“Seth material” search engine (Jane Roberts)

Without consciously knowing how his body performs such manipulations, he trusts it—the hands to hold the brush, the fingers to type or whatever, and the idea becomes reality. The idea comes from Framework 2, and Framework 2’s activity fuels the body’s actions.

(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.

They do not then move as faithfully as your fingers, following your own intent, not theirs, but everyone involved cooperatively agrees to aid that creative venture—not only because you want it, you see, but because for their own reasons they are involved in book publishing and want to play a part in that kind of activity.

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.