“Seth material” search engine (Jane Roberts)

(To Theodore) We know of course this Bega—and he is trained to do a fairly decent job with you and you are a fairly good student. You must learn, however, to forget the world that you know physically. When you are working with Bega you must try to let down and forget your physical data, for you do not know him well enough yet. You do not let him come through clearly enough. But he shall in time, and you will recognize the difference.

Now I ring the bell—and I will clear up a slight issue that has come to my attention. Your teacher, your immediate teacher, has had strong creative abilities and he was very jealous as to how they should be used. He would set the conditions. He would use them in such and such a manner and no other. Now you should realize that this endeavor is indeed a highly creative one, for you have here at the least, at the very least, two personalities, my own and Ruburt’s, and we dwell entirely (in) different dimensions. And the mode of communication must be set up between us if what I want to say will be said.

Now you hear the words, but I am behind the words and highly creative activities must go on on both our parts, so that my thoughts can be translated into words that will make meaning and sense to you. I must transform certain mechanisms within Ruburt’s physical mechanisms. I must play upon them as a painter plays with color or a musician plays with notes and keys, and he (Ruburt) must acquiesce and join in this creative activity. Then in his books he must further use his creative ability to translate what I have said. We use Ruburt’s nervous mechanism and we change it creatively, as to a lesser extent we hope to change you all creatively.