“Seth material” search engine (Jane Roberts)

(9:22. Jane came out trance easily, but said that once again it had been a deep one as has been the rule lately, and that even now at break she could feel Seth’s energy.

One more note. Ruburt should remember to keep other interests also. This lets him take his conscious attention away from psychic matters and allows them freedom. Dancing, gardening, painting. He can afford to play. (Humor.) Now that he is “good,” in quotes, he need not make a saint of himself overnight. (Emphatic.)

(Long pause.) You deal with emotion and creativity, and have always done so. Your own ability as a draftsman, if the term is the correct one—your technical ability—was adopted for two reasons.

You are recognizing certain limitations that these developments put upon you. The inner attitudes must be completely changed, though your methods and styles need not necessarily change one iota. It would help you however to attempt larger work. You are afraid of tackling too much feeling at once, and the mere fact of working larger would free you from this to some considerable extent.

Therefore concern yourself with the vision and the other matters will take care of themselves. The vision must always be allowed freedom, for it is greater than its form. That is important. The vision shapes itself. Let your hand follow your intuitions then, and the form will be seen to vibrate, for then the form and the vision are one.

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.

You will, quote, “pick up” visions that no one else can. If you are a channel for these, your development is assured. All of this presupposes of course the kind of technical training and background, and knowledge of the art necessary. This you have. So as Ruburt is to try to be a channel, so think of yourself in those 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.

This is realism. Realism is more than the surface of things. (A pause longer than one minute, eyes closed.)