“Seth material” search engine (Jane Roberts)

[...] You are creating an art that exists now, though you cannot see it, but only sense it at times.

[...] You only have to realize that you created it yourself. [...]

[...] In them Seth briefly explained how Jane had created her symptoms as protection against the spontaneous self going too far: this fear was the real reason for the symptoms—not, as we usually thought, her fear that she would do other things besides work if she had normal mobility. [...]

[...] Any hope we have in all of this is that our new stance will allow us to focus on the good things we have in life, and to create a synthesis of old and new ideas that will result in Jane returning to normal mobility. [...]

You are one conscious version of yourself, creating along with all of your contemporaries the realities of the times. [...]

[...] (See the 619th session in Chapter Four, as well as the first session in this chapter.) You accepted those ideas for a reason, individually and en masse, for mankind at any given “time” has a strong idea of the particular sort of world experience it will create.

[...] To me, without getting into questions about the magnificent overall originality embodied in All That Is, nature is the basic physical environment which all “living” species jointly create and manipulate within. [...]

[...] I know it’s easy to feel bad about what appears to be someone else’s dilemma, but at the same time they live in the reality they’ve created and have their own kinds of protection. [...]

[...] As soon as a workroom really became a workroom his creativity made him leave it, so that he could create outside of the work context.

[...] Barbara just couldn’t grasp that she was creating her own reality.

[...] They were created by the priests and the elite, who made up their own histories to suit their purposes — to hold down the masses, for reasons that I will someday discuss, for they are important. [...]

It goes without saying that as you create physical reality you also form the other planes of existence in which you operate. [...]

(Long pause at 8:01.) In a manner of speaking, the sinful self created the superhuman self-image that demanded so much, and it encased Ruburt’s body as if in concrete. [...]

[...] Perhaps, I thought, that portion was creating a physical disability that allowed Jane to publish forbidden material while protectively isolating herself—and me—from rejection by the physical world. [...]

[...] The personality, through the inner self, has indeed created or constructed the physical form, but the very material from which it was constructed also contains its peculiar consciousness, as you know.

I think that all art is created at that level—that is, with that sense of support that isn’t our own alone but a part of the great force that sustains all of life. [...]

([Arnold:] “We don’t really do violence against an identity or whole self, but only against a self-created camouflage system.”)

[...] Beside your own drive to paint, he saw you through the eyes of his own drive to create.

You have created the problem in your own mind, of course, and reinforce it. [...]

[...] Its history is in the future, which always creates the past.

[...] What Seth is really saying here is that our impulses are meant to help us create our own realities on a personal basis in a way that will enhance both our private lives and our civilizations.

[...] The various levels of the self create their own dreams, which do have meanings to all layers of the personality. [...]