“Seth material” search engine (Jane Roberts)

Now. Begin with your program. What do you have for me first?

Hand it to me. Now. Give us a moment.

(9:30.) At the risk of really repeating myself, let me state that time as you know it does not exist basically and that all creations are simultaneous. (Amused.) That should answer your question.

All of the ages of Earth, in your terms both past and present, exist, as do future ages. Now. You may make that a capital now. Some life forms are being developed in what you think of as present time. They will not appear physically until you reach your future time. Do you follow me?

You have indeed. One was a painting purchased by Carl and Sue Watkins (which, half jokingly, we had called Moses); one, the portrait of me (pause); and one that you have not completed — that the Dean (Seth’s friendly title for Tom M., one of the members of ESP class) asked about recently, of a woman. And your blue man. (Pause.) That is your answer.

(In Chapter Seventeen Seth told Jane and me that we’d both been Speakers. Since I haven’t painted any self-portraits I wouldn’t have been included in the list anyhow, but Seth did neglect to mention my painting of Jane. I didn’t catch the omission, so I didn’t ask about it….

(When Seth tells me I’ve done a Speaker’s portrait, I translate this to mean that I’ve tuned-in on but one personality out of the very many making up that Speaker’s entity.

(After the sessions began I started a series of portraits of people I don’t “know” consciously. At first I understood little about the possible sources for their inspiration; I simply put my urge to paint them to work. Ideas for the portraits “come” to me spontaneously when I am mentally occupied with something else. I am always surprised. Sometimes I see an outright vision, objectified quite clearly and in full color. The vision is either of the finished painting, or of the individual who is to be portrayed. On several occasions I have “known” the subject was dead. Few of the paintings are of Speakers, obviously, and in no case did I realize I was working with such a personality.

(I recently finished the blue man that Seth refers to. I painted a male in modern garb, but in reality, according to an amused Seth, the subject was a female clairvoyant who lived in Constantinople in the fourteenth century; unconscious distortions in my own perceptions led me to the male figure. Seth has given her the name Ianodiala. The oil is very successful, and is done in blue and green.

(Such sources of inspirational material were entirely unsuspected by me in earlier years. I believe now that they are among those usually present at unconscious levels; but in order to expand the potentials for the creative act as much as possible, I would like to see others learn to cultivate such visions and perceptions on a deliberate, conscious basis. It seems to me the benefits would be many. There is much to be learned here.

(Smile.) And now you want me to elaborate.