“Seth material” search engine (Jane Roberts)

[...] Pretend then that you possessed within yourself the knowledge, the sight, of all the world’s masterpieces in sculpture and art, that they throbbed and pulsed as realities within you, but that you had no physical apparatus, no knowledge of how to achieve it; that there was neither rock, nor pigment, nor source of any of these, and you ached with the yearning to produce them—and this, on an infinitesimally small scale, will perhaps give you, as an artist, some idea of the agony and the impetus that was felt.

[...] If so, this is an excellent instance of multidimensional art, done at such a rich level of unconsciousness that the “artist” is unaware of her own work and as much intrigued by it as anyone else.

[...] In fact, Seth speaks about multidimensional art in his book. [...]

[...] In a creative individual, some of this information might be symbolically expressed in a painting or other work of art.

[...] The excellent work of art recreates for the observer inner experience of his own, also, of which he has never been aware. [...]

[...] (Smile.) You still have 4th-and-5th- dimensional art to learn. [...]

The idea, again, art as a spontaneous play of the godlike self. [...]

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

[...] But in his own way, and no matter how misguided, he was trying to pace himself and his temperament with yours, to play up those mental writing abilities that would help his career, and in which you took such pride—and while doing that, play down qualities that might distract you from your own work, by encouraging physical activities—parties, vacations, travelings, that would further take up your time, when you were already taking time away from your art to help him in psychic work.

[...] They seem to be factual only in periods when the goals of a society do not fully include the arts or philosophies in the larger organizational structure of the community.

[...] This also means, however, that you inhibit natural, playful creativity and sometimes what I will call high art, because you are so obsessed with your images. [...]

[...] Many new versions of reality appear first in art or fiction, and in such a way new ideas are spread through a society, while no threatening advances are made upon the world of fact. [...]

[...] Even the emotion in the first portion, spontaneously expressed and creatively formed into art, is a good indication.

“Seth as a ‘master event.’ As the Mona Lisa is ‘more real’ than, say, a normal object or the [materials] that compose it, so is all good or great art more than its own physical manifestation. Consider art as a natural phenomenon constructed by the psyche, a transspecies of perception and consciousness that changes, enlarges and expands life’s experiences and casts them in a different light, offering new opportunities for creating action and new solutions to problems by inserting new, original data.

[...] I’ve rejected all that kind of hash projected onto Seth’s books by others or myself—the assumptions that Seth must prove himself as a problem-solver—or the importance of functionalism over art. The larger view is that art, by being itself, is bigger than life while springing from it; that Seth’s and my books go beyond that simply by being themselves. [...]

[...] Her art contains a charming, innocent, mystical freedom that I envy. [...]

As he progressed with the series, Seth delved into Jane’s sinful self from a number of viewpoints: its birth and growth during her intense relationship with the Roman Catholic Church throughout her early years; the development of her very stubborn core beliefs; her creative dilemmas after she left the church in her late teens; the conflicts she began to experience after our marriage, involving on the one hand her sinful self and the religion she thought she’d left behind, and on the other hand science, art, writing, and the unconventional direction she discovered her natural, mystical abilities were taking via the Seth material; her growing fears of leading others astray; and the very real necessity for her—and for each individual—to achieve value fulfillment.

[...] I didn’t take this very seriously at first, but he also said that he knew an elderly woman who worked with me at the local art gallery where I had a part-time job. [...]

[...] By the time I returned from the art gallery on those winter afternoons, it was already dark. [...]

[...] “My physical body’s at the art department.” [...]

[...] Your conscious mind was fully taken up with your activities at the art department, giving the inner self full rein.

[...] Her concern and understanding also have a mental quality, as your own deepest feelings in those regards are expressed through art or writing indirectly, rather than through direct contact with others.

[...] The fact is that you decided to use your minds in certain ways that you felt were not approved of in your society—and that pattern goes way back for both of you; when you, for example, decided to bow out of a career in commercial art.

(“So other things were also involved — not only the birth of a book, but the emergence of the inner self, through art, into the physical universe. [...]

[...] You might say that the spider wonders that art can be so practical.

[...] Seth hadn’t covered her notes about caveman art, however; she’d especially looked forward to his comments on that subject.

(This is excellent information, and as has happened before where Seth discusses art, implies knowledge that I don’t believe Jane would express in such terms.