“Seth material” search engine (Jane Roberts)

[...] This will improve your painting, your creative life, and your psychic life, but you are turning inward too much without knowing what you are doing, at this time. You need to compensate by direct and aggressive physical action, either in a job that will relate you with others or in some aspect along those lines that will allow you to untangle the inner self and release your creative abilities. [...]

[...] Our seed, however, who does not have this fine intellect that sits so nicely beneath your hair and within your skull, our seed without the intellect, rests joyfully within the earth knowing it is in the midst of creativity and that from within it, again, another flower will spring. [...]

You badger your creative abilities too much. [...]

[...] Allow your creative feelings to emerge into realistic work. [...]

[...] Old age is a highly creative part of living. The connections between it and childhood are often made in a derogatory fashion, but the personality is in just as creative a state. [...]

[...] These are in many ways like adolescent experiences in their great bursts of creative activity, with the resulting formation of questions, and the preparation for a completely new kind of personality growth and fulfillment.

[...] This is one of the most creative, valuable aspects of your lives. [...]

[...] In older age, however, no one is interested, and yet it is here, as in adolescence, that the greatest creativity may emerge but go unrecognized. [...]

Your original purpose was the purpose of the creative artist or of the mystic, and that kind of purpose automatically brings you in rebellion against official authority. [...] It can make you bitter for no reason, for this kind of creative work exists outside of its time, and will still be read when the old authorities no longer exist, in your terms.

Your work, in any case, is the interpretation of reality through your own experience, providing a new and creative view of man and the universe. [...]

[...] Whenever possible then outside of normal considerations, both of you should concentrate upon the creative, intuitive elements of what you are involved in. [...]

[...] There is nothing at all wrong with wanting, say, to become a millionaire, but if you simply concentrate upon the creative, personal elements in your lives—your writing in the notes, your painting, Ruburt’s writing and psychic freedom, then everything else will fall into place. [...]

[...] In a curious fashion, such letting go of effort might well result in an increased abundance of creativity, for example, but the mental and psychological set allows an individual to become more aware of the basic motivations of the personality, that show themselves quite clearly through the impulses, and through desires—particularly when they are not overlain by layers of “I must,” “I should,” or “I must do this or that.” [...]

[...] This is not a statement of passivity in conventional terms, but a creative releasing of the basic personality from the restraints of hampering beliefs.

[...] This letting-go happens naturally just before the initiation of any creative endeavor.

The material he received from me (Monday evening) was from me, and his suggestion that you work late that evening was the result of a creative impulse on his part. [...]

[...] I would like you to attend to your lives as they otherwise appear before you, for a period of time to return to sessions because of your natural living curiosity and involvement with them, and to attend most of all to creative thought as it naturally makes itself known. [...] But we will let it go for the moment, refresh ourselves and allow the energy of creativity to work upon the paragraph till we return to it.” [...]

[...] He has an almost steady impulse toward psychic activity, toward creativity. [...]

[...] His creative and psychic abilities emerge precisely when he is relaxed. [...]

[...] It might have seemed sometimes that our ideas were fanciful projections, hoped-for but unreal hypotheses that had their own important intrinsic creative value, but did not necessarily stand for any real statements of fact about the physical universe. [...]

[...] Remember Framework 2, for its vast creative nature can help provide the impetus to help break through such limiting beliefs. [...]

(“Impulses have a life-serving, life-promoting, creative basis, and possess a spontaneous order—though as we will see, that order may not be immediately apparent since the orderly pattern is larger than our conscious span of events.” [...]

[...] The call [which was action, a creative synthesis of your joint feelings], gave you information you didn’t have before—that The Voice [as an entity] knew of the Silence Gallery in a confused way. [...]

Original thinkers, creative innovators, often have their difficulties with their fellow men, even if their careers are backed up by academic credentials, organizations, or whatever. [...]

[...] From many sources—literature, psychology, religion, biography, he felt that creative or artistic people, those highly gifted, were persecuted by others, hunted down, misunderstood, and poorly equipped to deal with the social world. [...]

Now: you should reread Ruburt’s library material in the Cézanne book, on authority and creativity, for it is excellent. [...]

[...] It will always be “undermined” by creativity, and the search for another, newer version of reality. [...]

[...] Most people settle for following authority—particularly in the professional aspects of their lives, the community affiliations, and so forth, while here and there insisting upon a kind of private creativity that does not threaten the larger beliefs of the structure.

When this happens, you become part of a creative surge. [...]

The latest disclaimer issue simply falls into the same pattern, and therefore was added to it, but all of those issues involve his feelings and beliefs about work and creativity. Any issues with you also involved work and creativity, along with the expectations that you had of each other—not just in your married roles but as partners and colleagues in your artistic endeavors. [...]

