“Seth material” search engine (Jane Roberts)

(Jane has written down her feelings each day since we began the new program, and we’ve then discussed them. The system seems to be working very well. We also use the pendulum before bed, with very good results. She hasn’t walked a great deal lately, but our emphasis is now on trusting the body’s own wisdom as to when it wants to perform, and what it wants to do. We seem to know a new kind of peaceful understanding, at least to some degree. Jane reports a continuing series of physical changes throughout her body—from the legs and ankles to the shoulder blades, elbows, ribs, etc. As Seth remarked, nothing is tightening up.)

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.

In your society, work has many connotations. It usually involves spending a certain amount of time at a job, for which you receive financial payment. Most work involves consecutive thinking, in terms of time. If you do not have a job you are lazy—so that work becomes of course a virtue, as well as, usually, a necessity.

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.

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.

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.