Unknown” Reality: Tiny Steps and Giant Steps. Glimpses and Direct Encounters
– Session 726: The Island Analogy. More on Counterparts
– Session 726 December 16, 1974 9:43 P.M. Monday
[...]
And at the same time she was actually annoyed when she felt that you were not following your [commercial] artistic ability through, despite her surface misunderstandings of it.6
6. From her viewpoint my mother was, indeed, quite baffled when I turned away from a well-paying career in commercial art toward a very risky one in “fine art,” or painting.
[...]
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DEaVF1 Chapter 2: Session 887, December 5, 1979
library
Archives
journals
unpublished
copies
– Dreams, "Evolution", and Value Fulfillment: Volume One
– © 2012 Laurel Davies-Butts
– Chapter 2: In the Beginning
– Session 887, December 5, 1979 9:17 P.M. Wednesday
The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.
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TPS5 Deleted Session July 12, 1979
science
Greg
Carson
Colorado
fiction
– The Personal Sessions: Book 5 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Deleted Session July 12, 1979 9:19 PM Thursday
[...]
(Pause.) The connection he did not get had to do with the television commercials on the Carson show; the pressure applied by the medical profession, telling you not to trust the body, and the man, Doc [Severinsen], who is the master of ceremonies in a big show—signifying nothing as per your joint overall interpretation of the show in particular.
[...]
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DEaVF1 Essay 2 Monday, April 5, 1982
explanations
frenetic
handset
intercoms
stoicism
– Dreams, "Evolution", and Value Fulfillment: Volume One
– © 2012 Laurel Davies-Butts
– Introductory Essays by Robert F. Butts
– Essay 2 Monday, April 5, 1982
[...]
With a more painful heart I yearned for my wife to walk to me, hips innocently and joyfully swaying, as she used to do years ago, when she’d meet me every day as I left the printing company where I worked as a commercial artist.
[...]