“Seth material” search engine (Jane Roberts)

[...] In the sort of work you are doing, both creatively in your arts and in your psychic work, the inner activities and developments run below surface and are unseen. [...]

[...] Any work of art of his, not an apprentice work, would have led him to the same point. [...]

[...] Seth at 9:53: “The true art of dreaming is a science long forgotten by your world. Such an art, pursued, trains the mind in a new kind of consciousness — one that is equally at home in either [exterior or interior] existence, well grounded and secure in each.”

[...] And I have always enjoyed conversation, which is the liveliest of all arts….

In the terms of my book (“Unknown” Reality), I was a dream-art scientist,³⁷ but I was very dogmatic, and I demanded that others follow my symbols and not their own. [...]

[...] We were driven to know more — about art, about writing, about the human condition, about everything. My own need, as well as Jane’s, struck deep responses within her psyche.

[...] I think that my own much more pleasant earlier experiences with the hospital in Sayre, including my doing free-lance art work for some of its doctors, helped me place the locale for this adventure there, rather than at the hospital in Elmira, where Jane died. [...]

[...] There’s bound to be some lopsidedness to our growth, as we form psychological ‘art’ throughout our entire lives — or learn to live … artistically. [...]

[...] We worked together during most of those days of treatment; by then, also, she had carried nearly to the limit her exploration of both her personal life and her “psychological ‘art’ “ of living. [...]

(Pause.) Painting should be enough, you may think sometimes, but you chose to be the kind of person who wanted to explore the greater reaches of reality, from which art itself emerges. [...]

[...] The two seemingly separate aspects of consciousness merged, and there were flowerings of art and civilization that are, in your terms now, almost impossible to conceive. [...]

Young people in particular will alter the fields of endeavor, going into the arts or sciences or religions, and expanding them. [...]

(Pause.) You will not feel the need, say, to “justify your existence” by exaggerating a particular gift, setting up the performance of one particular feat or art as a rigid ideal, when in fact you may be pleasantly gifted but not greatly enough endowed with a certain ability to give you the outstanding praise you think you might deserve.

[...] My interpretation is that I saw the tree as the tree of life even then, and that I’d chosen to remain close to the world of nature and art instead of immersing myself in the safer industrial one. [...]

[...] Master events may end up translated through mythology, or religion or art, or the effects may actually serve to give a framework to an entire civilization. [...]

In many situations, the main personifications are instead of a ritual nature, taking advantage of psychological patterns already present in the culture’s art or religion or science. [...]

Focusing the senses in time and space is to some extent an acquired art, then — one that is of course necessary for precise physical manipulation. [...]

[...] Nor would the constructs of civilization — art, commerce, or even technology — have been possible. [...]

[...] The story of the Creation, as Biblically stated, is the symbolic representation of a master event—a legend that became its own event, of course, forming about it whole arts and cultures, religions and disciplines. [...]

[...] Instead it’s as if I’m practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I’m learning a psychological science that helps me map the contours of consciousness itself … after all this time, I’m finally examining the trance view of reality and comparing it to the official views of science and religion. [...]

[...] It’s of one of my imaginary male heads, and I began it a week ago, following Seth’s material on art for me in the private session for April 9. [See Note 1 for the last session.] I explained to Jane that even while it’s incomplete, the painting contains improvements that I can already tell will be developed further in the next one. [...]

[...] The species could have survived quite well physically without philosophy, the arts, politics, religion, or even structured language. [...]

Obviously, then, Seth’s observation doesn’t apply to people in the arts alone, but to everyone.

[...] 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. [...]

Coupled with our reservations about the uncertain state of the art concerning nuclear power, Jane and I deeply mourn the shameful fact that for some 30 years now our country’s government and industry have neglected to develop safe methods for the transportation and permanent storage of radioactive waste materials; some of these will remain highly toxic for hundreds of thousands of years, and thus pose potential threats to many many generations. [...]