“Seth material” search engine (Jane Roberts)

[...] Not only that, but there would be a creative give-and-take between it and the tree that gave it birth. [...]

[...] In those terms, little creativity is allowed it. [...]

2. Seth’s creative use of “hallucinations” here is certainly at variance with the concepts ordinarily associated with the word. [...]

[...] The sunny nature [of that house], regardless of what Ruburt thinks now, will help him creatively and physically — but the hill house represents a decision to face the world while maintaining certain necessary and quite reasonable conditions. [...] The hillside is not yours, yet it is your view, and it has strong evocative connections with your creative lives. [...]

[...] There are then what you can call subfamilies, combinations, highly creative. [...]

Nor would any intrinsically valuable information have come through, unless of course Ruburt had no strong, utilized creative outlets of his own. For oftentimes a benevolent secondary personality will indeed act as an outlet for creative abilities that the dominant ego has been unable to use.

[...] It was the outlet of creative writing, early adopted, that saved him from becoming a most rigid and frozen personality; and if he had adopted such a stonelike ego, then indeed he would now be in dangerous circumstances, since his strong creative nature would finally and disastrously have shattered the stone image.

[...] Seth has said again and again that these changes represent improvements growing out of our better understanding of our beliefs, our artistic/creative work, and indeed our whole life-style. [...]

[...] This present session represents, then, our latest attempt to come to terms with all of our personal, public, and creative aspects involved with the Seth material—not just those we’d chosen to deal with in past years.

[...] He would have encountered no unusual obstacles as far as his public stance was concerned, in that he would have felt the rather characteristic dilemma of some creative writers, who must assimilate the private and public portions of their experiences. [...]

[...] It bothers him that some people, he thinks, consider that our books make up another bible or its equivalent, and it seems to him that their lack of understanding in that regard hampers his own creativity. [...]

(For the past few days I’ve done little “creative” work, beyond working on my watercolor portrait of Mrs. Johnson, the subject of my dream of last November, for an hour or two in the mornings; then in the afternoons I’ve typed these sessions and written the required notes for the record. [...]

[...] He can do far better, and the way to begin is to allow the spontaneous self as much freedom as he can in daily life, and to trust its expression—that it knows his psychic and creative needs, his physical needs, his social and financial needs, and all of these can be taken care of.

Over the years I helped Jane while marvelling at her great creativity and trying to understand its source. [...]

[...] Their very creative relationship lasted for 21 years.

[...] I am not speaking merely of hidden variables, in scientific terms, nor am I saying that the universe is an illusion, but a psychological reality in which “objectivity” is the result of psychological creativity.

It is not to say that you cannot understand the nature of the universe to some extent, but the answers lie in the natures of your own minds, in the processes of individual creativity, in studies that ask questions like: “Where did this thought come from? [...]

[...] But changed wake-sleep habits can, again, bring about a transformation in which it is obvious that dreams contain great wisdom and creativity, that the unconscious is indeed quite conscious, and that in fact the individual sense of identity can be retained in the dream state. [...]

[...] Such wake-sleep patterns as I have suggested would acquaint you with the great creative and energetic portions of psychological behavior — that are not undifferentiated at all, but simply distinct from your usual concepts of consciousness; and these operate throughout your life.

[...] At the same time all of those flamboyant, creative, spontaneous, emotional surges that emerge normally from the unconscious become feared and projected outward, then, upon enemies, other races and creeds.

[...] A “perfect” society, idealistically speaking, would provide these qualities by encouraging each individual to use his potentials to the fullest, to revel in his challenges, and to be led on by his great natural excitement as he tries to extend powers of creative potency in his own unique way.

[...] I speak here again of power as the ability to act creatively and with some effectiveness. [...]

Though it may not seem so to you, these are all creative procedures, and corrective ones. [...]

[...] There are always opportunities of growth and unusual creativity possible under those conditions for all involved. [...]

[...] Often the successful activity represents a challenge on the part of the personality who set it in terms of psychological creativity, and the overall enrichment of experience. [...]

The interaction is constant, however, and in all of your presents, creative. [...]

(To me:) Your own creativity has also had a psychic basis, and often you have translated such information into your paintings without ever having been aware you have done so. [...]

Your defense was a creative one however. [...]

[...] (Long pause.) Both of you have always been strongly creative, have always been concerned with translating inner reality outward.

[...] Your body is much like a sculptor or a sculpt, never really completed, the inner self trying out various techniques of creativity on its first test piece. [...]

[...] They limit his effective area of psychic and creative activity. [...]

[...] Another positive suggestion is for the father to involve himself in creative endeavors with his painting. [...]

They can express their personhood freely—in those areas that do not threaten their creativity, but as the idea grows, there are few areas left. Your creativity as artists is dependent upon the fulfillment of your personhood, not upon its denial. [...]

Some of Ruburt’s students would receive great feelings of creative endeavor if you allowed them the simple pleasure of making out envelopes for your (new) letter (to correspondents), but you are afraid of sharing that work, menial as it is. [...]

[...] The creative function and basis that has been distorted into the idea of aggression — the urge to act — was not understood. [...]

[...] But because their purpose was so single-minded — the avoidance of violence — rather, say, than the constructive peaceful development of creative potential, their experience was highly one-sided. [...]

[...] They well understood the evils of violence in earthly terms, but they would have denied the individual’s right to learn this his own way, and thus prevented the individual from using his own methods, creatively, to turn the violence into constructive areas. [...]

Creativity connects waking and dreaming reality, and is in itself a threshold in which the waking and dreaming selves merge to form constructs that belong equally to each reality. You cannot begin to understand how you form the physical events of your lives unless you understand the connections between creativity, dreams, play, and those events that form your waking hours. [...]

[...] This can be done through techniques that are largely connected with creativity.

[...] Those usual events arise from the creative impetus that occurs at these other levels.

[...] A creative idea might lead to a book — certainly a physical-enough production. [...]

[...] I want to discuss the connections between creativity, dreams, and the actual formation of physical events. [...]

[...] This also means, however, that you inhibit natural, playful creativity and sometimes what I will call high art, because you are so obsessed with your images. [...]

Creative work must transcend time, and when he is writing well, time is forgotten. [...]

[...] The session should give both of you important hints to release your own creativity, and when Ruburt is feeling blue about something, if he does not discuss it with you, he should write the feelings down at once.

Seven was available, for Ruburt did realize that Seven represented legitimate playful, spontaneous and creative elements that he often inhibited. [...]

These are all highly creative, regardless of the apparent effects of what you would call the less desirable ones.

The creative liberation in his own work (since Seth’s book has been finished Jane has started two books of her own) is a clear symptom on the positive side of the change in feeling-tone, as was the more expansive idea of adding to your establishment. [...]

What seemed to be a time of most uncomfortable and unhappy circumstance was indeed a re-evaluation and adjustment, most necessary if the personality were to continue to function as a strongly creative effective individual.

[...] Such problems would have had to be faced in any case, but they were faced creatively, and brought about these sessions and your own psychic developments.

(9:24.) The joy of creativity flows through you as effortlessly as your breath. [...]

[...] But it represents your deepest, most creative impulses; to fight against it is like trying to swim upstream against a strong current.

[...] Because of the creative cooperation that exists, the miracle of physical materialization is performed so smoothly and automatically that consciously you are not aware of your part in it.

[...] There is no other rule. Knowing this is the secret of creativity.