“Seth material” search engine (Jane Roberts)

Important misunderstandings involving time have been in a large measure responsible for many of Ruburt’s difficulties, and also of your own, though they have been of a lesser nature. All of this involves relating to reality in a more natural, and therefore magical, fashion. There is certainly a kind of natural physical time in your experience, and in the experience of any creature. It involves the rhythm of the seasons — the days and nights and tides and so forth. In the light of that kind of physical time, which is involved within earthly biology, there is no (pause) basic cultural time. That is, to this natural rhythm you have culturally added the idea of clocks, moments and hours and so forth, which you have transposed over nature’s rhythms.

(9:05.) Such a cultural time works well overall for the civilization that concentrates upon partialities, bits and pieces, assembly lines, promptness of appointments, and so forth. It fits an industrialized society as you understand it.

Ruburt culturally has felt, for many reasons that have been discussed, that each moment must be devoted to work. You have to some extent felt the same. I said that the artistic creator operates in the time of the seasons and so forth, in a kind of natural time — but that natural time is far different than you suppose. Far richer, and it turns inward and outward and backward and forward upon itself.

The same thing happened to Ruburt, and to some extent, with some individual variations, the same causes were involved. When you were both working on those projects your cultural time was taken up in a way you found acceptable. Creative time and cultural time to some extent merged, in that you could see daily immediate evidence of creativity’s product, coming out of the typewriters, say, like any product off an assembly line. You were “using” time as your cultural training told you to do.

(9:25.) When the projects were done, particularly with Ruburt, there was still the cultural belief that time should be so used (underlined), that creativity must be directed and disciplined to fall into the proper time slots. In other words, to some extent or another he tried to use an assembly-line kind of time for your creative productivity. This may work when manuscripts are being typed, and so much physical labor is involved, but overall you are using the “wrong” approach to time, particularly for any creative artist. This again applies particularly to Ruburt, though you are not exonerated in that regard (with some humor.