“Seth material” search engine (Jane Roberts)

Now give us a moment. When the point is reached of which I had just spoken, your objectivity comes foremost in your work at the expense of spontaneity. Remember some time ago I mentioned your feeling about oils and the emotions. This is in keeping you see with the fact that you felt more threatened than Ruburt at those boundary-near-contact points. At such times you became more alarmed working with your oils and colors, and wanted a retreat, and sought for greater distance in your paintings.

When you closed off and retreated to compensate, you came closer to the people with whom you work, enjoying their safer emotional contact. It was not threatening, you see. At the same time you adopted a more hard line in your relationship with those in the family, trying to avoid all emotional situations which might trigger a release of the repressed feelings.

He would have become instantly alarmed had you not then begun to retreat. This has been a highly formal, ritualized behavior pattern, a psychological dance, so formalized on a subconscious level that it left little leeway for spontaneity, and threatened to freeze you both in highly unconscious regimented behavior. He was to keep you from getting too far apart. You were to keep you from getting too close, and when certain automatic points were approached you both went into your act. For some time the behavior worked. The spontaneity was gradually squeezed out to such a degree that it lost its workability, and both of you were beginning to consider making adjustments. You did not understand the pattern, however. You ran into the invisible danger points and reacted in the old ways.