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José Silva Founder of the Science of Psychorientology
“So that when we move on, we shall have left behind a better world”
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You can use other people's experiences as if those experiences were your own by José Silva (The first public class that José Silva taught was to a group of artists. When he returned to the city and met with them again after they had completed the course, they wanted to know what other ways they could use their intuition besides the "case studies" they did at the end of the class. This is the story of that session.) They asked, "What else can we do?" I said, "You can do anything." "For instance," I said, "you, come here, Mary." Mary came forward. I said, "Go to your level, I want to talk to when you are at your level." "Okay, I'm there now. "You are what, a sculptor or a painter? "I am a painter." "Oh, you are a painter?" "Yes." She wanted to be a painter. She was not there yet, but was studying. I selected the wrong person. I should have selected a painter, who was already a painter, not one just in training. Anyway, I said, "You should use your imagination on this. Who do you like to paint like?" "Oh, like Van Gogh." "Well great. This is very good. A lot of people like Van Gogh's paintings. Have you read Van Gogh's history?" Oh, she knows it back and forth. Her idol is Van Gogh. She wants to ultimately paint like Van Gogh. "Well, all right, let's create a Van Gogh right by your side. How about that?" "What do you mean?" "I mean, like drawing one, like sculpturing one. Work on his head, his shoulders...create one. A spiritual Van Gogh. Let him be beside you." She went ahead and did this. "Have you created, painted or sculpted a Van Gogh yet?" "Yes, he is right here right now." "All right. Now whenever you are painting, and you meet a problem in painting, bring your three fingers together, on one hand or the other, and then imagine Van Gogh, ask him what to do. Whatever comes to your mind, is his answer. Follow it up, and continue. Whatever comes your mind is his, transmitting his ideas into your mind, as to what to do. So you'll be thinking as though you thought it up yourself. But you thought it up with the information he gave you. And you follow through, and continue." So she came out of level, went and got her easel, tripod or whatever, her oils, everybody gathered around - the whole class -and she started to paint. First she used a pencil and drew - she wanted to draw a vase with flowers, on a table with a table cloth. She started sketching, then using paints. In no time at all she had a beautiful vase, flowers, and everybody was going, "Wow, look at this, what she's doing. And so fast!" Everybody was amazed. At this time, professor Dord Fitz came in. "What's all this commotion about." They told him what was happening. "Okay," he said, "let's gather around and analyze the painting and see if it appears like Van Gogh's work." He liked this kind of work. He said, "Notice these spots here. Van Gogh used to have the habit of leaving some of the canvas exposed, not covered with paint. Even that's here." I didn't know anything about this. The mistake I made, I selected a person who had only had two classes in art. I thought she was one of the advanced students. I made a mistake. Now that's what really turned them on: "She's doing this! Mary's doing this." She was not supposed to do that with only two lessons in art. Now everybody wanted me to train them with their Da Vinchi's, their Rembrandt's, and on and on. I got myself a lot of work there because of that. I had to work with each one individually to get them what they wanted, Da Vinchi's, Rembrandt’s, and whatever.
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