“Seth material” search engine (Jane Roberts)

These arts are useless if they are not practiced — useless in that they lie ever latent, that they are not brought out into the exterior framework of your world. To use these arts requires first of all the knowledge that beneath the world you know is another; that alongside the focus of consciousness with which you are familiar there are other focuses quite as legitimate.

[...] Now, however, your global situation as a race requires the new acquisition of some “ancient arts.” [...]

[...] The conscious art of creating, understanding, and using dreams has been largely lost; and the intimate relationship between daily life, world events, and dreams almost completely ignored. [...]

[...] As we discussed the dream I began to make connections on my own about my early days in NY City with Ralph Ramstad, as well as about commercial art, my parents, doing illustration, and so forth. [...]

[...] There are two main areas and issues that wind in and out of this dream, as in the other two: the idea of work and service in relation to the idea of art and creativity. [...]

[...] You began to accumulate some ideas of a different nature, wondering more about your responsibilities to the world as adults, wondering how “useful” art should be in the world. [...]

[...] A potential that belongs to all of art, whatever its nature, since it is daring enough, free enough to fly ahead of man’s needs at any given time, and to create a new atmosphere that transforms the nature of being itself. [...]

[...] Seth had barely begun Psyche, for instance, when I suddenly became the psychic recipient of a book on art philosophy and techniques. [...]

[...] For this manuscript not only presented a fascinating picture of a genius at work, but gave specialized knowledge of a field — art — in which I am at best an amateur. [...]

[...] The Afterdeath Journal of an American Philosopher: The World View of William James came the same way, like mental dictation; only where the Cézanne world view had specialized in art, the James world view was more comprehensive. [...]

[...] My own interest in art and Rob’s appreciation of Cézanne’s works helped trigger the Cézanne book, for example; and my own curiosity about William James and Rob’s appreciation of his work helped bring about the James manuscript.

“A terrific little dream that beautifully states its message: Mary’s ideas of romance and making love (represented by modern-day flowered sheets) are being transposed from the bedroom into the area of her art, and in a way that mars the art itself. The transposition of the flowered designs of bedsheets to sheets of paper is great; Rob chose a sketch pad rather than, say, typing paper, I think, because painting is his art while Mary’s is writing. [...] Maybe by using his own art symbol, the sketch pad instead of the typing paper, Rob reinforced the idea of Mary’s conflicts about the nature of her own work.

My art teacher in high school, Miss Bowman, had taught Tom Lantini also — and as she had loaned me money to go to commercial art school in New York City, so had she given Tom financial aid so that he could attend the same school. [...]

In your dream³ you were, of course, in the process of forming new ideas about the nature of the magical self (through my art) and also in your way working that idea out through imagery. [...]

[...] I saw my art for the first page, perhaps half again as large as the printed version would be, lying on a flat drawing table. [...]

Now: Ruburt’s skill is as ancient as man is, and indeed all of your arts, sciences, and cultural achievements are the offshoots of (pause) spontaneous mental and biological processes.

[...] (Pause.) All of your reasoned activities — your governments, societies, arts, religions and sciences — are the physical realization, of course, of inner capacities, capacities that are inherent in man’s structure. [...]

Poetry was an art and a science. [...]

[...] You may “speak” through art or music, through trance activities, but you will specialize in the use of the inner senses, and in translating the inner knowledge of the species, bringing it to whatever level of ordinary consciousness that is considered the official one.

When your art was commercial you could say, again, you were working. When you paint, you feel you cannot justify your art, and in our books you wonder what percentage your notes and contributions might make in the overall royalties, say. [...]

[...] Even a wealthy man, in the light of those beliefs, dabbles in art —dabbles—justifying any love of art as a good investment. [...]

[...] Use your art to make money. [...]

They scorned all decoration, and considered art sinful. [...]

Of the two of us I was supposed to be the artist in the conventional sense, yet I’d always felt that I couldn’t rival Jane’s amazingly simple but brilliantly colored art that was so true to her innate psychic knowledge—while seemingly ignoring it! [...] Her art contained our origins, I felt, by strongly calling attention to her obviously creative and intuitive knowledge. [...] One of my goals is to see her art, all of it, reproduced in color in 81/2” x 11” portfolio style at a modest price. Susan Ray of Moment Point Press used three of Jane’s paintings as cover art for her books; God of Jane, Adventures in Consciousness, and Psychic Politics.

[...] I do some abstract art. [...] And here again, I envision publishing a portfolio of my art, with the necessary text. I see Jane’s and my art as reinforcing the Seth material in quite original ways.

I packed my suitcase and art materials the day before I was to leave Sayre. At suppertime that night I received a telephone call from Ed Robbins, an old friend I’d gone to art school with in Brooklyn, New York before World War II. [...]

[...] And more and more the Seth material became as deeply intertwined with my visual art as it did with Jane’s written art.

[...] In many ways their art was highly superior to your own, and not as isolated. The various art forms, for example, were connected in a fashion that is nearly unknown to you, and because you are so unfamiliar with the concept, it will be rather difficult to explain.

(9:29.) This is difficult to explain, but they could mentally pitch a thought along certain frequencies — a highly distinguished art — and then translate the thought at a given destination in any of a number of ways, into form or color, for example, or even into a certain type of image. [...]

