“Seth material” search engine (Jane Roberts)

(The session started late because Jane became so involved in a painting after supper. It was one in which she was attempting to follow in a still-life some of the techniques I’d showed her a few days ago, when I repainted another still-life composition she’d started, and showed her how to get more opaque effects for variety; a demonstration, then, for she’d asked for “a lesson.” Since then there have been some rather humorous episodes—I mean it kindly—as Jane tries to use those methods, with very mixed results. But interestingly, she ran into conflicts between her old method, in which she used mostly transparent color, and the new one, which, she complained in her frustration, was “muddy, and lacking vitality. And without the vitality, what good is it?”

(My own physical condition has improved considerably, so in some way I’ve managed to learn something. I suspect the better results may simply be the results of the body healing itself once I removed the pressures I’d been imposing upon that basically innocent structure. I’ve been painting a lot more lately.

(10:58.) The answer of course is that the permission you were given to go “faster” applied to a completely different dimension of motion and activity. You actually interpreted it in more mundane terms than was meant, and because you so interpreted it, the end result was that you did not seem to cover the ground any faster than others.