“Seth material” search engine (Jane Roberts)

Now: Dictation: There are natural feedback systems within the body and psyche that operate to set up optimum frameworks of balance, in which your growth and development can take place. There is some difference here, which was mentioned earlier (in the 636th session in Chapter Nine), between you and the animals and the particular way in which you create your reality….

Some of these systems do touch upon legitimate portions of reality, but they all overlook the great individualistic and highly private nature of your dreams, and the fact that you create your own reality.

(10:42.) Enjoyment of an art is also very therapeutic, and its creation springs from an exquisite wedding of the conscious and unconscious minds. I will try later to explain the deep interweaving that exists between dreams, creativity, and the nature of the reality of your experience.

The most rejuvenating idea of all, and the greatest step to any true illumination, is the realization that your exterior life springs from the invisible world of your reality through your conscious thoughts and beliefs, for then you realize the power of your individuality and identity. You are immediately presented with choices. You can no longer see yourself as a victim of circumstances. Yet the conscious mind arose precisely to open up choices, to free you from a one-road experience, to let you use your creativity to form diversified, varied comprehensions.

Let us make a clear distinction here: Your conscious beliefs direct the flow of unconscious processes which bring your ideas into physical reality, so while your thoughts cause your experience, you are not consciously aware of how this takes place (forcefully).

Your dreams and the physical events of your lives constantly alter the chemical balances within your body. A dream may be purposely experienced to provide an outlet of a kind that is missing in your daily life. It will mobilize your resources and fill your body with a rush of needed hormones, creating a dream state of stress that will bring the organism’s healing abilities into combat and result in an end to particular physical symptoms.

Consciousness’s experiences following such therapy may be those of elation, but it feels that any of its adventures rest on issues that it cannot understand, and its capacity to deal with physical reality is less secure than before. This is not the case with natural inner treatments that are carried on in individual behavior. These are the ones that should be understood and encouraged, say, by the psychologists.

(Long pause.) Those innate bodily abilities also help sustain you as you continually create the image. (Pause.) The source for all of this creativity springs from your own inner identity, which is never completely materialized in flesh, and so you always have unused portions of creativity at your command. You react to the body even though you form it. In those terms there is a constant interaction between the creation and the creator, and in three-dimensional reality the creator is so a part of his handiwork that it is difficult to tell one from the other.

A painter puts part of himself into a painting. You put all of you of which you are aware into your body, so that it becomes you in flesh. An artist loves his painting. In physical terms it is completed when he puts down his brush — at least for him, though its effects continue. But you are creating your material image as long as you live, and manifesting yourself in it.

A painter does not look out of his creation’s eyes into the room upon whose wall the painting hangs. But you peer out through your own eyes at the universe. (Pause.) You create not only the body, then, but its entire experience, the context in which it takes place. You endow yourself with a three-dimensional existence. It is the framework in which you have your experience, created by you as the artist gives his paintings their dimension.

The trees in a landscape painting cannot physically move with the wind that may blow through the three-dimensional room. The head in a portrait cannot close its eyes if they are open, but you move within the framework of the temporal space that you have created for yourself.

(11:44.) The features in a portrait are painted on canvas or board, but your soul is not painted on your body. It enters into and becomes part of it. Physically, you cannot contain all of your identity, and that “free” portion unconsciously creates the flesh, in your terms. Again, you direct its form through your beliefs, but the unconscious part of you does the “work” of producing it.