“Seth material” search engine (Jane Roberts)

[...] As mentioned (in Session 682), this was extremely important while it learned the art of specialized focus. [...]

(After the session I told Jane that my concern wasn’t so much with meeting important people, as that their interest in what we do would imply some sort of acceptance or understanding on the parts of those who occupy dominant positions in society, the arts, or whatever. [...]

[...] (Pause.) The artist does not usually understand, however, that those probable art productions do literally exist; he perceives only the final, physically chosen work. [...]

[...] Wealth as opposed to art or aesthetics. [...]

[...] Only when the private nature of reality was emphasized sufficiently would I be ready to show how the magnification of individual reality combines and enlarges to form vast mass reactions — such as, say, the initiation of an obviously new historical and cultural period; the rise or overthrow of governments; the birth of a new religion that sweeps all others before it; mass conversions; mass murders in the form of wars; the sudden sweep of deadly epidemics; the scourge of earthquakes, floods, or other disasters; the inexplicable appearance of periods of great art or architecture or technology.

Beginning in June 1974, then, while writing notes and appendixes for Volume 1 of “Unknown”, and taking Seth’s dictation for Volume 2, I spent eight months producing the art work for Jane’s Adventures in Consciousness and for her book of poetry, Dialogues of the Soul and Mortal Self in Time; I finished all of those drawings in January 1975. [...]

[...] The assistant to the director of the Arnot Art Gallery is not to be tampered with indeed!

Through his art, Ruburt never had that sense of fitting with the times, or of receiving its ordinary recognition. [...]

Eleanor (Friede) represented a different kind of framework, in which business was business, while art was respected, and where after all matters of great money might be involved. [...]

([Rick:] Seth, this is a little changing the subject just a bit, but I’ve been very interested about your comments about the dream art scientists and mental physicists as being some of the careers that I have been interested in.

[...] To some extent—with some important variances, having to do with quite legitimate ideas of art—such feelings have also been behind many of your own responses to, say, the appearance of the books, as public packages in the world (intently). [...]

[...] Suffice it to say however that Mark’s interest in this state art exhibit can be of great benefit to him. [...]

In your field of art you could do better now than he is in science fiction, since you are more sure of how you get your effects, and he is still not. [...]

At the same time you think that Ruburt is at least spontaneous in his art, while it seems to you that you are not spontaneous enough in that area.

(Not long after these sessions began, several years ago, Seth told Jane and me that the three of us had experienced lives in Denmark in the 1600’s. Ever since then I’ve thought my interest in the art of Western Europe for that same period, embracing the work of Rembrandt and Vermeer, Van Dyke, and Rubens, et al., more than coincidental. [...]

[...] For many well-intentioned artists, with the best of intentions, produce at times shoddy works of art, all the more disappointing and deplorable to them because of the initial goodness of their intent.

[...] This may involve religion, politics, art, or simply falling in love.

(Last night was the official opening of the Chemung County Artists’ Show at the Arnot Art Gallery, where Jane is employed part time. [...]

[...] All aspects of the sciences and the arts would be explored.

Excellence will show itself through the arts, cultural creativity, technological or sociological accomplishments. [...]

(“A connection with something distant,” In the sixth column of the envelope object there is a reference to Corning—Painted Post School District, which employs Bill as an art teacher. [...]