“Seth material” search engine (Jane Roberts)

Behind your questions, however, there lies a vast area of unasked questions that we have barely touched upon. In dealing with Frameworks 1 and 2 alone, I have been simplifying, and those frameworks in a way represent (underlined) dimensions of events. How events happen is perhaps one of the greatest “mysteries” that you will encounter in physical life. Often I do need analogies, for to me that simultaneous, creative, cooperative nature of events exists with a sublime simplicity—a simplicity I am afraid that of necessity becomes complex as I try to describe it in terms that will make sense in your space-time framework.

Begin with the idea of a book. That idea alone instantly mobilizes, say, Ruburt’s abilities, and the same applies to any writer. There is only one person involved. The same applies to an artist, so for simplicity’s sake we will start with a single creative event—the idea the writer or artist has already geared himself, through training and practice, through intent and expectation, to receive to begin with.

Now: We want to publish the book—and I will here continue, for our purposes, dealing with a book’s production rather than a painting’s. Still, however, we will keep the idea of a painting for a different reason. Now think of the book’s production and everything connected with it as being part of the same kind of creative activity, but in an arena where events as you think of them become the medium. It is as if—forgive the crossing analogies—the production of the book (pause) is transferred to another level. A living peoplescape in which each person who plays a part in that book’s production now joins the creative act at this secondary level as far as you are concerned.

(9:19.) The artistic acts always directly involve strong direct interactions with Framework 2. In the production of our book we want, say, people we may not even know to come together in certain fashions to make certain decisions that will be in direct agreement with our own creative intent. They each have their own lives and their own interests and intents, their own problems. We cannot move them around like toy people on a game board. When you continue to think of events—and publishing is one—as multidimensional creativity, involving many people instead of one, then you have some leverage to help you understand. In Framework 2 each person is connected to each other person. I have given you a good deal of material explaining how information is communicated both on a cellular basis and on a mental one—how it is communicated through the dream state, and I have explained the importance of impulses as direct nudges from Framework 2.

Now: When you concentrate mainly (underlined) in Framework 1 and its communications with Prentice, then while overall you do achieve results of a beneficial nature—the publication and distribution of the books in a largely adequate form—there are glaring discrepancies also: entanglements that you do not like because you have taken your intent from Framework 2, where the creative event began, and placed it into Framework 1’s communication system almost entirely. Obviously you need Framework 1, with its letters, telephone calls, and so forth—but Framework 1’s communication system, while physically handy, also is somewhat like a very poor telephone connection, with static at both ends.

(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.

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.

If you want, make a list of questions that you want to ask. Remember, however, to concentrate now upon, say, Prentice’s failings are an exercise in negative meditation, in negative suggestion, so try, each of you, to avoid that. This session can help, particularly if you make comparisons yourselves along these lines between the private creative event and the mass one. Do you have questions?

(We’ve been talking about Frameworks 1 through 4 in recent days because of my notes for Mass Events. I felt somewhat relieved after the session. Seth had confirmed my own opinions, yet I fully acknowledge that I had been worrying about physical hassles for some time, and sometimes wondered whether I was right or should seek medical help.)