“Seth material” search engine (Jane Roberts)

In the next scene, you have the introduction of the artistic ability, however, personified by your friend of your younger New York artistic past. He represents someone highly gifted artistically, and therefore stands for your artistic self as you might have idealized it when you knew that young man. When he tries to put on ordinary working clothes, however, something happens: the shorts keep changing into a Turkish towel, and harder he tries to pull the pants on the more and more they change, until there is no mistaking that the shorts simply will not do.

(3:33.) The harder you try, therefore, to force your artistic nature into the public system of beliefs, to teach it how to service cars, for example (intently), or to apply itself to the mechanical world, the more it resists, refuses the suitable apparel or turns it into private apparel—that is, it asserts its private self.

(Long pause.) The more you try to live “a life of service,” or to concentrate primarily upon providing such a service, the more then your artistic self displays its private nature.