“Seth material” search engine (Jane Roberts)

(Pause.) All of our analogies taken together, you see, only hint at the true picture, but if I cannot describe clearly to you in your terms the interaction between Framework 1 and 2, then we will have difficulty with other later material. So we will try again this way.

Ideally that force is to a large extent self-protecting. It is also perceived to whatever degree possible (underlined) by all those at Prentice who are involved. At Framework-2 levels those people want to produce an excellent book. Their desire is not as vigorous as yours. It is watered down by far more Framework 1 activity. There is much “static” at that level.

(9:38.) First of all, you clear your wires by trying to clear your mind, and simply by trying to understand how Framework 2 works. You think of, say, any event in a book’s production, distribution, translation or whatever, as the kind of multidimensional creative effort and event I have tried to explain. All of those other people are connected to that event in Framework 2 on a nonphysical level, as they are connected on a physical level. Framework 2’s communication system is at once simpler and more complex that Framework 1’s. Just as, say, your intent to paint a picture automatically has your fingers all moving in the proper directions, and your body manipulating properly, so that the desired painting results, so in a larger fashion your clear intent is communicated to each of the people involved—at a level without static—yours or theirs.

You set a far more favorable group of probabilities into motion, a group that aids you and them as well, for they are also seeking creativity from their separate viewpoints. They are also fighting their own static. You do not have to contact them one by one in Framework 2. The book itself is like a magnet—any book. The same kinds of reactions, however, are involved in all activities, and it is sometimes frustrating for me that you cannot perceive the fascinating facets of any event. All group interactions of course are involved here. (Pause.) You still —and I do not simply mean you two alone—do not feel the unsurpassable force that thoughts have. You do not understand that they do form events, that to change events you must first change thoughts. You get what you concentrate upon. To brood or worry, or become resentful, is as regrettable as it would be if you, say, painted a big X over one of your paintings because you were dissatisfied with a detail or two. Over a period of time, resentments X out large areas of otherwise productive experience.

Mankind’s most majestic experiences, and his most unfortunate, still come from that same great creative force. I have been very careful in my use of the word love, because it is so bandied about and distorted—but all creativity, and any work of art, and any life, springs from love—a love that automatically brings all things into their own kinds of order. The artist paints because he loves to. His brain and fingers are able to produce a painting because they are themselves formed of love.

I have one other point to mention, apropos: our session regarding the two men (see the deleted session, for me, of April 18, 1979). You get in trouble only when you identify too strongly with the socially inoculated man, so that you can say “With my beliefs, I do not think I can learn to put Prentice in Framework 2.” (See my closing notes for the last deleted session.) The “my” there, in that sentence, refers to the socially inoculated man. The other man has no difficulties at all in that regard, and that man is you, too. You could at least ask his opinion.

The session should help you understand that you are not a victim. There is much more, however, about the interactions of people in such events. I hope to make it all as clear as I can, because I want you to understand the nature of events, and your participation in them, and that of others.

And in all cases, your main concentration should always be upon your daily accomplishments, joys, the domestic meal, the hour of dawn or twilight or whatever. That is highly important, for concentration upon negative experiences helped make you ill.

I have given some material on that before, and it all applies, as given, to contradictions in your own beliefs between the male as breadwinner and the male as artist. There are, I believe, several sessions dealing with that.