Rob's Premonitions Of A Future Manifestation

Seth Early Sessions, Vol 7, Session 383

Premonitions Of A Future Manifestation

(Yesterday afternoon, November 28, while working in my studio in the back of the apartment, I had a vision of a painting.  I recognized it as mine, or one I will do, of Bill Gallagher.  …  )

The vision that you saw was of a future painting that you will do.

You are allowing yourself more inner freedom again, and so permitted yourself to see this.  There are some distortions, simply because the painting was interpreted in the light of your present knowledge.

There were also some hints in it that you will use subconsciously, and from which new developments will grow.  The sending out of another manuscript is symbolically important to Ruburt, and represents definite progress.  (High, Low and Psycho.)  Both of you need rest this evening.  In your sleep you will correlate recent developments so that better use will be made of them.  Your activities in the sleep state will actually be rather ambitious, and you will generate considerable energy from them.  We more than made up for missed sessions by the recent developments.  I will not keep you therefore, although I will answer any questions if you have them.

(“Now that I have conscious memory of seeing the vision, I’m wondering just how much of this memory is going to influence my actual production of the work.”)

You would have been consciously aware of the painting whether or not you were consciously aware of the vision.  It is you who think of the painting in terms of time, and who perceive it in this manner.  The painting exists and in one reality you have already completed it.  In your present framework however you seem to be waiting for the developments to occur.

You are already the self who will paint that portrait.  The insights that will lead to it already exist.  You could refuse, but the lines of probability so far are against this.  The book you are reading puts things simply enough to be immediately practical.  You will discover a rather powerful impact upon your lives, both of you, as a result of it.

There is much more here that the author does not understand, but he has hit upon excellent methods, and you can take advantage of them.  The paintings that you will paint do exist, because you have in one sense the potential to create them.  They exist in potential form.  It is not true however that anyone else could pick them up, so to speak, from cosmic energy.  They are attuned to you, and only your particular individuality is equipped to pick them up.  Do you understand here?

(“Yes.”)

Here I differ you see with the author.

(“You’re talking about Psycho-Cybernetics.”)

I am.  In not developing your abilities to the point where you can tune in on these paintings, that belong to your whole self, you impede your progress, and to that extent deny portions of creativity.

The paintings already exist however as definite potential forms, already created by your whole self.  Only you can give them physical reality however.  You can only fail in not giving them physical form, and you can only fail to give them physical form by refusing to open up your inner channels to the intuitions of the whole self.

There are some significant differences here you see, in my knowledge and Maltz’s interpretation as given in his book.  To the extent that you fail to materialize your potentials in physical form, you have failed in a given physical existence.  The knowledge that the forms and the paintings are there, however, is all-important.

The natural development of your abilities in other words already exists.  You must merely be ready, intuitively alive, prepared and assured, and these developments will appear to you.  Great artists are those who materialize physically the paintings already created by the whole self in potential form.

Now this whole self is completely unique, yet the energy that composes it is a part of the energy that also is the ground of being, for all other consciousness.  Therefore when you are true to yourself, when you materialize these paintings clearly, there is also within them a ground of knowledge, intuition and being, that is instantly felt by all other individuals.

This is what makes a painting great, the validity of the inner ground of being within them, interpreted in highly individual ways.  The individuality itself, if it is intuitively valid, will lead to a universal inner recognition on the part of all who perceive such a painting.

...  In your sleeping hours you will learn much this evening.  You need the time to correlate the new data.  

You have a wealth of paining material, of potential forms to draw upon.  They are simply yours for the asking.  They are paintings that no one else can materialize in physical form but you.  Knowing this gives you a great advantage.