“Seth material” search engine (Jane Roberts)

(Pause.) You could not treat your paintings as products in the marketplace. Though you worked in the art department, you did not want to rub up against your fellows quite that closely (with amusement). You were interested not only in a painting, and the painting’s origin, but in your origin as an artist, and in all of those relationships that are involved between the perceiver and the object, that then is turned into the artist’s model. You were looking for a larger framework of existence itself, from which to view the reality with which you were familiar.

(10:25.) A note: the two of you—for you are both involved since 1964—have not only initiated a new framework from which others, as well as yourselves, can view the nature of reality more clearly, but you also had to start from scratch, so to speak, to get the material, learn to trust it, and then to apply it to your own lives—even while “the facts were not all in yet.” At no point did you have all of the material to draw upon, as for example your readers do at any given point. So tell Ruburt not to judge himself too harshly, and (whispering) in all of this have him try to remember his sense of play, and to read often that July session on the creative state.