“Seth material” search engine (Jane Roberts)

(Pause.) The Roman Catholic Church seized upon art, inserted its own strong symbolism, provided art with a recognizable religious, social, and political value. [...]

[...] In a way, this is an extension of last evening’s session, but the art connection is important. [...]

Art was often used in the way you are using it now—at least to some extent in your case—as a method of defining such dream images, which were not necessarily to be found in the immediate environment at all. [...]

Art as painting or drawing was then an important element in what you think of as man’s evolution. [...]

(The idea seemed to be that creativity, mine and anyone’s, is initially playful, curious, seeks expression—and is one of the highest kinds of psychic play—the artist playing with concepts no matter what the art; and actually inserts his or her reality onto the world, superimposed upon it. But the creative basic part of the personality enjoys that; the doing, primarily—the art will always be an individual interpretation and recreation of the world—that exists for itself and is its own meaning.

[...] which immediately wanted approval for my books—not that I shouldn’t want approval per se but that I began to demand that my art provide all my needs; to financially support me, to give me honor among my fellows, a sense of belonging, etc. [...]

[...] Yet its quality is such that professional art critics could learn from it, though some of their productions might take much longer periods of time, and result from an extensive conscious knowledge of art, which Ruburt almost entirely lacks. [...]

(A minute later:) In the psychic areas, all patterns for knowledge, cultures, civilizations, personal and mass accomplishments, sciences, religions, technologies and arts, exist in the same fashion.

[...] Still, the knowledge of mathematics and the arts is as much within you as your genes are within you. [...]

[...] He did not contact Cézanne per se, but Cézanne’s comprehension of painting as an art.

Scene 1—At an art gallery supposed to be the Arnot. [...] I talk to her sympathetically, give a terrific dissertation on art, its therapeutic qualities, and use as a natural high. [...]

Art is created, then, using time — for example — as a structure. [...]

Such a work would be perceived in your system as one thing, for example, but would also be perceived in probable realities, though perhaps in an entirely different way — a multidimensional art, you see, so free and elemental that it would appear simultaneously in many realities.

Such an art is impossible to describe in words. [...]

Now: These “art forms” are often symbolic representations of the nature of reality. [...]

[...] The original functions of art—meaning poetry and painting here specifically—have been largely forgotten. [...] His specific art (pause) was both his method of understanding his own creativity, and a way of exploring the vast creativity of the universe—and also served as a container or showcase that displayed his knowledge as best he could. [...]

[...] Also involved is, as Ruburt correctly picked up from me, a group of accomplishments that we will call the psychological arts. [...]

[...] (To me again:) Your own writing, of course, is art. [...]

[...] Your “purpose” is to bring those diverse aspects together, to form them into your own kind of artistic production—to wed in your life and art those seemingly diverse qualities of spontaneity and order, spareness and abundance, beloved detail and wholeness, and to form in your life and art a new kind of synthesis.

[...] You (RFB) proved to yourself that your art could support you when you were young. [...]

When you worked in an art department, even though you knew you were doing “commercial work,” society referred to you as an artist. [...]

[...] Your art is set off by your frames—so you deny your paintings their natural setting.

The book can include some of the material I have given you on art through various channels, and how you have applied it. This work can be followed by one utilizing sessions concerned with art mainly but covering some other artistic areas as well, such as the nature and origin of inspirations.

(It’s supposed to express my views of the Seth experience, and how it has influenced or changed my ideas on art, life, and so forth. [...]

[...] Much of his art in those terms did not show, but the art of his consciousness expanded beyond Michelangelo’s.

[...] In conventional art you end up with a product on many such occasions—a book or painting or whatever—as you attempt to define in physical terms the reality of an inner existence with which you have always been familiar, and to leave in physical reality some evidence, however slight, of inner visions that flicker within all consciousness. [...]

[...] Add to that list the belief that the great artist or writer concentrates upon his or her art so intensely and single-mindedly, and single-heartedly, that the focus itself forces the artist or poet to use those abilities to their utmost, or that great genius demands one-sided vision and a denial of the world. [...]

[...] There was Miss Bowman, there was art school and so forth—so I want you to remember that inner man. [...]

[...] Many artists relied upon the stereotyped constructions of their age, rather than looking within for their own revelations, so that art could have become the frozen art form—painting could have—that showed clearly the spiritual immobility of a people who finally grew dry.

[...] The kind of art you will produce is not meant to be the art of youth. [...]

[...] The culture had to change, the foundations of art had to change, the old images had to be in your terms (underlined) demolished, for they had begun to freeze the birth of new insights and creative feeling.

[...] They were worried about Art Kendall who was in no shape to drive, so they followed Kendall’s car out of Watkins Glen. [...]

2. A one-syllable man’s name—Art Kendall. [...]

[...] They have the same love of the arts, the same general attitudes. They will usually seek fairly stable political situations in which to bear their children, as the Sumari will to produce their art. [...] The one big difference is that the Sumari deal primarily with creativity and the arts, and often subordinate family life (as Jane and I have done), while this family thinks of offspring in the terms of living art; everything else is subordinated to that “ideal.”

