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Query was: conscious

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• Title: Curative Eurythmy: References to the Fourth German Edition
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  • it will also show how deeply it was impressed upon the consciousness of
  • it rather than filling it with our consciousness. The vowels, consonants,
• Title: Curative Eurythmy: Synopsis of Lectures
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  • Imagination is a becoming conscious of consolidation; Inspiration a
  • becoming conscious of the processes of secretion; Intuition a
  • conscious experiencing of the formative process. The use of certain
• Title: Curative Eurythmy: Lecture 1
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  • to what degree their unconscious living in rhythm predominates in their
  • the child move in such a manner that, in full consciousness —
  • becomes the more conscious. The child must be aware: that is the first
  • and was the first. Throughout the entire exercise the consciousness
  • they live in the child's consciousness; so that the child is really
• Title: Curative Eurythmy: Lecture 2
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  • That one develops a perceptive consciousness which tells one whether
  • a rounding, or such. One must decidedly acquire a specific consciousness
  • ability to work unselfconsciously. On the contrary, when you have a
• Title: Curative Eurythmy: Lecture 3
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  • established in the organism, because it lies in the unconscious; hence
• Title: Curative Eurythmy: Lecture 6
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  • It is a subtle, conscious imagining that is still strongly suppressed
  • in the subconscious. Such is the process at hand.
  • one carries over into consciousness what otherwise occurs unconsciously.
  • to consonants, the human being lives in a certain tension. Unconsciously
  • consciousness is not so organized that one can dream. Dreams come into
  • polarity: what remains here in the subconscious as polar content plays
  • particular, have developed a strong instinctive consciousness of these
  • accordance with this instinctive consciousness. They employ instead what
  • the practice of such matters must be more conscious since these peoples
  • matters much more consciously. And those nations that stand in the
  • will get themselves into if they do not turn to these things consciously,
  • unconscious human activity than from conscious activity. We are given
  • the task, however, to gradually transmute the unconscious activity of
  • man into conscious activity.
• Title: Curative Eurythmy: Lecture 7
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  • forces; should it become conscious in this encounter, it will become
  • imagination. If imagination develops further and becomes conscious in
  • collides with them consciously and thus sees through these forces, it
  • being conscious of them, reveal themselves in the phenomena of growth,
  • consonants, the unconscious imaginative forces which call forth a
  • consonantal eurythmy. And that works over into the unconscious imagination.
  • into consciousness the sound that you hear, the relationships of the
  • breathing and subsequently make the patient aware that he can consciously
  • we can consciously continue the tendency which arises eurythmically,
• Title: Curative Eurythmy: Lecture 8
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  • into the consciousness. When you do the O-movement as I just did it,
  • it is associated with a strong projection into the consciousness. Tell
  • this way the consciousness centres on exactly that which is to be
  • intended, namely, that the element of consciousness is not in the
  • that they enter his awareness, this consciousness is an excellent curative
  • in other words, so that the treatment isn't carried out unconsciously.
  • to consciousness, in order that, as I have already said, this concentration