“Seth material” search engine (Jane Roberts)

You could have followed still another course—one in which you did not become involved in any intellectual or challenging concepts but bypassed them completely. That kind of painting can be excellent, but it also involves an intense immersion in the emotions, to the exclusion of any important conceptualizing. The greatest kind of painting includes both the intuitions and the intellect, but in your terms this also requires the maturing of the high intellect. You decided to take that course. In a different way Ruburt chose the same journey. Had he not delved into deeper questions, he could very well have been the novelist, going no further than a novelist can into the nature of personality or motivation.

Give us a moment.... Some of your private and joint problems spring from cultural beliefs that you are intellectually aware of, but not emotionally free from. Your idea of a separate painting studio, and some of your attendant ideas, are simply hangovers that you do not have to accept, springing from your father and his garage. You are aware of the connection, but you make no attempt to get above it.

You also have ideas of guilt about your painting that are culturally induced. Again, you recognize them, but you do not try to rise above them emotionally. The painting does not bring in money, so to punish yourself you do not enjoy it sufficiently—but concentrate upon the distractions instead. You do your financial part with the books, but you still tie in your social identity with your painting, and to some extent you still feel that that social identity is dependent upon the money your “art” should produce, so you punish yourself by not enjoying your painting time. This also impedes your spontaneity in painting, of course.