(Pause.) This material should be read in conjunction with the sessions just mentioned, dealing with his ideas about work and creativity. [...]

[...] Enjoy the intimate behavior of life, the compensations that are available, and your own relationship, which provides more creative solutions than you realize. [...]

[...] Our sessions have also had their basis in spontaneity and creative energy, and the spontaneous nature always shows itself. [...]

[...] It took him some time to accept the fact of the sessions, and when he did so nothing would do but that he overdo, and accept them as a task rather than a joyful creative endeavor.

[...] Intuitively and creatively new avenues will be opened to you. [...]

[...] (Pause.) It is no more his duty to be psychic than it is his duty to be human, or creative. [...]

One had to do with the in quotes “problem” of artistic creativity versus womanhood, and this along with personal background brought about a distrust of the feminine organs. [...]

The creative block in the writing has been worked out. [...]

Spending money as Ruburt has been doing, and his freedom with his creative-writing money, will give him more. [...]

[...] Open expressions of warmth are extremely important, on both of your parts in your daily life, and are also connected with your creativity as well as your health. [...]

[...] When Ruburt forgot to worry because “he wasn’t working,” his natural playful creativity bubbled to the surface, and today he wrote poetry. Poetry, however, did not fit into his current ideas about work, and so that excellent creativity was hardly counted at all.

[...] It would be nice if you took it for granted that all of those issues were also being creatively worked out to your advantage. [...] His body is responding, however, so let him remember that creativity is playful, and that it always surfaces when he allows his mind to drop its worries.

[...] And in his opening delivery he referred to the creative freedoms that—seemingly in spite of her conscious fussing—Jane had allowed herself today.)

[...] (Pause.) In a fashion, creative play is your human version of far greater characteristics from which your universe itself was formed. [...]

Most people, however, are so utterly serious that they suspect their own creativity. [...] Yet there is a great correlation between what you think of as creativity, altered states of consciousness, play, and “spiritual” development.

[...] Within its framework lie the secrets of creativity, and within the secrets of creativity lie the secrets of being.

[...] Instead, during the last week he let his own creative imagination go wherever it might while he held the general idea in his mind. [...]

(Pause.) When you think, colon: “Life is earnest,” and decide to put away childish things, then often you lose sight of your own creativity and become so deadly serious that you cannot play, even mentally. [...]

[...] The great — the greatest creative force — that force that is the origin for all physical life — did not suddenly appear once in some distant past, sparking the birth of your reality, endowing it with an energy that could only then run down, or dissipate. [...]

(There are indeed “new twists” in the material, some of which I cannot really put into words — but Seth’s creative gifts have yet to be exhausted, I note.

[...] The idea of creative play, no matter how futile the idea may sometimes appear, is excellent, and can be used, again, when you both remember to assert your creative playful selves. [...]

[...] It served then a creative, beneficial capacity. [...]

There are no presents or pasts to these minds, only simultaneous experience, and a creativity that constantly of itself and its existence creates more. [...]

[...] This symbol explains the workings of the probable system, all possible variations being formed, and each creatively bringing forth another.

And when you sleep you are in accelerated periods of creativity and concentration, making with thoughts and images the world you know, forming from inner experience the physical story that will unfold, the events that you will encounter physically.

[...] Certainly the entire affair is to be used creatively. Art, including writing, of course—creativity itself—is bound to be, as per the Cézanne passage (I’d called to Jane’s attention a couple of weeks ago) sometimes disruptive. [...]

[...] At the same time, as the book’s criticism has a good import, so is the disclaimer in its fashion a creative example, again, of the book’s premise, and also would serve for that matter in a way that may not have been anticipated: with the disclaimer the book may well sell more copies by far than it would otherwise (humorously), for people will be curious about what such a volume might contain that will be dangerous to the public good. [...]

[...] It is very important, then, that you learn to trust your own creativity and your own vision, and allow it its expression, for it will always lead to a more fulfilling vision. [...]

Creatively and intuitively, he relates much better to others than he realizes, and this will also add to the manuscript on which he is working. Addressing himself as a writer to ordinary people will enlarge his own creative abilities. [...]

[...] Working with it Ruburt can use his own creative abilities as he attempts to make a work of art from any given book. [...]

[...] Speaking to the reader releases his intuitive and emotional and creative abilities.

DREAMS, CREATIVITY, LANGUAGES, AND “CORDELLAS”

Next chapter, which I believe is eight: “Dreams, Creativity, Languages, and ‘Cordellas.’” You may put Cordellas in quotes.

[...] Death is therefore as creative as birth, and as necessary for action and consciousness, in your terms.

[...] In your terms they emerge from the future and form the past, and are given vitality because of creative tension that exists between what you think of as your birth and your death.