“Seth material” search engine (Jane Roberts)

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.

You want to examine life, to experience it, and yet in some way find in time a safe dimension apart from time. What you want is a second life in life, in which to appreciate and examine life’s experience. The ordinary distractions of life immediately then cause conflict. On the one hand, they are living, these distractions. They are life. On the other hand, they rob you in time of that second life you want, in which to examine your experiences.

Since you set yourselves such a course, then you obviously have a certain responsibility to both lives. They are your creations, after all. Almost all of Ruburt’s difficulty with time, and your own, spring from this basic quandary. For most people do not try that hard to preserve the living moment, or to understand it, while they are still involved with time’s physical package. Hence, to some extent your difficulties with “Unknown”—that is, with the notes—for you are trying to fit one dimension into another. A bold venture, and one that fits in quite will with your intents jointly to understand and preserve fleeting reality, and one that conflicts with your attempts to do this in the context of one physical time that passes.

(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.

I have a few suggestions for both of you. I am not speaking of schedules. You have a responsibility to time and to timelessness. I would like you to make a list of what you want to do in a day—that is, in a 24-hour period, and to think of that period, now, as a gift of time, to be used as you desire.

I want you each to make a list, then, of what you want to do in a day. You can quite properly decide, if you want, how many hours you want to devote to given activities, but do not think of schedules, but instead of the flow of timeless energy into time. When you have decided, and see where your prerogatives lie, then stick to them.

Think of the entire 24-hour period, however. If the two of you stick together, there will be no problem, and particularly if you view this not as a schedule but as a way in which you want to mix time and timelessness, and merge the “two lives” that each of you try to live in the one life. Distractions may occur, but you can deal with them if your attitudes are clear, and if you see that overall you are doing what you want. Then any distractions will not be that important.

Truth is not like a specific prescription. It is an aura that pervades all reality. Ruburt is upset on two levels. He loves the pursuit of truth for its own sake, and the pursuit of truth is basically a playful creative endeavor, in which children indulge all the time.

The story in the paper rearoused those old conflicts. But truth involves insights of a most peculiar kind, for they cannot indeed be truly specified, and the more specific you try to make them the more you distort them, or the more you dilute their original power. You make your own reality. You cannot force an individual to live, nor can you force him to die, through the use of the truth. One and one is two—that is a fact in your world, and you can use that fact in millions of ways, but it involves no truth.