“Seth material” search engine (Jane Roberts)

(When I became aware I was seeing it, I faced it and tried to prolong its existence. As soon as I realized this conscious effort I relaxed, in hopes that this would encourage its longevity, but the vision faded and did not return. I drew a quick very rough little sketch of it, dated it, then told Jane about it. I hoped Seth would mention it this evening.)

(“Now that I have conscious memory of seeing the vision, I’m wondering just how much this memory is going to influence my actual production of the work.”)

(Smile.) You would have been consciously aware of the painting whether or not you were consciously aware of the vision. It is you who think of the painting in terms of time, and who perceive it in this manner. (Sitting up as she spoke, Jane began to take off her sweater and shoes.) The painting exists and in one reality you have already completed it. In your present framework however you seem to be waiting for the developments to occur.

Now this whole self is completely unique, yet the energy that composes it is a part of the energy that also is the ground of being, for all other consciousnesses. Therefore when you are true to yourself, when you materialize these paintings clearly, there is also (Jane pointed at me emphatically eyes open wide) within them a ground of knowledge, intuition and being, that is instantly felt by all other individuals.

This is what makes a painting great, the validity of the inner ground of being within them, interpreted in highly individual ways. The individuality itself, if it is intuitively valid, will lead to a universal inner recognition on the part of all who perceive such a painting.

(When Jane and I visited F. Fell’ s office in New York City last July, we stood in the foyer of 386 Park Avenue South and scanned the list of tenants. This list of tenants must include the name Liveright; if we saw it, we have no conscious memory of it.