The first (in Sayre), mentioned far earlier in “Unknown” Reality, you thought was definitely sold, and today you discovered that the sale was not that final.¹⁰ As you discussed these issues a rather important main point escaped your minds: The man who owned the first house (Mr. Markle) was a dealer in antiques and precious stones, utterly devoted to his work and engrossed in it, considering it his art. [...] His art came first.¹¹

[...] These are not rigid parents, though, blindly following conventions, but people who see family life as a fine living creative art, and children as masterpieces in flesh and blood. [...]

[...] These people may be appreciators of fine art, but usually for its commercial value.

[...] Since the object is a notice that the Art Shop is continuing in business, it is an invitation to continue trading there. Also Jane and I have been personally invited by the three new proprietors, whom we know, to continue doing business with the Art Shop. [...]

[...] In the lower right hand corner of page 1 of the object is a monogram consisting of the letters A and S, for Art Shop. [...]

[...] Also the A in the Art Shop monogram narrows somewhat but doesn’t come to a point. [...]

[...] As stated in connection with the “framework” data on page 244, the A in the Art Shop monogram on page one of the object meant framework, or A-frame house, to Jane.

[...] They are given to art, but in its broadest sense also, trying to make an “art” of living, for example. [...]

[...] Psychically speaking, the Sumari often very nicely arrange existences in which they are a minority — in a democracy, say, so that they can work at their art within a fairly stable political situation. [...]

In the arts, Picasso was a Sumari.

[...] I can write that many of the characteristics Seth mentioned this evening apply to us, as we’ve learned over the years — especially those concerning our love of art, our being initiators, and our desires to be free of social structures. [...]

You (smile) with your peculiar interests, can (underline) roam quite freely, art galleries and museums, in either the past, present and future, in those terms, and a sufficient impetus will help you do so. In other words, if you tie your psychic endeavors with your love of art there will be no difficulties. [...]

[...] You fear that direct psychic experience in terms of projections could rob you of the energy you should put into your painting and quite unconsciously, though not entirely, when you are focusing upon your painting strongly with particular inner vigor, then you close the door to personal psychic adventures out of a misplaced jealousy for your art.

[...] You must not consider psychic endeavor as a rival to your art, but instead as an aid, with which the best of artists have always been blessed. [...]

You felt that actively going out however, in terms of a projection involved a greater effort and energy, and this particular aspect you had not tied into your art. [...]

[...] Mystical experience became acceptable only through poetry or art, where it was accepted as creative, but not real enough to get him into trouble, or to upset the “new” framework. [...] The mind would be harnessed, and art became the acceptable translator of mystical experience, and a cushion between that experience and the self. [...]

[...] If he went spontaneously forward in mystical experience, then, given his ideas, it threatened the conventional acceptance of his art. Conventional ideas of art and writing, upon which the old framework, now, was dependent, no longer fit.

[...] You spoke in your notes (two days ago) of precognition in connection with art — an excellent point. [...]

[...] He felt that this could outgrow the framework of his art, as it did that of the church. [...]

[...] In some respects art creations are a meeting of the dream world and the world of camouflage patterns, but in a deeper way art creations represent the appearance or materialization in the actual element of physical time of inner realities. [...]

Those who have extremely strong hidden self-conscious selves have the need for greater use of individuality, and these people therefore create what could be called another plane in waking hours, through the use of art forms.

In the creation of art forms, both self-consciousnesses are allowed with certain reservations to work together. [...]

You were quite correct, Joseph, in your feeling that art created another plane, and now let me hit you with this one: that the paintings of an artist to some degree have a consciousness of their own, not imprisoned either by the form itself.

[...] His art has also been exhibited at Arnot Art Gallery in Elmira in group shows, and in Scranton, Pennsylvania.

(Cameron Macdonnel is a graduate of the State University College of Education at Buffalo, New York, where he received his Bachelor of Arts degree. [...] His work received favorable reviews in both the Buffalo Evening News by Trevor Thomas [well-known English art critic], and in the Buffalo Sun Bulletin by Larry Griffis.

[...] Bill is now in the process of transforming a downtown store into a combination art gallery and living quarters.

(Elmira artist opens gallery to promote abstract and expressionistic art in the Elmira-Corning-Binghamton, New York area.

[...] You are given your own nature, certain portions of it naturally tuning in to what in your case you could call the channel of art. [...]

You naturally express your nature through your use of the channel of art. [...]

[...] You had an existence in which your art matured early, as Josef in Ruburt’s Seven. [...]

[...] Each artist has other overall concepts to work with besides those regarding his art.

Anger that your art did not bring you more money. [...]

To search for perfection within your art is good. [...]

[...] She approved of the commercial art because it made money. [...]

[...] Beside other considerations you feel, subconsciously again, that you still serve your mother’s purposes: art for money, and that therefore your initial act of defiance and independence is not complete.