“Seth material” search engine (Jane Roberts)

Ruburt may suddenly have an idea for a book. He wants to write it. In physical terms that book is not before his eyes. It has not been written, it has not been published. The evidence says physically that there is no such book. It is not a part of the world’s physical evidence. The idea for the book may come from a dream, or in that state of creativity where dreams reach toward physical actualization. Now Ruburt could say “I cannot write that book, or wonder how many pages it might have,” or think of the endless impediments that might prevent the book from being written. Instead, he simply ignores the physical evidence of the book’s absence, and creatively begins to write.

To some degree, creativity always involves a denial of life’s daily official evidence, for creativity deals with that which you are about to bring into being. You are quite aware of the absence which you intend to fill. Period. This applies obviously in the case of inventions. Creativity involves productive change.

(9:35.) In your painting, you are constantly involved with bringing some event into the world that was not there before. You fill the gap. You recognize the absence in the present of the physical painting you want to produce, and your creativity brings that painting into reality. With ideas, with our books, you deal, both of you, with such issues all the time. There is so much physical evidence in the world. It has been put together through the centuries, in your terms, in countless ways, bringing pictures of reality, each vivid, each contradicting the other to some extent. When man believed the world was flat, he used his thought processes in such a way that they had great difficulty in imagining any other kind of world, and read the evidence so that it fit the flat-world picture.