“Seth material” search engine (Jane Roberts)

Your painting was meant to bring out from the recesses of your being the accumulation of your knowledge in the form of images — not of people you might meet now on the street, but portraits of the residents of the mind. The residents of the mind are very real. In a certain fashion, they are your parents more than your parents were, and when you express their realities, they are also expressing yours. All time is simultaneous. Only the illusion of time on each of your parts keeps you from greeting each other. To some extent, when you paint such portraits you are forming psychic bridges between yourself and those other selves: Your own identity as yourself grows.

(9:29.) Give us a moment… By all means encourage the dream activity, and there will be a correspondence between your dreams, your painting and your writing.² Each one encourages the others. Your writing gains vitality from your painting, your painting from your writing — and the dreaming self at one time or another is in contact with all other Aspects — capital “A” — of your reality.

If you do not trust your private self, you will be afraid of power, for you will fear that you are bound to misuse it. You may then purposefully (leaning forward, quietly emphatic but with some amusement) put yourself in a position of weakness, while all of the time claiming that you seek influence. Not understanding yourself, you will be in a quandary, and the mechanics of experience will appear mysterious and capricious.