“Seth material” search engine (Jane Roberts)

Now. A few preliminary remarks are in order, and then I shall do my best to answer your questions.

The season will itself offer advantages here. Let him work so many hours and then concentrate elsewhere. He is trying too hard. He sees he has changed his ways, and now wants to do so with a vengeance, you see. (Humorous emphatic delivery.) He has dropped the relaxation exercise, and this should be resumed. For him it is most beneficial.

The technique can follow beautifully through as a handmaiden of the intuitions. The technique can be channels of line through which feeling may flow. (Long pause.) Let the medium and technique follow naturally from the original vision. Allow the vision then to take its own form. But do not impose (underlined)a form upon it. Then this fine technique will be truly used to advantage.

Think first in terms of being yourself a medium, through which visions flow. They will each to some degree suggest their own forms which you can faithfully follow. Do not try consciously to settle upon any given medium, oil, et cetera (pause), or consciously try to set up a lifetime program, in those terms, now.

The vision will take another form, but if you have faithfully followed through, then the vision and its adopted form become one moment point. (Pause.) Allow the vision to express itself in form; again, do not attempt to impose the form upon the vision. The form should grow out of the vision.

The vision that comes to you or through you has been automatically processed as it comes through. This automatic processing is highly individual, and is what you do as a creator. The vision comes seemingly from without. As a creator you translate it into physical terms.

When you paint the land, do so thinking in terms having to do with its past as well as present and future. Its inner development that has resulted in its present form, the energy behind the form. Remember in your painting the relationship of one object to another, not in terms of space necessarily, the interrelationship of the vitality that forms the objects; the vibrating always changing reality within, say, the skin of the apple or the orange, the quite living consciousness within the molecules that make up what seems to be the solid surface of the fruits’ skin.