“Seth material” search engine (Jane Roberts)

(All with much emphasis and irony:) The idea of a meaningless universe, however, is in itself a highly creative imaginative act. [...]

[...] It is always creative, and underneath the frameworks of society it provides fresh incentives and new avenues for fulfillment, that can become harnessed through fanatical belief. [...]

[...] An avalanche or a flood or an earthquake will not be seen as a natural act of the earth’s natural creativity, but instead as a punishment from God for sin.

I’d say that in this 829th session Seth spoke out of a knowledge of biblical tradition and history; that is, he wasn’t saying that Christ did rise from the dead or ascend into heaven, but referring to Christianity’s interpretation of its own creative Christ story. [...]

[...] They are a by-product of the learning process, created by you, in themselves quite neutral … Illness and suffering are the results of the misdirection of creative energy. They are a part of the creative force, however. [...]

[...] The brain’s great creative neocortex is held especially accountable for problems that may lead to humanity’s self-destruction. None of these challenges, as Jane and I habitually call them, are seen as distorted expressions of the kind of creativity Seth has described many times.²¹

You do not survive through cooperation, according to that theory, and nature is not given a kind or creative intent, but a murderous one. And if you see yourselves as the end result of such a species, then how can you expect goodness or merit or creativity from yourselves, or from others? [...]

[...] Theistic evolutionists and progressive creationists, for example, try to bring the two extremes closer together through postulating various methods by which God created the world and then, while remaining hidden, either helped it to evolve to its present state in the Darwinistic tradition, or, through a series of creative acts, brought forth each succeeding “higher” form of life.

[...] But our creative work is everything, and so it, and whatever pertains to it, go to a place where all will be preserved and protected, yet made available for study by researchers and lay people alike as it is transmitted there.

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.

Love is naturally creative and explorative — that is, you want to creatively explore the aspects of the beloved one. [...]

[...] An encounter, for example, that is a nuisance today may suddenly spark a new insight tomorrow, or appear in your own work in an entirely different form that you do not recognize, simply because you are not used to looking at such distractions in this kind of creative light.

[...] I am telling you that creativity often parades under the guise of disruption—and the word is “parades.”

(I think these changes in Jane during sessions are caused by her creative reception of a portion of an entity, an essence, that we call Seth, and by her own ideas of what this certain segment is like as she casts it in the masculine gender. [...]

[...] You are sometimes wiser, more creative, and far more knowledgeable when you are dreaming than when you are awake.

[...] You have grown sophisticated enough to realize that the Devil is a projection of your own psyche, but you have not grown wise enough to learn how to use your creativity constructively.

Each consciousness, regardless of its physical form, is filled with creativity and joy and possibilities—each is unique. [...]

[...] You encourage your children in their creativity, and when they make errors and when you see that their houses will not stand, you do not kick the blocks aside in ire. [...]

[...] You can easily open within yourselves those channels to creativity. [...]

[...] They can escape from you like water through your fingers, carrying with them vital nutrients that spread across the landscape of your psyche — and all too often carrying sludge and mud that clog up the channels of experience and creativity.

[...] There are methods of using these as springboards for creativity. [...]

The point will be made that all healings are the result of the acceptance of one basic fact: That matter is formed by those inner qualities that give it vitality, that structure follows expectation, that matter at any time can be completely changed by the activation of the creative faculties inherent in all consciousness.

[...] Actually the sessions show a remarkable synthesis of conscious and unconscious abilities, a creative blend that fulfills all portions of the psyche....

Thursday 12:20—What I like about all this is that I FEEL that the head area—which is clearing all day and week—is the basic area in which everything started; even the slowness; and that all of that is in the process of clearing—that, the physical stuff PLUS, this AM the feeling I’m doing stuff at creative inspirational levels too; figured out important stuff about James for example—and I FEEL that my recovery can be easy—automatic—and that it only seems that the “body needs time” etc. [...]

[...] You are doing well in your creative work also, and in your writing. You forget there are problems you must work through, and that in the struggle to create further creativity results. [...]