[...] In one way this was a highly stylized art, and yet it allowed for both great preciseness of expression in terms of detail, and great freedom in terms of scope. [...]

[...] You look upon your cultural world with its art and manufacture, its cities, technology, and the cultivated use of the intellectual mind. [...]

There are organizations of consciousness, however, that leapfrog the species, that produce no arts or sciences per se — yet these together form the living body of the earth and the physical creatures thereon. [...]

[...] The arts, sciences, agriculture — all of these reflect natural contours and tendencies inherent in man’s mind, as general rather than specific attributes emerging first in the dream state, and then sparking specialized intellectual tendencies in the waking state.

[...] So that life can intrude upon your art (with amusement).

[...] In July 1964 Jane worked at the Arnot Art Gallery, and Caroline Keck and her husband Sheldon spent some time there then, putting the gallery’s collection in shape. [...]

(The equal elements of design reference is another general interpretation of the nature of the data tonight—the art background.

[...] Probably another general reference to the object, in that the object’s author, Caroline Keck, was associated with both the Brooklyn Museum and the Arnot Art Gallery. [...]

[...] He has studied extensively overseas, and worked there and in Canada as an art expert, and in Brooklyn with the Kecks. [...]

[...] Our landlord had just finished redecorating his establishment, and wanted some original art for it. [...]

[...] Bill is in the process, incidentally, of moving out of his parents’ home and into a studio and apartment in downtown Elmira, where he is going to live and at the same time maintain an art gallery. [...]

As the creation of any art is intimately connected with the dream state, so is the living art of your body. [...]

[...] When you form the living sculpture of your body, which is far more important to you than any work of art, you should certainly follow the same course. [...]

(9:54.) Again, there can be a useful analogy in the field of art. [...]

[...] At its best (underlined) impressionism achieved a certain focus unknown to Western art up to that time, in your terms, offering a breakthrough from cohesive objective form into the moving vitality that gives objects, say, their durability and shapes their images.

Using the art form, the artist in a strange way broke through line, destroyed what would seem to be the literal continuity of the objective shape. [...]

[...] At its best, impressionistic art by its very lack of indelible, delineated form, suggested all form and the vitality that gave it force.

(11:11.) As basic creativeness is behind all art forms, so cordellas are behind and within alphabets. [...]

You became discontented, however, drawn yourself toward fine arts. [...] The world of art galleries is highly esoteric in its own fashion. [...]

[...] You also initially, before this life, wanted to achieve some kind of overview that would unite the arts, and that would introduce a new kind of psychological art. [...]

[...] Now you liked that work, Joseph – not only because of the art, but because of the communication that was involved. [...]

(Long pause.) The two of you mixed and matched your characteristics, and put them together in such a fashion that they would jointly form a completely new kind of creation, in terms of art and psychology, and this was bound to produce expansions of your consciousnesses, and stresses and strains, when you came across portions of your ideas that had not grown along with the rest of you. [...]

[...] She remarked upon something that at first escaped us both: her interest in art. Hence, I’d decided to send her a book on art, derived through Jane’s trance abilities. At the same time, I told Jane, we shouldn’t attach too much significance to this, since we’ve been sending out only Cézanne books—that is, anyone we send a book to gets one on art.

[...] This also represented a cautionary slowdown however to reassure you that he was not going to take over, overshadow you, since you have worked so hard at your own art without any such recognition.

[...] You were not yet in the throes of your illness, and he felt that this represented the last straw to you—that it was not that good a book, not art as you thought your paintings to be, and yet it was published.

[...] He knew the book was not art also, and felt guilty.

[...] There are more intertwinings here [including some art elements] than it’s necessary to describe; but studying just this one complex house connection, then seeing how it combines with some of the others we’ve become conscious of; leaves Jane and me more than a little bemused by this interlocking reality we’re creating.²

[...] Many dabble in the arts.

Some are patrons of the arts. [...]

(Pause at 9:45.) Quite simply, few of them have known people who have devoted themselves to their art. [...]

The approach that you use in the production of art is instinctively “magical.” [...]

Now there are important insights in tonight’s material particularly for Ruburt, but for you also, for it is that inner feeling of contact and awareness that is so amazingly productive in the creation of art and in the creation of any physical aspects that you want to change in the physical world. [...]

1. Helen Bowman — Miss Bowman, my parents and I always called her — was my art teacher in the Sayre, Pennsylvania, high school from 1935 until my graduation in 1937. Through an arrangement with my mother, Stella Butts, Miss Bowman loaned me the money to attend commercial art school in New York City from 1939 to 1941. [...]

Education in your culture is a mixed bag (with ironic and humorous emphasis) — and education comes not from schools alone, but from newspapers and television, magazines and books, from art and from culture’s own feedback. [...]

[...] Commercial art is beautiful there, for at one time it allowed you to paint because (underlined) you were immediately repaid, and that made art legitimate. [...] And forgive a bit of gentle—gentle—sarcasm, but to your puritan American soul, art for its own sake, or contemplation, still somehow goes against the grain. [...]

[...] I’d quite forgotten that art. [...]