“Seth material” search engine (Jane Roberts)

[...] At first thought I didn’t know what to make of the session, which I suppose merely reflects my own indecisive state of mind about the hassle with foreign publishers, Prentice-Hall, money, art, writing, and so forth. [...]

[...] Rather importantly, however, your own view of the art world is changing for the better as you hear from individual artists in connection with our work, and those more positive feelings will definitely help now, where sometime earlier your feelings would have been somewhat detrimental.

(Pause.) You value rather “set” habits that serve as more or less steady platforms for the pursuit of the uncertain nature of both your arts and psychic activity. [...]

[...] The free flow of his experience goes rather easily, and incidentally, safely and exuberantly from what you think of as objective and subjective experience, and his creative gifts then make subjective knowledge objective in terms of art.

Ruburt was a dabbler in art as a young man also, and you resented this, grown fat and prosperous. [...]

[...] I was working afternoons at an art gallery, and after the dishes were done and Rob was through with painting for the day, we got out the board.

[...] Bill in turn had told us about an apparition he’d seen a few years earlier when he was an art student. [...]

(Theodore Reff, a professor of art history at Columbia University, to whom I sent a copy of Cézanne not long ago, sent us his acknowledgment this week, although he has yet to read the book. [...]

[...] There may be minor interweaving ones, but the nature of personality, religion, politics, the family, and the arts — all of these are considered in the light of the predominating theme.

[...] He grew sore with the worker’s plight, and felt that thoughts of art, spiritual merit, or pretensions were meaningless if men were ill-fed. [...]

[...] They will combine to a natural art production and career.

(We speculated that Abelard is a famous name, historically and in the arts, though we couldn’t think of any specific connections. [...]

1. Seth first mentioned viruses in the 17th session for January 26, 1964, when I asked him to comment upon the recent deaths of our dog, Mischa, at the age of 11, and of a pair of kittens Jane had obtained from the janitor of the art gallery where she worked part time. [...]

[...] Your imaginations have always helped you form your civilizations, your arts and your sciences, and when they are united with your reasoning processes they can bring you knowledge about the universe and your places in it that you can receive in no other fashion.

[...] Often at your particular stage of development as a race, these appear first in your world as fiction, art, or so-called pure theory.

[...] This section also includes discussions on the True Dream-Art Scientist, the True Mental Physicist, and the Complete Physician, as well as material on subatomic particles and the spin of electrons in relationship to perceived reality.

“In a way, with [this] book and with your art, your purpose is the expression of the ideal, and that expression must be physically materialized, obviously. [...]

On the other hand, of course, the very individuality implied in art itself tells you that even the ideal must follow its own eccentric patterns, and that man must find his own way out of his l-a-c-k-s (spelled). [...]

(Saturday, June 13, Jane and I attended a cocktail party in honor of Dee Masters, who was leaving as director of the art gallery where Jane is employed part time. [...]

Now both of you were saturated with those beliefs — Ruburt because of his poetry and writing, and you because of your art. [...]

[...] You do your financial part with the books, but you still tie in your social identity with your painting, and to some extent you still feel that that social identity is dependent upon the money your “art” should produce, so you punish yourself by not enjoying your painting time. [...]

[...] For a time it fueled both the arts and political life. [...]