2 results for (book:ur1 AND session:680 AND stemmed:paint)

UR1 Appendix 2: (For Session 680) sportsman sports limber unpredictable chose

The painting also, innately now, involves going outdoors, though you seldom paint from nature out in the landscape. Nevertheless, you would be determined to be free enough to do so. The sportsman that you might have been still lives within you enough so that, for example, you automatically stay trim and limber.

Your father’s creativity, as mentioned [in earlier, unpublished sessions] had its side of secrecy, privacy and aloneness … you identified creatively with his private nature. The writing self became latent as the sportsman did, yet the writing self and the artist were closely bound. You felt conflicts at times. It never occurred to you that the two aspects could release one another — one illuminating the other — and both be fulfilled. Instead you saw them as basically conflicting. Time spent writing meant time not spent painting. You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household …

(Here’s Seth to me in that January session:) You, for example, could have excelled at certain sports, where Ruburt had no such inclinations. You chose to concentrate on artistic endeavors as you grew and learned through various areas and periods — that is, you tried and enjoyed sports, and writing; and after a while you decided upon the painting self as the particular focus upon which you would build a life.

Ruburt’s writing abilities have blossomed because of his psychic experiences. Your painting abilities have also … The psychic breakthrough did not just occur. Your deepest natures called it out of the probable sequence into your joint reality — for a reason, because each of you knew that it could best help you to develop all of your respective abilities to their fullest, and also help others.

UR1 Section 1: Session 680 February 6, 1974 Linden selves inventor birth hysterectomy

[...] I think that his exacting mechanical abilities are reflected in Linden’s very realistic models, and are transmuted in the methods I use to solidly “construct” my paintings and to keep the records for the Seth material.