“Seth material” search engine (Jane Roberts)

(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.

(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.