“Seth material” search engine (Jane Roberts)

[...] Jane has been on a creative “binge” all month. [...]

[...] Your own body grows naturally and easily from its time of birth, not expecting resistance but taking its miraculous unfolding for granted; using all of itself with great, gracious, creatively aggressive abandon.

Now: Artificial guilt is still highly creative in its way, an offshoot made in man’s image as his conscious mind began to consider and play upon the natural innocent guilt that originally implied no punishment.

The conscious mind is endlessly creative. [...]

Only in creative play does great “work” emerge. [...] The creative mind and spirit transforms the “waste” that others would disdain. [...]

(9:13.) In deeper terms creativity springs from what could legitimately be called wasteful action (intently). [...]

[...] Yet there can be danger that you forget that creative time can produce in an hour magic creations that ten hours of frightened, enforced time can never do—and that a moment’s inspiration in a bar, or with company, or on a walk in the park can bring forth world-changing theories that no amount of fearful economy of time will ever deliver.

[...] This is not creative action, or productive action, as he is now with your help beginning to realize.

Many of the Parker books on the other hand emphasize creativity, the intuitions, the use of the imagination, but are relatively innocent of any clear reasoning, logic, or any feeling for tradition at all. [...] Prentice is always, then, to some extent in a state of creative tension, as the seemingly opposed, seemingly contradictory elements are each expressed through these two divisions.

[...] And it’s obvious that in tonight’s little adventure I had once again cleverly protected myself from confronting the full creative blast of the light of the universe by allowing myself just a peek at it, and a careful one at that, at the top of a door. Seth has told me that as a physical creature I’d be overwhelmed if ever I came even close to facing that awesome conscious and creative power.”

[...] The textbook division represents the workings of the intellect in the usual terms of rational thought, and in those books the qualities of the imagination, of the psyche, of poetry, of creativity, are quite lacking. [...]

[...] It knows that I appear in sessions, for example, but it does not know whether or not my ideas correspond with a greater reality, or whether they are the result of an extraordinary psychological creativity.

[...] Then, as of Monday, he can begin to correlate the new physical activity with his writing, gently, by settling upon three hours a day of the basic “time put in”—but with the stress upon creativity, ideas, and free creative play that may or may not include Seven on any given day.

(11:07.) His creative abilities will see to it that Seven is finished. [...] You are not to compare yourselves with people who have jobs, or to say “They put in so many hours”—for you set up comparisons that do not apply, and that hamper your creativity.

Now many beliefs that are unfortunate, in your terms, are worked out through creativity at other levels, so that dreams, intuitions, and mental processes work together with bodily expression toward a resolution. [...]

[...] I am aware of your difficulties with time, practically, and yet freeing yourself of the ideas of work as you have begun to do lately with “Unknown” frees your creativity, and you concentrate better and more clearly. [...]

6. Much of Seth’s material in this session (and in this paragraph), along with his obviously intense feelings about what he was saying, reminded me of a group of sessions he gave well over a decade ago on the three creative dilemmas of All That Is. In them he discussed at length the “agonized search” for expression of the powers of creativity and existence, and how the beginning of that search “may have represented the birth throes of All That Is as we know it.”

The infinite ranges possible to human capabilities would be explored — and those who chose that route said, quote: “We will trust that our creativity will find its own way, and if there are nightmares we will waken from them. [...]

(Jane hasn’t written for music before, and found that creative activity very refreshing.

[...] And that trust is within you whether or not you recognize it, for it gives you your present experience; and no matter how your mind questions, it rides securely in the great creativity of the soul.

Your own will appear in a burst of greater creative freedom. [...] Your belief in an unsafe universe however was reflected in a dampening of your creative abilities in contrast to what you can produce. As your beliefs change completely, as they are, you will then experience a far greater creative freedom and release from the tyranny of time that those beliefs brought about.

[...] It does become safer, and even you personally this time can see Prentice as a creative adjunct with which you can work.

In your world, however, and according to your beliefs, some “realistic” events had to prove out the practicality of the safe universe in publishing terms —so you have a creative conflict.

[...] At Ruburt’s level and your own, the events show you that the universe, as it applies to your publishing world is safe—with leeway for action—and also opens up creative relationships with people at Prentice that were latent before. [...]

[...] Creativity is endless, and the psyche is the greatest source of creativity. [...]

[...] I am myself … You are death and you are life … Ruburt can do many things that surprise me — that I did not do in my past, for remember that fresh creativity emerges from the past also, as in [Ruburt’s novel] Oversoul Seven. [...]

[...] You may be able to see that those existences, like the mountain, would exist at once, but you might forget that there is endless creativity and change at all levels of the mountain. [...]

(Pause, one of many.) Time periods are natural and creative. [...]

Ruburt was correct: your spontaneous creative self dwells in Framework 2. There, your nature is intimately known, with all of its unique characteristics and capabilities. [...]

[...] The idea about the seminars in an example of Framework 2’s creativity, as it begins to provide goals that automatically imply physical flexibility and confidence.

[...] The descriptions given by James in the later part of the book actually apply very well to the creative medium of Framework 2, for your needs are anticipated and automatically provided for, if, again, you do not impede them through contrary beliefs.

Ruburt will shortly feel more and more energetic, and even be provided with greater wealth of creative material, as the energy that has been used to maintain symptoms is automatically freed, transformed into those vital areas of his interest.

It chose an environment where hardship would automatically teach a certain discipline, and yet one in which the psychic nature of the circumstances would also permit intuitive creative growth. [...] The purpose was to set up a situation in which both strong facets of the personality could emerge; the intellectual, reasoning, rather practical and controlling aspects, hand in hand with the highly volatile creative spontaneous portions.

