“Seth material” search engine (Jane Roberts)

(Long pause.) As creative people, and as certain kinds of creative people —not being audience performers as musicians, for example—you deal with the creative construction of artistic worlds in which as your friend (painter) William Alexander would say, you are the master magician perhaps—but it is your world primarily, created according to your vision. [...]

[...] Generally speaking, however, the kind of person who performs as a public figure is not the kind of person who could produce highly creative material of an original nature. The public format requires a kind of social shorthand that does not allow for the development or expansion of ideas or creativity, so that the attempt to explain anything like “our work” would be extremely difficult in that regard. [...]

(Long pause.) These issues are extremely vital in cases of creativity also, although they operate in all areas. [...]

He writes because he wants to create a unique world, one in which during the act of creation as a creator he is in charge, and yet while he is in charge he is in contact with a certain magic of creativity that gives him experience with greater realms of being. [...]

Consciousness is, among other things, a spontaneous exercise in creativity. [...] Now our environment is in itself creative in a different manner than yours. Your environment is creative in that trees bear fruit, that there is a self-sustaining principle, that the earth feeds its own, for example. The naturally creative aspects are the materializations of the deepest psychic, spiritual, and physical inclinations of the species, set up in your terms eons ago, and a part of the racial bank of psychic knowledge.

We endow the elements of our environment with an even greater creativity that is difficult to explain. [...]

[...] They show up in your creative work, for otherwise you would have been far freer. Your creative work therefore shows the emotional depriving aspects. [...]

[...] There are richly creative emotional founts within you both. [...]

[...] He managed to go ahead creatively despite this, though at great difficulty.

[...] The entire affair must (underlined) be considered as a creative emotional venture and challenge.

[...] Some of last night’s dream material dealt with the ideas, again, of creativity—sometimes seen as harmless enough for children, as in the play Ruburt remembered taking part in his Catholic public school. In larger measure, however, creativity was considered something that adults grew out of, a mark of a prolonged adolescence, particularly unsuited for the woman whose thoughts were meant to turn toward husband and child. [...]

(Now the noise in the fireplace was fluctuating.) There you run into problems involved with Catholic or Christian devotion, the natural feedback needed in the development of creative work, and the striking originality of creative ventures that strike out on their own, forming their own paths. [...]

The creativity for which Ruburt was praised as a child—the writing of his poetry, for example, became more and more frowned upon by the church as he became older, and in particular when the poetry contained concepts that did not fit Christian dogma. [...]

(Pause.) The creative self is made to feel guilty for its own originality and productivity. [...]

Now: there are gradations, of course, to creativity. Certain important kinds of creativity demand incubation periods, during which the conscious mind cannot follow the inner processes. [...] The “results” then emerge to the conscious mind, and you have inspiration, and a creative “product.”

Ruburt’s creativity not only involves that kind of behavior, but the mystic elements of the personality, meaning that the inner activity is very intense, so that Ruburt learned from a young age to develop a certain kind of secrecy. [...]

[...] To some extent that kind of activity gives his conscious mind something to concentrate upon during creative periods of incubation. [...]

[...] He tried to tie it to writing alone, which was the closest approximation he could make to creative conventional activity, while still allowing himself expression. [...]

[...] She’s on a “creative high” with the latter.¹ The complicated events surrounding Iran and Three Mile Island continue to develop, as consciousness explores itself in those areas.²

[...] Those affiliations fell into being as all of the consciousnesses that were embarked upon physical reality divided up (long pause) the almost unimaginable creative achievements that would be responsible for the physically effective world.

[...] The creative thrust of the physical world must rise from that living structure.

[...] It does not help, and it definitely hinders his creativity, that he so misguidedly tries to protect. [...] Creativity is above all high play.

If you trust yourselves, and approve of yourselves, all of your problems literally dissolve, and playful creativity bursts into its full flower.

This creativity, the strongest force within all reality, reaches from sources we have not as yet discussed in this book, down to the smallest atom and molecule. Your health is an extension of your creativity. [...]

You possess within yourself all of those potentials in which consciousness creatively takes part. [...]

Souls are also creative psychic structures, ever-changing and yet always retaining individual integrity (pause), and all are dependent one upon the other. [...]

Your body is the basic product of your creativity on a physical level. [...]

[...] He was creatively gifted—but an overly impulsive child does not care for an invalid mother, conscientiously, for 21 years.

[...] The very consistent writing of poetry through those years shows its own kind of discipline, but people are not used to bursts of creativity. [...]

[...] Again, Freudian beliefs that filled the books and movies led you both in your own ways to fear that your energies could be “swallowed” by sexuality—that to some extent you had so much energy, and that most of it must go into creative work.

Simple-enough incidents, like shoveling the driveway, can bother you because they arouse old conflicts having to do with your earlier situation and the decision, say, to explore your mental and creative abilities rather than to pursue the physical ones in the excellence of sports.

[...] Faith in a creative, fulfilling, desired end, sustained faith, literally draws from Framework 2 all of the necessary ingredients, all of the elements however staggering in number, arranges all the details, and then inserts into Framework 1 the impulses, dreams, chance meetings, motivations, or whatever is necessary so that the desired end then falls into place as a completed pattern.

Your own creative, abilities are instantly mobilized in that direction. [...]

