“Seth material” search engine (Jane Roberts)

Beyond that platform (which is not your own native one) is another that operates as “high art,” in which activity is for its own sake, for the joy and discovery of the performance or execution, a high play that sets the needs of the world at least momentarily aside, rises up above specifics into those vaster realms from which specifics emerge. [...]

[...] See the note about William Rubin and the Museum of Modern Art, at the start of the last session.

[...] Your own art interests have always attracted artists to our books in general, through Framework 2’s constant communication. [...]

His inspiration comes now from all of history, and from that larger reservoir he forms the new focus of his art. [...]

The type (underlined) of commercial art you did as a young man was not the answer, but served many purposes. [...] The prestige and money, tied to your mother’s hopes, could have led you into other channels of commercial art that would have led you completely astray as far as fine art is concerned.

[...] Those involved deeply in any art are consciously or unconsciously working in a most intimate manner with the challenges of another kind of creativity. Through their art they see their beliefs and feelings translated into form. [...]

Separate: A fine-arts academy in an area of churches, with a large federal building nearby and a bus stop or terminal.

Art of any kind is extremely important as a way of paying off debts, that is psychological debts. [...]

Any art form touches the generations. [...]

[...] Ed and I became acquainted first by mail when we were both doing free-lance commercial art work. [...]

[...] Your son was an artist, and certainly prances up and down now in the person of your Ruburt; and at the time you had no understanding nor use for art as any man’s profession; and let it be said that in this respect Ruburt treats you much better than you treated him.

There are people who work in art departments as a living, gifted certainly more than most with an ability to visually portray an idea. [...] What do they think of their art themselves? [...]

[...] And at work his art must be further distorted, it seems to him, by the ideas of salesmanship and advertising. [...]

[...] The “natural earth parents” [the Borledim] and the Sumari, for instance, are very close, and yet have great difficulty in merging, because one considers the family itself as art, and the other subordinates the family for a different kind of art. [...]

[...] You require certain things of your art, and therefore you want the same things in your surroundings. [...]

(“Abstract” art done in this manner would be an attempt to appeal, to generate an emotional response—in other words action on our plane—on a subconscious level. [...] The appeal of “recognizable” art is more direct, and may penetrate the being in reverse direction, that is from the top down. [...]

[...] It follows that there are more curved lines than straight ones, both in our art on this plane, in our lives on this plane, and in our habitat on this plane.

Separate: A fine-arts academy in an area of churches, with a large federal building nearby, and a bus stop or terminal. [...]

(Seth also correctly picked out the seat of Art Finnegan, to whom he referred in the 329th session. [...]

[...] We’re curious about all of those other disciplines in the arts, sciences, and humanities, of course, so we always look forward to such visitors — though sometimes any new relationship “takes,” and sometimes it doesn’t.

[...] The spontaneous activity, however, is at the same time training in the art of forming practical events.

[...] At the same time dreaming is an art of the highest nature, in which all are proficient. [...]

(Last night, April 10, 1964, just before I fell asleep, I had the following experience: My eyes were closed but I saw a sheet of paper filled with script that I recognized to be the handwriting of Dee Masters, my supervisor at the Arnot Art Gallery where I work in the afternoons.

[...] Nancy parked by the Art Shop on the way to work and asked Jane to run in after some art supplies for class. [...]

[...] Jane said the memo page used as object is much like ones she saw when she worked for an art gallery a few years ago. [...]

[...] A bill here refers to art supplies Jane picked up on the way to work at the JCC one day, and charged to the JCC. [...]

(The Grumbacher data can also apply, in that Grumbacher is the manufacturer of some of the art supplies Jane picked up for class one day when being given a ride by Nancy Methinitus, whose name is also on the object. [...]

[...] I forget just how those feelings went, but that approximates them, being ashamed of my condition as if for Christ’s sake, they blemished my art, or ashamed because they blemished my work. [...]

[...] Some of these civilizations did not need spaceships.⁴ Instead, highly trained men combining the abilities of dream-art scientists and mental physicists cooperated in journeys not only through time but through space. [...]

There were sketches of atoms and molecules, also drawn after trained men and women learned the art of identifying with such phenomena. [...]

(Using conventional reincarnational terms, I half jokingly asked Jane if she’d ever been a dream-art scientist, say, or a mental physicist. [...]

See Chapter 15 of Seth Speaks for Seth’s material on the art and technology of the ancient civilization of Lumina (as well as his references to those that came before and after it). [...]

[...] Art criticism, and so forth. The arts are supposed to be “not real.” [...]

It was a tool of your art. [...]

[...] Your problem being your overall attitude toward the emotion from which your art springs, for your attitude is then projected outward upon your mediums. [...]

[...] All of this presupposes of course the kind of technical training and background, and knowledge of the art necessary. [...]

[...] I was momentarily confused — for my art teacher in high school in Sayre, Pennsylvania had been Helen Bowman, until she married later in life and became Helen Bowman Park. [...] Money was involved with both people, since my Miss Bowman had lent me the money to go through art school in New York City. [...]

(9:47.) The idea of a simple job attracts you because it separates your ideas of art from money—but in order to content you it could not involve money at all, for even commercial art brings you to the matter of the artistic ideal and its practical presentation. [...]

(9:20.) Now you are in a position where you see the intersection point where art meets the practical world. [...]

[...] As a rule, however, it is foolhardy to expect them to have a sense of the artist’s values, whatever the art may be, and then to become upset when they do not live up to that picture. [...]

(I am not an expert on Spanish art, but the above passage reminds me of Velazquez for some reason. Nor does Jane know Spanish art. [...]

[...] If you as artist are also aware that the same energy that fills the form that you paint also forms your own image, then the transformation into something better than excellent art is made.