“Seth material” search engine (Jane Roberts)

In your latest series of interworkings, you and Ruburt,¹ with your dreams and so forth, with Ruburt’s notes and your own, were both heading in the proper direction, dealing with issues that are important personally, and that also have a much broader impact.

When you were both intensely involved in your projects, just finished, you let much of your inner experience slide, relatively speaking. The two of you operating together, however, then came up with an idea — an important one — that allows you to interpret the Framework 2 material in your own ways. You had instant feedback — the interplay of a creative nature between the two of you involving your dreams and the camera,³ and so forth. You were each struck by the magical ease with which you seemed, certainly, to perceive and act upon information — information that you did not even realize you possessed.

Some of Ruburt’s notes that you have not seen have further important insights as to such activity. The main point is indeed the importance of accepting (underlined) a different kind of overall orientation — one that is indeed not any secondary adjunct, but a basic part of human nature. As your own and Ruburt’s notes state, Ruburt’s more clearly, this involves an entirely different relationship of the self you know with time. You can make your own connections here, as per Ruburt’s camera experience, and your own dreams of late.

Being your own natural and magical self when you dream, you utilize information that is outside of the time context experienced by the so-called rational mind. The creative abilities operate in the same fashion, appearing within consecutive time, but with the main work done outside of it entirely. When you finished your project,⁴ you had several days of feeling miserable, but you caught yourself and turned yourself around beautifully, and you have every right to congratulate yourself in that regard.

Creativity itself has its own built-in discipline, the kind that, for example, in a dream can rummage through the days of the future to find precisely the data required to make a specific point.

At the same time the natural person did emerge. Ruburt followed his impulses and interpreted your dreams — all of which led you both into fresh creative activity. But it was not work, you see. What he needed to do was really relax, not prove that he could or should or must immediately begin another book. True creativity comes from enjoying the moments, which then fulfill themselves, and a part of the creative process is indeed the art of relaxation, the letting go, for that triggers magical activity, and that is what Ruburt must learn.

The rational mind alone, as it is presently used (because it is a rather artificial construct, a function given prominence), can never understand the dream measurements that you undertook in order to come up with the Brenner dream.⁵

In this session is material that will indeed allow Ruburt to get out of the present situation, but we will continue the discussion at our next session. I have given you some such material before, as I intend to give you shortly. With your own recent experiences, however, the material will be more meaningful and significant now, so that you can indeed put it this time to better use, and I will also be somewhat more specific. I will also go into any questions you want regarding your later dreams or their implications. It is good to be back with you again. End of session, and a fond and magical good evening to you both.

5. See my account of the Brenner dream, Jane’s interpretation of it, and Seth’s material on it, in the August 11 session.