“Seth material” search engine (Jane Roberts)

[...] I also decided it to the extent that if management insisted I increase my hours, I would leave the plant and try developing some other recent ideas I have acquired on making a living, one of them being teaching art by, perhaps, starting my own school on a small scale at first.

[...] I did not base my decision concerning working hours on the Seth material, although the information Jane and I have received on expectations played a part; it has done much to increase our confidence in various fields of endeavor other than our arts.

[...] (As Seth, Jane looked at the couch, where Mary and Art were sitting.) I look now between the two of you. [...]

(To Mary and Art): You each generally agree, I am sure, that you sit upon a couch. [...]

[...] They developed arts and sciences, religions—yet it was as if no other people existed. [...] This does not mean that there were not similarities in religious concepts or art forms or whatever, for each level of consciousness has its own characteristics, which will show in all of its works.

[...] Our species’ art is just no longer the same—a fact I both applaud and mourn. However, I do feel that in the course of ordinary time we have either lost certain qualities of art or no longer stress them.

[...] The information you receive from your culture, from your arts, sciences, fields of economics, is all translated, decoded, turned into cellular information. [...]

(Today we received from the Museum of Modern Art an acknowledgment that William Rubin had received the Cézanne book I’d mailed him on October 17. [...]

[...] During break Jane said she knew that either she or Seth could tune into the situation at the Museum of Modern Art, but that she could “feel resistance” to the idea. [...]

The fact that you even sent books to artists and art institutions shows that you have changed your attitudes in Framework 1, thereby opening resources in Framework 2 that did not exist, practically speaking, earlier. [...]

Mysticism itself involves, basically, encounters with the art of being—a kind of creativity that in usual terms may produce no product at all, creative or otherwise. Such experiences may be translated into poetry or art or whatever, but initially they involve a spiritual encounter with reality. [...]

[...] Yet in sessions, Seth has given Rob excellent advice and information on the techniques and philosophy of art. [...] I’ve never studied art, and my paintings are rather childish in execution, done with raw color. [...]

[...] We are still accumulating material on art, art philosophy, and painting techniques.

[...] We have been told that his name will come in future sessions, along with other information on art.

CHAPTER
EIGHT:

A Year of Testing—Seth
“Looks Into” Envelopes
and Gives Rob a Few Art Lessons

[...] They are part of life’s art. They are the raw stuff from which art comes, whether or not in any given case you can see the connections. [...]

[...] Art, including writing, of course—creativity itself—is bound to be, as per the Cézanne passage (I’d called to Jane’s attention a couple of weeks ago) sometimes disruptive. [...] Because it does, art can often make disclosures that offend the pious, the well-mannered. [...]

[...] He also helped spur your own sense of direction in your early days together, when you turned from commercial art.

The commercial art served your emotions quite simply. [...]

[...] You are not afraid to entrust lesser work to it in terms of commercial art. [...]

You want to create a whole new world of your own making, in your own art form, and you will not be satisfied with less. [...]

[...] Particularly if you want to make a living at your art, you fall into the frame of mind in which you think that “each minute is valuable” — but what you mean is that each minute must be a minute of production. [...]

[...] True creativity comes from enjoying the moments, which then fulfill themselves, and a part of the creative process is indeed the art of relaxation, the letting go, for that triggers magical activity, and that is what Ruburt must learn.

Those methods work least of all for any art. [...]

[...] In any case Ruburt thought of your art as noncompetitive, solitary, intuitive, and opposed to the stereotyped masculine role. [...]

[...] It is true that in this system of which I am speaking, there was a stronger focus upon the arts, and yet there were fewer great artists.

They are indeed art, though you would never think of them as such. [...]

[...] It was allowed to leap beyond the boundaries of painting or writing, to escape even the temporal frames of your present personalities, and to form an original psychic or psychological structure—a new psychological art, if you prefer—that could be contained in none of the arts as they are known. [...]

I have given information on this before, but you settled upon the idea of work, as you think of it, because it was the only way at the time that you could justify art to yourself. [...]

[...] There are those who can go from one spontaneous inspiration happily to another equally spontaneous one, and feel no desire to form any kind of art from it, or to order it along the ways of the world.

(We talked a lot about our early days together — work and our arts, prestige, money, and the opinions of others. [...]

[...] Not so, I said — after all, I worked at commercial art four years full time at one stretch, and part time a number of other times. [...]

[...] The conscious mind is quite willing to let go in that regard, for art not only provides it with enjoyment but fulfills its own framework of action. It does not regard art as a game, exactly, but it does not expect the same rules to apply, either, to a painted apple on a canvas and a real one. [...]

I always enjoyed the lively art of conversation, said Seth’s mental voice to me.

“Uh, He says that he always enjoyed the lively art of conversation,” I said. [...]

[...] Often they remind me of other things I would like to say … I have never trusted the written word half as much as I trust the spoken word, and on your plane it is difficult to trust either, but as I mentioned, I always enjoyed conversation, which is the liveliest of the arts.

[...] Through expression of the words, but also through your art, for you saw all art as an expression of love, a love in which the old man and civilization was ultimately held.