[...] Ruburt does not have to fear that he must give up some creativity for physical freedom, for the two go hand in hand.

[...] The inner organizations immediately trigger all the necessary actions required, from Framework 2. This applies to any issue – but again, your creative abilities, used on behalf of Ruburt’s physical condition will give him a normally cooperating body.

[...] You must understand that I am not saying that you are passive, fleeting dreamers, lost in some divine mind, but that you are the unique creative manifestations of a divine intelligence whose creativity is responsible for all realities, which are themselves endowed with creative abilities of their own, with the potential and desire for fulfillment—inheritors indeed of the divine processes themselves. [...]

[...] The writer only knows that he or she creates without understanding the spontaneous order with which the creativity happens. [...]

In a manner of speaking, your universe and all others spring from a dimension that is the creative source for all realities—a basic dream universe, so to speak, a divine psychological bed where subjective being is sparked, illuminated, stimulated, pierced, by its own infinite desire for creativity. The source of its power is so great that its imaginings become worlds, but it is endowed with a creativity of such splendor that it seeks the finest fulfillment, for even the smallest of its thoughts and all of its potentials are directed with a good intent that is literally beyond all imagining.

In this model, changes of form are the result of creative syntheses. [...] A subjective divinity, then, that is within creation itself, a multidimensional creativity of such proportions that it is itself the creator and its creations at the same time.

You must realize that expression and not repression is the natural complement of creative abilities, and that in freeing his body, in encouraging physical mobility, he also encourages and frees his inspiration, his psychic awareness, and creativity.

[...] I tried writing it down so that I could read it to Jane: “Why did the personality adopt a course of action—being out of condition, say—that eventually came to assume such proportions in life that the focus upon it equaled, or even surpassed, the hours spent in the creative actions of writing that the personality said it wanted to do each day above everything else?”

[...] I was after an understanding on various levels of the fact that Jane had created something that certainly assumed equal billing with her other creative work—that the personality may have been quite aware that this would happen, and was willing in some sort of terms for the situation to exist for a number of years.

[...] Try to arrange it so that the walking periods still give each of you, say, a certain amount of time between for your creative pursuits. [...]

[...] You are not sure whether your creative work will “pay off”—that is, whether you will be adding to the financial kitty. [...]

As I mentioned, the creative spontaneous self knows of your entire situation, so that its unimpeded production will automatically meet all of your needs.

6. Note: Insight received at 10:15 PM: The feelings in the groin of “having to go” all the time, are nervous interpretations on my part of the urge “to go” ahead creatively in whatever way is chosen....)

Disconnected from their usual daily attraction to physical events, your emotions will often form their own landscapes, utilizing dreams as their creative medium. [...]

[...] Much of your interior creative work and planning is done at this level. [...]

[...] Each night’s dreams then provide you with a rich bed of creativity. [...]

The stresses and strains also create the unbalances that initiate creative endeavor. On Ruburt’s part the early religious experiences also initiated the deep quest for inner knowledge that is behind all creative endeavor, and that served as an impetus.

[...] The overcensuring, when it appears, shows itself, of course, in all spontaneous areas of his life—physical, psychic, creative and spiritual.

[...] It can turn a minor annoyance into anger for example; a rainy day into a creative disaster.

His problem is precisely this: the need and ability to throw himself whole-heartedly and spontaneously into a creative endeavor, and the fear of doing so.

[...] The writing self looked askance at any creative material that did not come from the kinds of inspiration with which it was previously familiar. It insisted that other creative material come outside of Ruburt’s five-hour writing day. [...]

(Pause.) Ruburt is determined, persistent, stubborn, with great energy; creative, intuitive, and endowed with excellent flexibility of consciousness. [...]

With the initiation of psychic experience, he found himself wanting to write about what happened to him, and to use the material creatively. [...]

[...] When you understand the nature of reality and your part in forming it, then you can no longer look to others to solve your problems for you, and you realize that your own beliefs are the rich creative elements that you yourself must mix and match. [...]

At its very heart, creativity of that nature is indeed both sacred and highly useful, and from that dimension of activity all of the initial patterns (underlined) for your highly technological society have come. [...]

Now: in a fashion, for the sake of this discussion (underlined), the blacks as slaves partially represented the great creative, exuberant, unattached, unconscious powers that were to be restrained, at least for a while. [...]

(10:12.) If men were considered equal, however, the ideas of Darwin and Freud came along to alter the meaning of equality, for men were not equal in honor and integrity and creativity—or heroism: —they were equal in dishonor (louder), selfishness, greed, and equally endowed with a killer instinct that now was seen to be a natural characteristic from man’s biological past. [...]

In many past societies, soothsayers, dream experts, poets and artists were the most revered members, for they constantly replenished man’s creative abilities, allowed him to see his position within society and in the natural world with fresh eyes. [...]

Creativity, and artistic creativity most of all, is spontaneous. [...]

[...] Those involved deeply in any art are consciously or unconsciously working in a most intimate manner with the challenges of another kind of creativity. [...] The creative abilities have a power that can be confusing, overprotected, or on the other hand run from. [...]

Ruburt is embarking upon a different kind of relaxation—highly important, so in that regard these times are extremely creative, and that creativity will indeed be reflected in bodily releases and what you might call body inspirations. [...]

[...] Certainly her paper is extremely creative, including insights also as it does about her relationship with Seth.