1 result for (book:nome AND session:834 AND stemmed:seth)
8/38 (21%)
mosaics
painting
shared
cults
paranoia
(After supper this evening Jane read some notes I’d written recently, in which I speculated about why I paint portraits — my “heads,” as I call them — out of my “imagination,” instead of using live models of “real people.” I’ve often wondered if at least some of my motivations for working this way have reincarnational or counterpart1 inspirations. I remarked tonight that it would be nice if Seth would discuss the subject, and Jane replied that she thought he’d do so.
(That statement, in fact, plus her desire for material from Seth on a question of her own, made her wonder whether we’d even receive any book dictation tonight. Then, no sooner had we sat for the session than Jane asked me to write down what she was about to say, since she had the material available whether or not Seth got to it: “A new part, or chapter heading: ‘People Who Are Afraid of Themselves. Controlled Environments, and Positive and Negative Mass Behavior.’” I told her I thought Seth would not only have plenty of time to cover our respective questions, but would come through with some book work too, and this was the case.
(We’re presenting his material for me because it has good general application: If Seth deals with my own painted images without even mentioning the words reincarnation or counterparts, still he does reveal how such “residents of the mind” make up part of each person’s innate knowledge of his or her own greater — or larger — self.
[... 1 paragraph ...]
(“Good evening, Seth.”)
[... 12 paragraphs ...]
(9:31. Now Seth came through with some material in answer to Jane’s question, before calling for a break at 9:38. Resume at 9:56.)
[... 14 paragraphs ...]
(“Thank you, Seth.”
[... 2 paragraphs ...]
1. In Volume 2 of “Unknown” Reality Seth began developing his theory of counterparts — that the larger psychological self, or entity, of each of us manifests not just one physical life in any given century, say, but several, so as to gain that much more experience in a variety of roles involving different ages, nationalities and languages, sexual orientations, family roles, and so forth. As I understand the counterparts thesis, the individual may or may not meet at least some of his or her counterparts, scattered as they can be among earth’s different countries and cultures. Jane and I have encountered a few of our respective counterparts, however, principally through her now-defunct ESP class.
2. Seth mentioned a “correspondence” among my dreams, painting, and writing because just lately I’ve been doing small oil paintings of a few of my more vivid dream images. I’ve discovered that this is great fun — and much more challenging than I’d anticipated, as I try to reduce the shifting, brilliant dream elements to the motionless painted surfaces we’re so used to in waking reality. Each little painting becomes a unique adventure both technically and emotionally, and I hardly succeed in solving every attempt I make. Now, futilely, I wonder why I didn’t try painting images from my dreams at a much earlier age; and why one so seldom hears about other artists doing the same thing. I don’t personally know any other artist working with dreams this way.
