“Seth material” search engine (Jane Roberts)

Deliberately he decides to create a sculpture, and automatically focuses his energies in that direction. When you form the living sculpture of your body, which is far more important to you than any work of art, you should certainly follow the same course. In other words, direct your energies toward the creation of a healthy functioning body. You form your image constantly; as many of the artistic processes are hidden, so the inner mechanisms by which you create your material self lie beneath the surface of your conscious mind. They are highly effective, nevertheless.

As the creation of any art is intimately connected with the dream state, so is the living art of your body. Its breathing form is influenced by the great therapy of dreams. If there are chemical imbalances they are often corrected quite automatically in the dream state, as you act out situations calling up the production of hormones, say, that would be summoned in a like waking situation. (See the footnote about hormones in the 621st session in Chapter Four.)

(9:54.) Again, there can be a useful analogy in the field of art. While artists all use the same “material” — the human experience — it is still the brilliant uniqueness or individuality pointing out and riding upon that shared human performance that makes a work “great.” Afterward the critics may point out patterns, assign the work to a certain school, connect the images or symbols to those in other paintings — and then make the mistake of believing the symbols to be general, always apt, meaning the same thing wherever they are found. But all of this may have little to do with the artist’s interpretation of his own symbols, or with his personal experience, so he may wonder how the critics could read this into his work.