“Seth material” search engine (Jane Roberts)

(Jane’s physical improvements continue to take place at a slow pace. Recently there have been noticeable changes for the better in both of her hands, although each one works differently. Earlier today I’d voiced the hope that Seth could give some material on Jane’s eyes, which haven’t progressed as much as we’d like. At the same time, Jane told me that there’s been an improvement in her color perception, even with the double vision.

(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.

I want you both to look at Ruburt’s physical condition in the light of what I have just said about creativity always contradicting the evidence to some degree. In your works, you both automatically have the courage, the daring, to allow creativity its way. To some extent, however, you are both still hypnotized by the evidence of Ruburt’s condition—where instead it should be used as a jumping-off board, as a gap to be filled with reality (emphatically). When you create you dream. Creativity, again, thrives on dreaming, and dreaming serves as a conduit for Framework 2’s activity. You do not concentrate on what stands in your way. You do not imagine impediments.