“Seth material” search engine (Jane Roberts)

(At 9:00 she told me she thought Seth would discuss my questions #5 and 6, about black-and-white thinking, and touch upon “that article” about micro metal-bending, or psychokinetic metal bending. I was surprised to hear this, for even though I’d been quite interested in the article I’d forgotten it for the moment. It appeared in the PSI News bulletin of the Parapsychological Association. Vol. 4, No. 1 for January 1981. She’d read the article this noon at lunch when I called her attention to it. Until I’d first read the piece a couple of days ago, I hadn’t realized that much progress had been made scientifically in the detection of psychic metal-binding on a micro scale. The presentation of information seemed to be very straight-forward, though I’m sure that it will be attacked by the skeptics in a variety of ways. Perhaps we’ll learn more about the situation as it develops. I’m attaching a copy of the article to this session, for Seth came through with some unique insights concerning healing and micro metal-bending, or PKMB.)

It is the conscious mind as it is trained in your society that deals with black and white thinking, apropos of one of your questions. The connection between black and white thinking and creativity is legitimate, but it exists the other way around: as a rule the artist or creative person is (underlined) creative to the extent that he or she escapes black and white thinking, for the creative person deals with syntheses, original versions of reality and the consideration of different groups of probabilities—groups that appear otherwise very unlikely together from the standpoint of black and white thinking.

(Pause.) In your creativity you both largely avoid black and white thinking, and automatically leap out of that framework. The conscious mind is quite willing to let go in that regard, for art not only provides it with enjoyment but fulfills its own framework of action. It does not regard art as a game, exactly, but it does not expect the same rules to apply, either, to a painted apple on a canvas and a real one.