“Seth material” search engine (Jane Roberts)

[...] There, I hope, you will work at developing skills, in terms of the dream-art scientist (for instance; see Session 700 in Volume 1 of ‘Unknown’ Reality), and learn other professions than the ones you now know.”

[...] (The art director of the Arnot Art Gallery at the time Jane worked there). [...]

[...] As Seth tells us after break, this is a poor connection referring to the Victorian room at the Arnot Art Gallery where Jane worked a couple of years ago—and is thus another reference to Barbara and myself being artists. [...]

[...] I’d wanted Seth to comment on my first art dream, the one involving greeting cards, but he hasn’t done so yet. [...]

The poem represents the unity of inspiration and of healing, the wedding of art and reality. [...]

[...] In many cases these people will be great sportsmen, follow conventionalized male pursuits, and perhaps express contempt for the arts or any interest considered remotely feminine.

[...] Seth also discussed with Dr. Guy the practice of, and the motivations behind, the art of magic. [...]

(10:18.) Nevertheless, encounters between you occur frequently—in the dream state as stated, in alterations of your usual focus, and in your arts, where you are less arbitrary in your definitions. [...]

[...] For I feel now, in connection with the two “new” poems, the same profound sensations I had concerning Jane’s challenges when I wrote in Note 6: “Perhaps it was her poetic art of expression that helped me identify so strongly with her emotions, but I suddenly felt that even I had never really understood the myriad depths of her challenges and her reactions to them.” [...]

(Here Seth refers to the fact that Jane has been made Assistant Director at the art gallery. [...] Her duties have been changed somewhat, and will include lecturing to the children’s classes on art history; Jane likes to teach, and many sessions ago Seth said this ability was a carry-over from a previous life, and was so far not being used in this life.)

[...] You believed that commercial art could give financial results, but not necessarily good writing, or good art.

[...] It belongs to one of Jane’s coworkers at the art gallery. [...]

Incidentally it is possible that you and Ruburt and his friend at the art gallery and her husband may become good friends, but it would have been extremely inadvisable for you to have moved into her apartment. [...]

[...] And he was a painter, so that the art gallery is an ironic place for Ruburt and this woman to meet.

(More intently:) When dream information is also considered a social asset, or even a political one, when it is seen as one of the many tools of assessing private and national probabilities, then dream recall and interpretation becomes highly prominent, and can be raised to the highest of arts. [...]

[...] The entire idea of nuclear power was first a dream—an act of the imagination on the part of private individuals—and then through fiction and the arts a dream on the part of many people. [...]

[...] It just means that each individual is involved in an art of living. There are different themes, instruments, melodies — but existence, like great art, cannot be confined to simple definitions.

And in a note for that session I wrote: “Years ago, when Jane and I began living in Sayre, Pennsylvania, not long after our marriage in 1954, I began telling myself that before I reached the age of 40 I’d know whether I wanted to concentrate upon writing or painting — but that if I’d failed to do so before that date, I would then decide upon one or the other of those creative arts. [...]

[...] Dee had been Jane’s director at the art gallery for about 2½ years. [...]

[...] I said, “I love you, I’m standing by your chair in the art department at the card co.,” but though I felt very light I did not see or feel myself there. [...]

[...] There was more, but I believe that by this time I was coming out of the desired state and was consciously connecting the name Ryerson with a local teacher by that name whom Jane sees occasionally in connection with the art gallery where she works. [...]

Art often appears timeless to the ego because it often merges within it a greater number of moment points than the ego can ordinarily perceive.

In such cases the artist captures the dominant essence, and through the energy which he has given the art, it then makes such an effect upon the ego, which could not ordinarily perceive so much.

[...] Once again, she was inspired by my questions on art and related matters. [...]

(“Will my art say anything, or help anybody?”)

[...] I mentioned earlier that the art gallery experience was a necessary one. [...]

(It will be remembered that Seth stated an art gallery experience was in the cards for Jane many sessions ago—back somewhere in the beginning sessions. [...]

An art gallery did not have to be the answer, of course. [...]

(Pause.) Your many civilizations, historically speaking, each with its own fields of activity, its own sciences, religions, politics and art—these all represent various ways that man has used imagination and reason to form a framework through which (underlined) a more or less cohesive reality is experienced.

[...] Since you both have such mental agility and a history in this life of health and vitality, that history can be used by Ruburt, if he recalls himself running up and down the steps of the art gallery, for example. [...]

(“Will I sell the art work I’m doing now?”)