“Seth material” search engine (Jane Roberts)

The question has to do with the so-called creation of your universe, the introduction of entities upon it, and of course with the cause or causes behind such creation. You know by now that you create your own camouflage-patterned universe, and I have tried to cover some of the mechanisms involved in this continuous, seemingly automatic creation.

You know then that you yourselves create your universe and that each generation creates it anew in its own image. There is a growth principle operating in the realm of ideas and in the construction of these ideas into camouflage patterns.

This actual gathering up of prime vitality for the purpose of physical construction is not however truly automatic, and it is not truly performed unconsciously. The strong self-conscious self of which I have spoken, the self-conscious self of which your own personality is not aware, this self that faces into the inner world of reality, quite consciously draws upon the vitality and stuff of what is.

At the same time the camouflage consciousness cannot be aware of the actual originator, and therefore must look for causes from the outside. In your dual system, that is, the two self-consciousnesses are more divided and alien to themselves than need be. The old idea of spirits pervading all physical matter actually represents an intuitive glimpse into reality that your sciences will finally arrive at in a long labored manner.

If you use psychological time as I have told you, you will get immediate firsthand experience of many facets of reality which take me pages to explain with the indirect use of words. All entities basically are self-aware portions of energy or vitality. They are self-generating and there is no possibility of thinking in terms of either beginning or end. Again, it is only your own camouflage-imprisoned data which makes you think that everything has a beginning and an end.

I will go into this also more deeply later. It is obvious by now that entities on any plane create that plane, and a strong portion of their personalities are similarly constructed to deal with the mechanics of the particular plane.

In a very simple example, consider that you yourself use your own energy to create your dream world. In this way also you create your so-called real camouflage world, the only difference being that the dream world images do not have duration in physical time although they have duration in psychological time. And believe it or not, actually your individuality has much more freedom in the creation of your dream world, and this is the reason why the dream world does not appear consistent to others.

Incidentally, your universe was not created by all entities, but only by the entities that needed a particular kind of experience. The fact that manipulation is important upon your plane is one of the main causes for wars.

(“Seth, what do you mean exactly when you use the word universe? Are you referring to just our own solar system?”

(Seth’s following answer, through Jane, tallied so closely with the words forming in my own mind that once again, as in the 28th session, I wondered if telepathy might be involved, as in the case of John Bradley.)

Those who have extremely strong hidden self-conscious selves have the need for greater use of individuality, and these people therefore create what could be called another plane in waking hours, through the use of art forms.

Nevertheless it also partakes of the strange unity that unites all personalities beneath the camouflage pattern, while at the same time it is only partially connected to the camouflage pattern. In some respects art creations are a meeting of the dream world and the world of camouflage patterns, but in a deeper way art creations represent the appearance or materialization in the actual element of physical time of inner realities. That is, the inner individualistic self forces its vision and knowledge into the world of camouflage pattern, giving its dreams a physical reality denied to the usual dream. And here the use of energy for this purpose is conscious, that is the strong hidden self actually makes use of the camouflage conscious self and molds the two into a reality that combines two planes. This I hope will become clear as you read it over.

You were quite correct, Joseph, in your feeling that art created another plane, and now let me hit you with this one: that the paintings of an artist to some degree have a consciousness of their own, not imprisoned either by the form itself.

On your particular kind of culturally organized grouping the camouflage is necessarily strong, and the outside senses correspondingly vivid. This of course is bound to block some inner data. At the same time it is the inner vitality which creates the camouflage to begin with. Joseph was right when he spoke of entities creating stages upon which to act out their problems. The point of course being that once the play begins the actors are so completely immersed in their roles that they forget that they themselves wrote the play, constructed the sets, or are even acting. The reason for this is rather apparent.

If you know that a situation is imaginary you are not going to bother trying to solve it. This way you have your actors taking the situation as it seems to be, but looking about in some amazement now and then to wonder how they got where they are, who constructed the stage and so forth. They do not realize that the whole thing is self-created nor should they in the main, since the urgency to solve problems would dissolve.

Art creations represent such an awareness, but here the creation of another plane must be intertwined with the camouflage pattern with which you are involved. That is, paintings would have no reality in your present stage of development as long as they remained simply in your mind, even to you. You are driven to give them “reality,” and put that word in quotes, through materializing them in terms of camouflage pattern. You do this to the best of your ability, but in order for the painting to have a reality in your world it must be materialized to some degree on the physical plane.

Incidentally again, when I mentioned that paintings also experienced a certain consciousness I meant to add that they are not completely powerless even on your own plane, since they do exist in it. Naturally they can exert influence in it. I thought this would interest you in particular, Joseph.

(End at 11:38. Jane was very tired. She said that toward the end of the session she got the idea that our furniture-moving bout had helped get me through my danger period, which is the last part of winter, and that it had also taken care of her own first springtime burst of energy.)