“Seth material” search engine (Jane Roberts)

Natural aggression provides the charge for all creativity. [...] Natural aggression is the creative loving thrust forward, the way in which love is activated, the fuel through whose agency love propels itself. (With emphasis:) Aggression in the most basic terms has nothing to do with physical violence as you think of it, but with the force through which love is perpetuated and creatively renewed.

The connections between creativity and aggression have never been understood in your society. [...]

Males who are creatively gifted find themselves in some dilemma, for their rich, sensed creativity comes into direct conflict with their ideas of virility. [...]

[...] In your system of beliefs, however, it is often identified as feminine, along with the artistic productions that emerge from its creativity. [...]

[...] The unconscious therefore seems to be female, and the feminine characteristics are usually given as passive, intuitive, nurturing, creative, uninventive, concerned with preserving the status quo, disliking change. [...]

“Ruburt is, as you know, highly creative. [...] They do not think of themselves as products of their own creativity. Because of Ruburt’s energy and creativity, he has always perfectly mirrored and even somewhat exaggerated the condition of the inner self, its activities and inner postures.”

3. Seth’s material on individual creativity at once reminded me of a certain passage of his in the private, or deleted, portion of the 580th session for April 12, 1971. [...]

[...] (In the area of my condition we aren’t creative, daring,or innovative.) Improvements should not be considered against absolutes, but in the light of my position. [...]

I think that this experience and the manuscript were extensions of the creative subconscious processes that are behind each creative act: normal creativity suddenly “turned on” or stepped up to an almost incredible degree. [...]

I’d also like to mention here that I believe psychic ability itself is an outcropping or extension of creative abilities, inherent in each of us, and therefore normal rather than supranormal. [...] I think, then, that normal creative abilities, stepped up, tune us into other dimensions of reality.

[...] I considered nonfiction the field of journalists, not creative writers. [...]

[...] We learn the power and effects of ideas by changing them into physical realities; and we learn responsibility in the use of creative energy. [...]

[...] That creative kind of withdrawal is quite healthy, psychologically pertinent, and creative. [...]

—there are hidden aspects involved with creativity, of course—stages of development that do not show. [...]

[...] (Long pause.) In that regard indeed Ruburt felt as if he could not live up to my creative work—as if his physical being must embody all of the knowledge that came to him through our sessions—another important point. [...]

[...] All else in life would flow from that balanced creative free state of being. [...]

[...] His freedom, earned, has been bringing results financially and creatively in work areas. [...]

Last summer there were some important improvements physically, plus a rebirth of Ruburt’s creative abilities. [...]

(Long pause.) Those creative elements of personality must then to some extent or another finally communicate with the “Sinful Self” directly—sympathetically embrace that self (pause) as the part of personality that first accepted cultural and religious beliefs with all of their negative and positive influences. The more creative portion of personality must then realize that in a fashion it exists because the Sinful Self did. [...]

The errors and discrepancies of the culture are apparent, and that information can then be used in highly creative ways. [...]

[...] For many centuries creativity itself was firmly directed by Christianity, and to some extent (underlined) Christianity brings with it an air of uneasiness for society—to the extent that any original thought or insight must indeed imply an intrusive force to a world that must exist in a rare balance that is the result of preserving old values and obtaining new knowledge. [...]

[...] You can then examine your beliefs creatively, finding the correlations between them and your experience. [...]

Ruburt and Joseph have both worked with the nature of creativity, and from an early age each of them sought for answers — but most of all they trusted the destiny and grace of their beings.

I close by saying, as I have said before: You are given the gift of the gods; you create your reality according to your beliefs; yours is the creative energy that makes your world; there are no limitations to the self except those you believe in.

[...] Use those creative abilities with understanding abandon. [...]

[...] There was a creative use of suggestion—the second, of course, far better than the first group of thoughts.

[...] That is creative thinking in the physical area.

“I can think more creatively and positively in all areas of my life. [...]

