“Seth material” search engine (Jane Roberts)

[...] Your system deals with physical manipulability, again, and the translation of creativity into physical form. [...]

You have put yourselves in a position where your consciousness must now become aware of the probable pasts and probable futures, in order to form for yourselves a sane, fulfilling, and creative present.

[...] This need not take place, for the conscious mind — basically, now — having learned to focus in physical terms, is meant to expand, to accept unconscious intuitions and knowledge, and to organize these deeply creative principles into cultural patterns.

The unknown self, the “original self,” straddles realities, dipping in and out of them in creative versions of itself, taking on the properties of the system in which it appears, and the characteristics native to that environment. [...]

[...] In your conception of the centuries, then, there are other counterparts of yourself living at the same time and in different places — all creative versions of the original self. [...]

[...] Your own exterior space exists in precisely the same manner from the standpoint of any other reality (emphatically). For that matter, you yourself are so richly creative that your own thoughts give birth to other quite legitimate systems of which you have no knowledge.

[...] God gave you powers of creativity. [...]

[...] If you recognized the power of your own being, you would know that it ever seeks greater realms of creativity and experience, in which new challenges are inherent — for all problems are challenges.

To a lesser degree the same question applies to any highly inspirational creativity—which, again, has always been questioned by the church organization, which has been firmly against even, say, individual interpretation of the Bible itself. [...]

In the last period of time Ruburt has also produced his material on Speaker manuscripts, for example, when his mood has been on an entirely different nature, when he was immersed in creativity, and he felt a sense of accomplishment. [...]

(One of the questions concerned Seth’s material on page 218 of the last session, when he referred to the feeling that Jane and I have, that we had “an even more unfair advantage” without children—this, as he’d stated earlier, on top of our already being set apart from others because of our creative gifts. [...]

A fond good evening, again, and creative dreaming. [...]

Your remark about the dishes was most creative, despite the way the remark was put: “Soon you will be able to stand and do the dishes, and just enjoy the task.” [...]

[...] That belief will always bring the best possible developments from Framework 2. Ruburt should concentrate on his creative work. [...]

[...] The members of some ancient civilizations, including the Egyptians, knew how to be the conscious directors of dream activity, how to delve into various levels of dream reality to the founts of creativity, and they were able to use that source material in their physical world.²

[...] This is also a time of deep unconscious creativity….”

Within All That Is, then, the wish, desire and expectation of creativity existed before all other actuality. [...]

All That Is therefore “lost,” in quotes, a portion (underlined) of itself in that creative endeavor. [...]

In various periods that “gridwork” might “carry more traffic” along certain circuits than at other periods, so that there has been some creative leeway allowed, particularly on the parts of the species that make up your larger classifications. There were always birds, for example, but in the great interplay of “interior” and exterior communication among all portions of this vast living system, there was a creative interplay that allowed for endless variations within that classification, and each other one.

[...] I thought it obvious that her two latest intuitions from Seth were directly related—and that certain creative portions of her psyche never stopped “working.” [...]

[...] Because of Augustus’s particular temperament and nature, however, and his native though conventionally undeveloped creativity, he formed a structure rather than destroying one.

[...] In the first place it presupposes something completed and done beyond change, and so beyond motion, further development, or creativity.

[...] But in the same meaning of the word neither is the spirit, which to fulfill the requirement of perfection would have to be set in some state of completion beyond which no fulfillment or creativity was possible.

[...] Seth said: trust the thrust of your own creativity, and go along with it— referring to Seven—and somewhere along the line I.... [...]

Above all however do not concentrate upon this as a problem, but as a challenge you are even now overcoming, and let the rest of your day flow with other creativity.

[...] You should indeed imagine yourself, therefore, able to handle your energy effectively for your own good and the good of others; to imagine yourself as a channel through which the creativity of the universe can express itself. [...]

[...] And you will add to the creativity of All That Is ... [...]

[...] You should indeed imagine yourself, therefore, able to handle your energy effectively for your own good and the good of others; to imagine yourself as a channel through which the creativity of the universe can express itself. [...]

[...] And you will add to the creativity of All That Is and I said that you would add to it. [...]

[...] Here a great creative synthesis and a great creative diversification takes place, in which any given dream image has meaning to various layers of the self — on one level representing a truth you have lived and on other levels representing this truth as it is more specifically applied to various areas of experience or problems. [...]

Then on October 23 Jane’s creative contentions led to her “attend” material—in which she picked up from Seth that her only responsibility in life is to herself: “Attend to what is directly before you.” [...] However, she hadn’t had a session, regular or private, in over 10 weeks [since August 13], so on October 27 she recorded in her journal the continuance of her daily creative struggles: “And once again I’m way behind in sessions and writing. [...]

[...] Usually she just plunged right into her latest creative inspiration, and that she hadn’t done so this time was to me a clear sign of her long-range, general physical-emotional state. [...]

[...] These events show once again her body’s incredibly tough, creative, and ceaseless attempts to right itself and carry on—when it was allowed to respond to faith:

[...] We grew up without modern conveniences like portable tape recorders, of course, but even so our natural creative desires had always been to express ourselves graphically, in written and printed words and in drawn and painted images. [...]

(There were clear-cut connections between her creative performance today and her reception of the outline for The Way Toward Health last March; see the notes at 10:45, as well as Note 8, for Session 713; and in Volume 1, see Appendix 7. But there was even more creative expression to come through Jane this evening, not only in the session itself of course, but after it, as I try to explain in the concluding notes.

(Much of Jane’s day had been made up of a series of altered, and at times even near-ecstatic states of consciousness, each one expressing a unique and creative facet of her essentially mystical nature.¹⁰ Even though not at her best, she’d been able to draw upon lavish amounts of energy. [...]

[...] Paradoxically, her inspired reception of the material for Psychic Politics came about not only because of her innate knowledge feeling-tones, but because she gave that basic creative phenomenon expression in Politics.

in which our own creativity and being spring

(Since Jane began delivering the Seth material, I’ve become more and more interested in questions about the origins of creative [meaning artistic] endeavors. [...] Without going into Seth’s ideas that time is simultaneous, or that any endeavor is creative, the kinds of origins I’m discussing here wouldn’t have any beginning or end. [...]

[...] As in the Introductory Notes, I want to stress Jane’s role as the creative artist, disseminating her personal view of a larger inner reality, and her intuitive and conscious comprehension of at least some aspects of that reality; for such understanding can easily elude our Western-oriented, materialistic, technological outlook.