In so doing he learned to understand his own emotional nature, how to direct its energies, and how to use it as a source of creativity and psychic and spiritual accomplishment.

[...] Before, the presence of his mother and those surroundings acted as both restraints on over-spontaneity, and as aids for the growth of creativity. [...]

[...] The part-time job at the gallery for a while became a controlling factor, preventing him from dealing with the creative self on a full-time basis.

Creative understanding is necessary. [...] Your creative abilities, coming into full flower, will maintain you mightily however until the end of your lives, and serve as the same kind of impetus that usually spurs the very young onward.

It is fortunate that his most creative periods come in late spring and through into autumn. [...]

[...] You have been given abilities, both in creative fields.

[...] Now in both of your lives, you have managed to express creative abilities to advantage, to draw upon these not only at isolated periods of your lives, or in partial form, but in such a fashion that they have provided you with continuing frameworks of self-discovery and creativity—so when you are counting accomplishments, remember that (in reference to question 2.

[...] (Pause.) You are not simply trying to look at the world differently, for example, or to change a hypothetical reality, but to creatively bring about some version of a creative and artistic vision that results not simply in greater poems or paintings, but in greater renditions of reality (all very intently.

(9:34.) Instead, your natural creativity and your natural energies would some time ago have led you naturally (underlined) to a more productive use of nuclear force, to ways of rendering such use harmless in the short and long run, so that it could take its place in a loving technology. [...]

[...] 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. [...]

[...] Those resources are considerable, for they include the deepest aspects of your creativity, and powers far beneath consciousness of which you are only dimly aware.

[...] You confuse violence with aggression, and do not understand aggression’s creative activity or its purpose as a method of communication to prevent violence.

[...] Any creative idea is aggressive. [...]

Violence is basically an overwhelming surrender, and in all violence there is a great degree of suicidal emotion, the antithesis of creativity. [...]

[...] Imagine what you will do as you sell so many paintings that you need more time to produce them, and how you will then leave your job in order to paint, and the sort of place you will live, and the feeling of contentment and creative challenge that will fill you.

Now I tell you that if both of you use these methods, you will indeed completely change for the better not only your physical environment and reality, but your inner, creative, psychic and spiritual environment. [...]

[...] He did not believe that strongly in the creative function of his own being, and in the natural abundance of life itself. [...]

[...] Nevertheless his creative functions continued. [...]

[...] He can show his aggressive nature, which is basically his creative nature, but he does not have to deal with it. [...] He has not learned the difference between violence and creativity, though they are closely allied, and he is frightened of the similarity.

[...] He enjoyed last evening’s spontaneous session (for Jane’s Tuesday night ESP class), and such sessions, while they do not particularly add to our material, replenish his creative efforts and give him a sense of freedom. [...]

[...] He feels that you do not realize that while you are both busy four nights a week, that he is highly creatively and psychically involved with psychic work, that it is not just business.

Even with Ruburt’s difficulties as a personality he now makes more use, though he does not realize it, of his creative energies than he ever did. [...]

[...] Much creative material of quite practical value is lost in the process. [...]

[...] Most of all, there would be far — if you will excuse me — better communication between the subjective layers of the self, an increased sense of security, and, particularly with children, an earlier kindling of creative abilities.

[...] Creative and psychic abilities are thrust into the background simply because of this artificial division. [...]

[...] Her physical condition was obviously intimately related to her creative condition. [...] Not that all of our friends hadn’t known of Jane’s physical symptoms for some time, but that Jane, with her innocence and determination—and yes, her mystical view of temporal reality²—had for the most part refused to put herself on display, as she termed it: She felt that she should offer something better to herself and to others, even with all of the intensely creative work she’d done for herself and for others over the last 17 years.

[...] Since she wouldn’t be working with that project for some little time now, Jane’s restless creative mind began to play with other ideas. Even though she often didn’t feel well, a portion of her creativity led her to have dreams of walking and dancing, of being completely healed physically. [...]

[...] That self itself has become frightened, in conflict within itself over its early training and Jane’s great creativity, which it regards as wrong: The creative self is guilty. [...]

[...] I have said before that many creative people, highly gifted, have died young in one way or the other because their great gifts of creativity could find no clear room in which to grow. [...]

[...] Now these various plays, these creative period pieces represent what you would call reincarnational lives.

The play itself was concerned with the actualization of intuitive truth into what you would call artistic form, with a creativity of such vast and sweeping results that it would serve to awaken latent abilities within each actor and to serve as a model of behavior.

[...] It has within it infinite sources of creativity, unlimited possibilities of development. [...]

Within this reality, it then brings about all kinds of creativity and development that could not appear otherwise. [...]

Now your relationship, as I told you, is a creative springboard for you both. The Sumari development would not have occurred until your relationship had a revival, and further creative developments have already been sparked for the same reason.

In fact, your behavior yesterday was so appreciated that it led to the creative inspiration of your Christmas present, which is an exciting creative endeavor. [...]

Both of you also have emotional ideas, now being tempered I hope, emotional feelings, that to deny sex or minimize it is to improve your creative capacity. [...]

Creativity is an emotional and psychic characteristic. [...] The dreams of the highly creative exist multidimensionally. Projections rarely occur except to creative individuals. [...]

[...] The creative individual has more vivid dream experiences and more vivid waking experiences than other individuals. Creativity should not be considered as the property of those who work in the arts however, for it is not theirs exclusively.

The more creative energy you generate, the more you are able to generate. [...]

Conscious projections—I should clear this: Projections that are conscious ones—usually occur only to highly creative individuals. [...]