You have a wiser, more creative spirit, but you will be able to translate what you get into technical terms which few can do comparatively speaking. [...]

[...] Instead, identify with your own creative childlike self. [...]

The soul can be described for that matter, as a multidimensional, infinite act, each minute probability being brought somewhere into actuality and existence; an infinite creative act that creates for itself infinite dimensions in which fulfillment is possible.

[...] It should arouse within you the strongest feelings of creativity and speculation. [...]

The imagination has always dealt with creativity, and as man began to settle upon a kind of consciousness that dealt with cause and effect, he no longer physically perceived the products of his imagination directly in the old manner. [...]

[...] You could not live in your present world of time if your consciousness was as playful, curious, and creative as it was, for [then] time was also experienced far differently.

These “other,” reinterpreted world views form a matrix from which new creativity emerges. [...] No one else has viewed your particular dilemma through your eyes, yet others have been in similar situations, solved the challenges involved, and gone on to greater creativity and fulfillment. [...]

Such creative “architect’s plans” are often unknowingly picked up by others, altered or changed, ending up as entirely new productions. [...]

[...] In ordinary life you often hamper your own creativity. [...]

[...] Therefore much of its creativity escapes you.

(10:10.) The dream state provides you with a preliminary stage in which working hypotheses can be creatively formed and tried out in a context of playfulness. [...]

[...] Because there is more freedom from time and space in the dream state, there is greater overall perspective; many solutions that may appear poor in the short range — as they are physically activated — will in the longer range be seen as highly creative.

[...] By suggesting before sleep that solutions to problems be given you, you automatically begin to utilize your dream knowledge to a greater extent, and to open the doors to your own greater creativity.

There are intuitive and very playful connections between Ruburt and Aerofranz that are highly creative. [...]

Now there is a connection between Oversoul 7, and the young, sometimes bungling young soul—Ruburt’s creative sparkling, spontaneous self and Aerofranz. [...]

The alliance with Seagull, and any ensuing household excitement was highly creative and important. [...]

[...] As stated this creed grew out of the last, 584th session for May 3, 1971, Seth Speaks, pages 321 and 322, where Seth discussed the ego’s fear of being swamped by strong creative abilities, etc. [...]

[...] It taught me to consider all portions of the personality—its needs, desires, creative drives and expressions, etc., and I intuitively linked this up with Jane’s problems. [...]

[...] She wants to, and needs to, do work in which she is her own creator, and goes through the creative process from start to finish consciously, etc. [...]

[...] Strange, I thought, if it turned out that personal work would be one of the most creative of all the uses to which the Seth material could be put, rather than grandiose pronouncements coming down from on high, dispensed by one who was in a position of superiority.

Even before our sessions began, you both knew that generally speaking, now, you were quite different from other people, highly gifted creatively and intellectually. [...]

[...] You both felt, again to some degree, that people could not understand your particular kinds of creativity. [...]

[...] Ruburt was astonished, and became more so at the spontaneous nature of his own and my creativity. [...]

You are afraid of releasing your energy into your work, for fear it will carry you beyond all ordinary relationships—simply because your father’s creativity seemed to cut him off from his wife and sons, and to lead to isolation. Creative success, not necessarily in terms of money, but creative fulfillment, becomes then a threat in which you see yourself cut off and isolated—while isolation is precisely what you think you must have to fulfill your abilities.

1. I still feel guilty doing creative stuff like poetry in work time when it might not sell. [...]

[...] Dissociation actually is a stronger unity with the creative aspects of your personality. It puts you back, or it puts your creative talents back, in the driver’s seat. [...]

[...] The creative energies build up their thickly-dimensioned pseudorealities of pain. [...]

[...] There is a tendency in your present personality for forging discipline into a bond that could tie down your strong creative tendencies. [...]

When your own personalities are more or less in balance you have no trouble at all in looking out for these creatures, and actually reinforcing their own existence with residues of your creative and sympathetic powers. [...]