“Seth material” search engine (Jane Roberts)

You have within your grasp the understanding to clear all these issues, but you have come to a point in your life where you cannot equivocate. You see about you the results of such compromise, and each of you have always been determined to entirely work though the belief systems of your era. While others can tell themselves stories, or be content with rationalizations, neither of you could take that road. In an important respect, therefore, your own disquiet has been creative, for it was meant to make you question.

You still cling, however, to ideas that I tell you now are outmoded, passé and alien to the level of consciousness that is really native to you now. Give us a moment.... Creativity exists outside of time, yet your society gives you the idea that so many hours, whatever the number, must result in so many dollars—and you (to me) still cling, underneath, to that concept. You think “Time is money” —and I tell you now that time and money have nothing in common at all, and they have less in common with the nature of creativity.

If you thoroughly understood that you dwelled in a safe universe, you would need no such concepts. Both you and Ruburt have had a hangup, so to speak. You have believed that so much time “spent” had to produce “so much” creative work, or creative product. (Loudly:)You even more than Ruburt—and that is saying something—have connected creativity and time in a way that is detrimental. That idea has impeded your creativity. Ruburt has struggled with that, but so have you. Your painting time, I tell you—listen to me—had basically nothing to do with clock time. It takes a certain amount of “time” physically to work with a brush. Beyond that, the inspiration of your soul can speak in three minutes, and give you the inspirations of a lifetime (loudly)—but not while you insist that creative time and physical time coincide. This has to do with Ruburt’s symptoms, for he felt that he must be at his desk so many hours, whatever the number, and you became so obsessed with the amount of physical hours that you had to devote to painting that you began to divide up your psyche in terms of time.

Each of you built up your own set of defenses, because you did not believe that the universe was safe for creativity. Ruburt fixed it so that he could only sit at his desk—and for all your protests, my dear friend, you acquiesced. He finally became so physically upset that he is ready to dismiss the symptoms. But he also needed your help, because while the main method was his, your intents were in unison and the same—to protect yourselves and your creativity from an unsafe universe. The unsafe quality showed two faces. One: you had to cut out distractions. And two: one of you had to make money with your art or you would not survive. Between the two of you, you made your decisions.

Ruburt proudly shows this book to your neighbors, not because it is an excellent joint creative venture of merit, primarily, but because he can point to a sketch that you have made that makes money and appears in a book. The male is making dough. Passé ideas, that do not belong with the level of awareness that you are achieving.

(12:40.) Give us a moment.... Rest your hand. Your ideas of time, jointly and individually, have hampered your creativity. There seems to be a dilemma in terms of time. You can give only so many hours to my book, and so many hours to your painting. As long as you insist upon identifying creative time with physical time, the dilemma will be real. Your work on the book will be slow, for you will be sure that it “must take so much time.” Your entire physical hours must then be divided. Your painting “must take so much time.” And because you still seem to believe that your universe is unsafe, all of your creativity must give you the weapon—money—to protect you against the inequities and uncertainties of “fate.”

In actuality your creativity escapes all such bonds, and definitions. Your notes for the book can come easily, literally in half the time they do now take because of your beliefs. (Although I’m not aware of having any complaints here.) Your painting in physical terms can take half the physical time that it now takes because of your beliefs. You can no longer equivocate, either of you. Your creativity seems to have burst the practical elements of time. That is, your painting, Ruburt’s work, and my books seems to be “too much” in terms of time only because you have not let your intuitive understanding of creativity grow with your experience. You are between gears, so to speak. It is a creative period, far more significant than you realize, and you have set a challenge for yourselves because you know that you can break through the barriers of old beliefs.

There is nothing wrong with the kidneys, but with the suppression of impulse. He has conditioned himself not to feel the impulse, so that when he is aware of it, in your terms, it is too late. This frightens him because consciously he has not been aware. When he is, then of course the slow motions add to the problem. He put off bodily functions as long as he could, for what he thought of as mental creativity—and all of this is highly related to the ideas of time as I explained them.