“Seth material” search engine (Jane Roberts)

People are propelled to act in highly individual ways: what makes one man go forward can make another go backward. As a general rule the production of any kind of art is a private one initially. That art may add to the richness of society, to culture—but art always possesses its own secretive inner nature, and with that nature each artist of whatever kind must always relate.

At its very basis, regardless of all tales to the contrary, art is indeed love’s production. Ruburt writes because he loves to write—the activity of itself is intriguing, again, it is a method of discovery and accomplishment, of celebration. It is natural for him to be inspired.

Ruburt is involved with the production of art. It subverts art’s nature to some extent when it is asked to serve another master, however beneficial that master may seem to be—for art by its nature will always come up with surprises, and deals not so much with specifics or with directions as with overall patterns that must always be free to fall in fresh and unexplored directions.

(Pause at 10:08.) So true art must in a vital fashion be divorced from utility, or from its function outside of itself, or you will end up with something else entirely. Left alone, Ruburt’s creative life falls into inspirational patterns that spring from their own secretive sources. If the “products” help people, that help is an additional feature flowing naturally from the art itself, and not applied to it with a heavy hand.

(Pause.) Ruburt has felt too responsible to develop his psychic abilities, to produce another “psychically inspired” work of his own. The sense of responsibility of that kind stifles love, which must be free to form its own creativity in its own fashion. Therefore, left alone, Ruburt writes freely, and in an inspired nature because that is (underlined) his nature. It is what he loves to do. When he becomes overly concerned with ideas of responsibility to use his talent, then the love beneath them is smothered to some extent and denied its flow.

When that flow is relatively unimpeded then he is naturally attracted to subjective activity and to performance in the natural world as well. He enjoys seeing people then. To enjoy seeing people is a different thing than expecting yourself to be a public personality, however. Ruburt has been trying out a system of values that is not naturally his own. He has told himself that his art must be used to help people primarily—as if that had been his main goal all along. Art then becomes a method of doing something else—and that idea runs directly contrary to the basic integrity of art, and to art as he truly understands it to be. He therefore often felt forced to do what before he had done because he wanted to.

In a fashion, the fears became substitutes for the earlier natural feelings that he had been in contact with before. There were reasons then not (underlined) to go out into the world: it was dangerous, and so forth. Those feelings of fear were reactivated to provide a seemingly reasonable explanation for the earlier natural feelings he was no longer in touch with.

Ruburt’s nature leads to periods of painting and poetry and subjective exploration of unconventional thought. He felt that he should be doing other things, however: he should be using (underlined) his time better.