“Seth material” search engine (Jane Roberts)

The conscious ego then manipulates this material for the purposes of camouflage constructions. The transformation of vitality into physical properties is done by this self-conscious self that faces the inner world. The subconscious is the link between these two self-consciousnesses, and here you find an acceptance by the camouflage personality of the materials at hand.

It was far from a purposeless arrangement. It involved a foresight hardly imaginable, and I repeat that you had your part in the initial reaction, as did every entity who lived or will live upon the earth; and here we are getting into something rather difficult but certainly no mystery.

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.

In the last analysis the channel for vitality or for vitality’s transformation into physical matter is of course the inner senses’ ability, and there is a counteraction here as far as the conscious ego is concerned. The conscious ego often blocks much energy. In dreams the blocking is minimized.

(Here Jane laughed. And here again, she proceeded to immediately answer the question that came to my mind.)

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.

(And however loose the fit, I can state here that Miss Callahan was the subject or question I had in mind and wanted to know about.