“Seth material” search engine (Jane Roberts)

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.

The paper Ruburt wrote was excellent. He should do a follow-up on it. For some insights in this area I would like to come through his own experience of direct feelings. The entire issue, however, involving both questions, I would like to save for our next session. Hopefully, Ruburt himself will have insights in the meantime that will make my material pertinent.

(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.

Ruburt got so he wanted such encounters only if they fell into his ideas of work. I wanted to begin this material this evening. The main point for now that I want to make is that Ruburt does indeed perceive the world differently, and he cannot try to force that vaster kind of perception into the narrow confines of ordinary work ideas.

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.