[...] He was creatively aroused. [...]

[...] In the same way, the growth of any idea into temporal realization is the result of creative aggression. [...]

[...] (Very definitely:) The same thrusting creative surge brings them all forth. [...]

[...] You may even meet them in your experience, but if so they are still the product of your immeasurable creativity, though formed by your guilt and your belief in it.

Generally speaking, you are here to expand your consciousness, to learn the ways of creativity as directed through conscious thought. [...]

You understand that private experience, imperfect but creative, underlies the points in “Unknown” Reality. Creatively you see the photographs’ value, but they still caused a conflict between your ideas of perfection and self-disclosure, particularly as they were related to your mother’s attitudes.

[...] Even paintings of great destruction spoke of the great creative energy behind the talent that vitalized the very medium, and by its very creativity denied the very strength of the destruction so cleverly depicted.

THE CHARACTERISTICS OF FRAMEWORK 2. A CREATIVE ANALYSIS OF THE MEDIUM IN WHICH PHYSICALLY-ORIENTED CONSCIOUSNESS RESIDES, AND THE SOURCE OF EVENTS

[...] (Long pause.) “A Creative Analysis of the Medium in Which Physically-Oriented Consciousness Resides, and the Source of Events.”

The same issues underlie your own attitudes, the tension between effort and relaxation, discipline and spontaneity has applied, say, in the creative area as far as painting is concerned. [...]

[...] The disclaimer itself will be creatively utilized—something else that can escape your notice when you become too shortsighted. [...]

[...] It regenerates your energies, and indeed clears the passageways for creativity. [...]

[...] You have learned to some extent, some small extent to this time, the responsibility of creativity. [...]

The ability to manifest itself—and the always new creativity. [...]

You were conscious then; you did not know how to utilize consciousness and you were in a process of learning but even then you were creative. [...]

[...] And if he were, that would be the end of creativity and the end of any kind of existence or consciousness. [...]

For Ruburt, spring and fall are periods when all of his energy rouses at a highly creative level, and insights are particularly valuable at such times. [...] The seeking toward birth is a spiritual stimuli that is then re-enacted, but in new creative ways: so that Ruburt in winter, particularly in late winter, is on the one hand working toward new births of energy and creativity; and on the other is aware of the very need for such new birth, that would be implied in a before-birth situation.

Riding the creative energies in that manner, you see, would allow him to recognize his own rhythm, flow and ebb. [...]

[...] We … creatively keep altering ourselves and our mates. [...] Merged them with your mate’s so that between the two of you, you get a new creative mixture in a kind of psychological multiplication … You try different ways of using your own traits, etc.

[...] Yet, I find in it all of the ingredients that made up the Jane I knew — her great beauty, personality and creativity, her love of manipulating within her physical environment; I see her “steering herself” toward extraordinary accomplishments.

[...] In spite of all of her questions, however, her strong creative vitality — her intuitive insistence upon using her most unusual abilities — kept her focusing ahead, and I helped her as much as I could. [...]

[...] Jane was on a creative roll. [...]

[...] I’d mentioned her doing so, so as to help her use her creative abilities, since they are so much a part of her, whereas in times before I’d thought of asking her not to use those same abilities because I felt they were making her worse. I think that now I’ve learned — and hope to help teach Jane — that there’s nothing for it but to use one’s abilities full blast in every area — and that that resolve and action will conquer all and set her free — physically, creatively, and mentally.

[...] In that regard the Sinful-Self concept represents an exaggerated, distorted version of man’s recognition that in certain ways he seems (underlined) less sure of himself than the other species, less at ease, for he has taken upon himself the creative recognition of uncertainties (all intently. [...]

[...] The possible diversity and the vast assortment of the creative ventures possible mean that he had accepted certain measures of uncertainty. [...]

Even these, however, act as automatic learning devices, and left alone they themselves trigger the necessary creative procedures that would begin corrective measures. [...]