“Seth material” search engine (Jane Roberts)

When your friend Philip innocently asked at what point human consciousness entered the picture, his question was not pertinent. Human consciousness involves entity consciousness, and entity consciousness asserted itself at the very first phase of physical materialization.

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.

I am not worried that I am going to disturb the balance that exists, far from it. The fact is that realization to some degree can come and often does come after the play is well under way, and at this point the camouflage action is so involved that the realization itself appears in the framework of the camouflage, and is often indistinguishable from it.

Art creation is a most basic creation then, not even a mimicking act but a genuine creation of another plane, done self-consciously from the perspective of an imprisoning camouflage pattern. Quite an achievement, therefore. It should be simple as an analogy to consider the next point, where the figure in a painting would not only have a certain consciousness for example but would have other freedoms also; and this would give you a limited conception of what is involved in the creation of other planes of more varied scope.