“Seth material” search engine (Jane Roberts)

(At suppertime tonight we read a newspaper article about a 27-year-old man from Philadelphia who’d committed suicide in our area by having himself decapitated by a railroad train. Jane said the first thing she thought of when she read the article was that the stranger might have been on his way to see her for help. I thought this a very meaningful projection, reflecting her exaggerated feelings of responsibility to the world because of her psychic abilities. I asked that Seth comment.

Largely, he has stopped projecting negatively into the future. There are a few lapses, but overall he is changing that habit—and the point of power has helped him considerably there. He is discussing his feelings openly with you. That, plus your pendulum work, prevents fears from going underground again. He is quite importantly beginning to change the viewpoint from which he previously viewed his reality. There is a line in the point of power material to that regard.

He has not as yet changed his viewpoint to that of a normally flexible person, but it is vastly improved from the one he had only a short while ago. It is true that he is quite aware of his bodily conditions, and yet overall he is not concentrating upon them, or regarding them negatively. The new viewpoint, with its new attractions—helping with work, helping with house chores—these automatically take his mind elsewhere, and act as further stimuli. And remember, they are the result of loving creative inspirations, again, the table and the chair, you follow me?—

Give us a moment.... The creative artist can be in somewhat of a quandary, according to his beliefs, for he wants to preserve the precious moment, the fleeting thought, the daffodils, the perceived insights. At the same time he often feels the need to stand apart from life, from the fleeting thoughts, the daffodils or the insight, so that he will not be lost completely in the moment, but able to form almost a second self with a larger viewpoint, who can then more clearly examine and understand the thought, the moment, or the insight.

(9:50.) Most artists, painters now, are lost, so to speak, in the moment or moments of the painting’s creation. The painting becomes the creation, and also it is the passing time of reality. Most artist, painters, do not feel the need, then, to “later” examine the moments of creativity themselves, nor to form still another subjective platform from which to examine the creative process.

You do, however. Ruburt does also in his writing, for he then becomes another self who watches the creative self. So both of you form subjective extensions that you must one way or another put together in physical time. (With gentle humor:) My books represent vast creativity, and yet you perform your own additional subjective leaps, forming subjective platforms that then deal with the circumstances of the books.

Ruburt, therefore, became somewhat overly concerned with physical time. He must allow himself greater freedom creatively, in a playful manner, forgetting all thoughts “at the time” of time.