“Seth material” search engine (Jane Roberts)

(At lunch today I suggested to Jane that she put together a short book on the Frameworks 1 and 2 material Seth has given us since he introduced that concept in a private session last September 17, 1977. We’ve had 31 private or nonbook sessions since then, and a number of them contain information on Frameworks 1 and 2 — much of it relevant to that presented in Mass Events. I thought Jane might consider such a book project along with her other work. In a way the suggestion was my idea of trying to do something about Seth producing books within books, as I discussed in my opening notes for the 814th session; but Seth is so prolific that it seems we’ll never get all of his material published at this time.

When you are writing a regular book you draw upon associations, memories, and events that are known to you and others, that perhaps you had forgotten but that suddenly spring to mind in answer to your intent and following your associations. When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. Art is his focus so that he draws from Framework 2 all of those pertinent data that are necessary for his painting. Not just technique is concerned, but the entire visual experience of his life.

Again, the writer or the artist also brings more into his work than the simple ability to write or paint. In one way or another all of his experience is involved. When you pay attention to Framework 1 primarily, it is as if you have learned to write simple sentences with one word neatly before the other. You have not really learned true expression. In your life you are writing sentences like “See Tommy run.” Your mind is not really dealing with concepts but with the simple perception of objects, so that little imagination is involved. You can express the location of objects in space, and you can communicate to others in a similar fashion, confirming the physical, obvious properties that others also perceive.

In those terms, using our analogy, the recognition of Framework 2 would bring you from that point to the production of great art, where words served to express not only the seen but the unseen — not simply facts but feelings and emotions — and where the words themselves escaped their consecutive patterns, sending the emotions into realms that quite defied both space and time.

(“Maybe my feelings weren’t caused by any thing, but some kind of acceleration toward a state I couldn’t reach, instead of any great disclosure for the world,” Jane said a little later. “But I really felt sick there.”