“Seth material” search engine (Jane Roberts)

(9:39.) Trying to fit the great thrust of creativity into assembly-line time is in itself bound to lead to conflicts, dissatisfactions, and frustrations. If the proper creative and magical orientation is kept primarily in mind, other things will fall into place. You do not say to the creative self, “Now it is 7:30. People are at their assembly lines. I am at my desk: produce.”

ASSEMBLY-LINE TIME VERSUS NATURAL, CREATIVE TIME. THE RATIONAL MIND VERSUS THE ARTISTIC MIND.

(9:05.) Such a cultural time works well overall for the civilization that concentrates upon partialities, bits and pieces, assembly lines, promptness of appointments, and so forth. It fits an industrialized society as you understand it.

The time that any artistic creator is involved with follows earth’s own time, however. The creator’s time rises out of the seasons and the tides, even though in your society you make a great effort to fit the creator’s time into what I will call assembly-line time. If you are a writer or an artist, then it seems that you must produce so many paintings or books or whatever as, say, an automobile worker must process so many pieces of the overall car chassis. Particularly if you want to make a living at your art, you fall into the frame of mind in which you think that “each minute is valuable” — but what you mean is that each minute must be a minute of production. But each moment must be valuable in itself, whatever you do with it.

[...] A certain amount of time spent assembling a certain product, performing the same motions over and over on an assembly line, will at the end of a certain period give you a certain number of assembled items. [...]

[...] They have nothing to do with Ruburt, for example, holding back, but with probabilities now assembling.

As an automobile is put together at an assembly line, so the body is simply seen as a very efficient machine put together in nature’s “factory.” [...]

[...] Much other material is there also: I’ve spent several years assembling it. [...]

One evening, in this very [living] room, a small group was assembled not too long ago. [...]

[...] You begin in the corner of an office, or on the assembly line, or in the advertising agency, or in the kitchen. [...]

[...] They are not happy on assembly lines. [...]

[...] From that point on, the figures can be assembled and interpreted in different ways. [...]

[...] They may work on assembly lines, for that matter, but if so they will be healers by intent or temperament.

[...] However, they may be found in your country precisely where you might not expect them to be: on some assembly lines that require simple repetitive action — in factories that do not require speed, however. [...]

[...] Now, Ruburt assembles me, or allows me to assemble myself, in a way that will be recognizable to you; but regardless of this assembling, I exist in an independent manner, and with the past of which I have spoken.

[...] … Now Ruburt assembles me or allows me to assemble myself in a way that will be recognizable to you, but regardless of this, I exist in an independent manner.”

[...] An assembly connected here. [...]

(“An assembly connected here. [...]

[...] Moreover, when the new lenses were assembled in his machine for me to check my vision, I was able to read 15-20 [or 20-15?], another improvement over the normal 20-20.

Those kinds of conflicts can only exist in a society in which the entire concept of creativity is segmented, in which the creative processes are often seen as inner assembly lines leading to specific products: a society in which the very nature of creativity itself is largely ignored unless its “products” serve specific ends.

[...] She said that at such times she was “waiting for the material to assemble and translate itself:” Originally it wasn’t verbal at all. [...]

[...] How blessed, bodies, leaping alive from the microscopic molecules that combine to walk down the autumn streets; assemble to form the sweet senses’ discrimination that perceives, for a time, the precise joy and unity of even one passing afternoon. [...]

(Not long ago I reached an impasse with both the Introductory Notes and the Epilogue for Volume 2, as I tried to give order to the mass of notes, excerpts, and jotted-down ideas that I’ve assembled for them since finishing work on Volume 1 in September 1976. [...]

[...] A specially designed video camera will be inserted into the core so that the actual damage to the pencil-thin fuel rods can be assessed; and hundreds of thousands of sonar readings, taken through openings already present in the reactor, will be assembled by computer into images of the core. Several major steps must follow, all of them on an enormous scale: the lifting of the 160-ton metal “head,” or cap, of the reactor; the removal of the upper plenum assembly, the 55-ton mechanism which makes possible the raising and lowering of fuel control rods into the 100-ton reactor core, thus regulating the intensity of its nuclear reactions; and eventually, the difficult piece-by-piece removal of the damaged core itself. [...]

[...] As I wrote in Note 6 [for the 939th session], eventually I might try assembling such a work myself.

[...] Those facts may be imaginatively assembled at times, but they are very slow to accept the inclusion of any new data, and they must be backers of the establishment from which, of course, they obtain their position. [...]

[...] In a strange fashion, and in this particular case, your conflict with your notes⁴ had to do with a sense of orderliness aroused by the need to assemble facts. [...]

[...] Organizations cannot survive without individuals, and the most effective organizations are assemblies of individuals who assert their own private power in a group, and do not seek to hide within it (all very emphatically).