“Seth material” search engine (Jane Roberts)

In all of this—the bombings and persecutions and killings—I thought of great, loose groups of consciousnesses swirling in angry revolt, with each consciousness “working” individually and collectively for and against others, each one seeking to know new creative aspects of itself within the framework of a chosen national structure.²

(Long pause at 9:00.) One of the main purposes of dreaming, therefore, is to increase man’s pleasure, which means to increase the quality of living itself. Dreams are mental work and play combined, psychic and emotional rich creative dramas. They also involve you in the most productive of enterprises as you begin to play with versions of events that are being considered for physical actualization, as on a personal level you “view” the probable events which your family, tribe, organization, community and country will actualize.

1. Recently I asked Jane if Seth could give us some information on the consciousness connected with nuclear energy—a fascinating question I’ve often speculated about—and she promised me that he’d discuss it soon. I think his material will certainly include many original insights into the whole subject of consciousness-and-energy in general, as well as into the role of consciousness in events like the accident at Three Mile Island. I reminded Jane that some time ago Seth had remarked that as physical creatures we human beings cannot bear to directly confront the basic, vast, unimaginably awesome and creative consciousness of All That Is. Since we cannot bear to face the great raw power of nuclear energy either, I’ve often wondered whether this situation can be an earthly, imperfect and time-ridden analog to what must be the reality of All That Is.

“All That Is creates its reality as it goes along. Each world has its own impetus, yet all are ultimately connected. The true dimensions of a divine creativity would be unendurable for any one consciousness of whatever import, and so that splendor is infinitely dimensionalized (most intensely throughout), worlds spiraling outward with each ‘moment’ of a cosmic breath; with the separation of worlds a necessity; and with individual and mass comprehension always growing at such a rate that All That Is multiplies itself at microseconds, building both pasts and futures and other time scales you do not recognize. Each is a reality in itself, with its own potentials, and with no individual consciousness, however minute, ever lost.”)

“Violence will always be used creatively. You cannot be destructive even when you try. Beyond that, however, in the meantime the violence that you do, you do to yourself. You are a part of All That Is—of all the nature that you know and experience, of the world that you know, and even a part of the world that you know that you do not like. If you rip off the wing of a fly, you are yourself less. If you purposefully, now, or with malice, step upon an ant, then to the extent of your malice you step upon yourself all unknowing. Violence will always be used creatively, but if you do not understand this—and at your present rate of development you do not—then any violence is violence against yourself. This applies to each of you, for when you think in terms of violence you think in terms of malice or aggression. Despite all man does, he cannot really work any destruction—but while he believes in destruction, then to that extent he minimizes what he is, and must work harder to use creativity.”

“All action is creative and ever-occurring—the only way I can get these ideas across to you. All energy is personified. When you look at atoms and stars you are looking at simultaneous action. You are looking into the past and into the future at the same time, as you think of it. From the landscape of the brain you are trying to look at the landscape of the mind.

“In the case of our book (Dreams), however, Ruburt himself was worried about your attitude. His overall concerns of course to some extent blocked his creative processes, which further alarmed him. The main issue here is that feeling of responsibility again, so that he writes or whatever because he loves to do it, not because he should or must, and that involves my book as well as his own.

“That kind of projection continues that kind of situation. You do get what you concentrate upon. I try to break up blocks of your concentration, and at various times have indeed succeeded, so that creative changes show in all areas, including Ruburt’s condition.