“Seth material” search engine (Jane Roberts)

An object to be declared as such must be in tune with itself—that is, composed of atoms and molecules of a certain classification, working together as a unit. That unit can then be perceived by others whose consciousness is likewise attuned.

Ruburt wanted to make creativity work financially so that you could both be free to pursue it. Through the years the goals of one level of consciousness— though I am putting this simply—became tied to the goals of another level of consciousness. Overall, ideally speaking, the two could be fused. Practically, however, this is like trying to build two pieces of furniture with different materials, then forming them into one cohesive whole. In both of your lives, those experiences, however valid, that did not fit both categories, gradually went to one degree or another by the way.

You keep trying to justify yourselves in the normal world, with the people that you meet. You work long hours, you both overinsist, so people will not think you lazy—or, worse, imagine that you are having fun or enjoying your situation. You are not having much fun right now, and partially for that reason. You are often working longer hours for the same reason, and enjoying it less, as the saying goes.

You want other people to think you are working as hard as they are, or harder. You do not want them to think that your money came easily, which in a way it did. At the same time you say how good it would be to just take a job and come home when it was finished—a self-deception. You know better.

Those worries on each of your parts tie down your highest aspirations to goals that are unbecoming to them, and impede the very creativity you hope to foster. Because you feel that the world is a threat you rouse to battle against it. Time becomes a battleground. I realize of course that you live in time, but I also know that the quality of creative work is not bound to time, but defies it. Your own feelings about publishers, for example, impedes the creative processes so that you must then labor over notes that would otherwise come clearly and quickly.

In no way should that tending take away from your creative work, but add to it in ways that defy conventional ideas of time. With that understanding, such work would vastly enrich your painting, your writing, and the tenor of your life. With that understanding you can have help without conflict, or do the work yourself without conflict.

You must renew your sense of dedication, privately and jointly. I have some definite proposals, and I suggest that you take advantage of them. I am mainly going to suggest the use of certain techniques with which you are quite familiar. You have not used them as a way of life because of the conflicts mentioned earlier, and if you are going to get off dead center and do something instead of complaining, you must each begin to put these to practice. They worked well years ago, before you tried to wed two systems of belief to each other.

When you both had to work outside at least partially for a living, you did not have to consider your beliefs about creative time, or how to organize your day creatively. You were too busy trying to get rid of your jobs. Once that goal was reached, your beliefs about time and creativity became pertinent, as did the issues concerned with spontaneity and discipline.

Ruburt began to allow only psychic experiences that could be translated also—not primarily, you see—but also into financial productivity. You also wanted to wed your abilities in the same manner. You felt you could not afford free creative work. Ruburt felt that creative work could pay. Because of your ideas about time and creative work you felt that painting could not pay. Ruburt tricked you quite cleverly into doing the sketches for Dialogues—for your own good, he felt, and you did not enjoy the experience, allowing your beliefs to contaminate your creativity. You do not feel the world deserves creative work. Yet you have a nature that demands that you produce it.

This particular pattern is a suggestion only, however, but it will be of benefit. It would apply to each of you. It would apply to you alone whenever Ruburt works at night instead. When you are on the same time schedules, then bed at midnight. Set your alarm for 7:00, and get up. Be at your respective places —Ruburt at his desk, you in your studio—by 9:30, and work clearly, without interruptions, for three hours.