“Seth material” search engine (Jane Roberts)

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.

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.

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.

In the creation of the physical world a certain giving up of individuality is absolutely necessary, since the overall material environment must appear more or less the same to everyone. Of course it will never appear absolutely the same, but it must have a fairly dependable overall coherence.

I would like to go back to the difference between the dream world and the outside camouflage world again.

The self-conscious self on the other side of the subconscious has a freer hand in the creation of your dreams, since you are the only personality to whom they must be comprehensible. The camouflage world must be dependable, therefore you do not have such individualistic freedom.

In the creation of art forms, both self-consciousnesses are allowed with certain reservations to work together. The subconscious channel between them is allowed to open to a great degree. The product of such merging is extremely individualistic, and yet more comprehensible to others than say a fragment from the dream world.

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.

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.

This hidden self-consciousness can also at times look out through your outer senses upon your camouflage world. At these times you get something of the same effect as when you look through a telescope, and you may think of the long tube of the telescope as the channel of the subconscious.