“Seth material” search engine (Jane Roberts)

Now: the creative abilities deal primarily with Framework 2 orientation.

Man painted, thought, dreamed, sang, and so forth from the beginning. People are creative whether or not their particular kind of creativity happens to fit in with their cultures, and whether or not their creativity can fit into economic contexts.

In a way, then, in certain terms, work as conventionally understood, and creativity, are indeed basically quite different. Creativity is a kind of psychic play, an exploration of reality, and an individual reinterpretation of it, and of the events of Framework 1. The artist might need to know technique and certain methods, and so forth. He may or may not sell his paintings, but the difference between the artist and other people is his or her way of being—a difference in the style of existence.

Ruburt’s creativity is highly individualistic—and not, however, narrow in scope. As given in some old sessions, certain difficulties began when Ruburt tried to make his creativity fit the conventional work patterns. The creative person often is not wanted at a job, because their creativity by contrast with others’ behavior shows the vast difference between what I will now call joyful work and the usual variety.

(10:20.) The creative self, however, is not nearly as specific in nature as Ruburt once thought, when he considered himself a writer only. The attributes of the creative self are those of the personality, so that these attributes cannot be accepted under certain conditions and repressed otherwise, without difficulties resulting.

Ruburt always did realize he was quite different from other people. The initiation of psychic experience deepened that feeling. You both felt he must be very careful. To be creative in Ruburt’s particular way, you need a variety of characteristics that will allow you to probe alone into the nature of your own experience, and yet abilities that will also help you relate to the world—and Ruburt has those necessary abilities. He believed, however, that one set was opposed to the other. Therefore, to keep things orderly, one set would have to go. This is very simply put for now.

This one will be brief. The pendulum suggestions are, as you supposed, too bulky (in the morning), and Ruburt should reorganize and cut them to some degree. Main points should be the trust of the body—that is paramount—and the expression of the creative spontaneous self in all areas of daily life. You helped him considerably today by reminding him to trust his body.

Add to your question, to read before our next session, the implications of private creativity and public distribution of creative work. I will also have something to say about Ruburt’s own insights involving the secret aspects of his nature.

(10:35.) Give us a moment.... There are, as Ruburt supposed, learned patterns superimposed upon his basic nature. This is of course natural with each personality. The creative self, however, left alone, and being in a Framework 2 reference, will take all aspects of life into consideration. It lights up all aspects of life. When Ruburt hampers it by trying to make it too specific, and ties it into distorted ideas of work, then divisions occur that need not occur.

Mysticism itself involves, basically, encounters with the art of being—a kind of creativity that in usual terms may produce no product at all, creative or otherwise. Such experiences may be translated into poetry or art or whatever, but initially they involve a spiritual encounter with reality. This encounter promotes a heightened state of creativity, even though, again, a creative product per se may not show.

He is not just being creative when he is writing. He is being as creative when he contemplates the kitchen table in his own fashion, and is enjoying then a state of consciousness that is to some extent uniquely his own. The creative state of mind cannot be shut off and on, yet Ruburt has approached it only as it related to his ideas of work.