“Seth material” search engine (Jane Roberts)

[...] Some people do not understand artists, or any creative endeavor. [...] You can, however, collect information and statistics applying to any one group, and keep collecting it until you find that you do live in a reality in which all men certainly seem to be fools, or murderers, or hostile to creative people.

The word combines all of his goals—physical and creative—into one clear focus in which there is no ambiguity. [...]

[...] I also would greatly like the two of you to remember your own considerable natural creativity, innovative ideas, and usual independence of thought (all amused)—those are your assets. [...]

[...] This is not only waste of time, but it adversely affects your creativity, and that frame of mind will never generate solutions, but only further difficulties in any area (emphatically).

[...] The creative abilities in one way or another deal with the us-ness, with the inner intersections that everywhere occur within the most singular seeming aspects of your reality. The creative abilities join the creator and created (long pause) in a behavior in which for example, now, the painting that is to be affects the creator of it before its inception and before its form, so that the two are connected in a kind of behavior in which at deeper levels the ideas of cause and effect can have no meaning. [...]

Now: as I believe I have told you often, your creativity is one of your best clues as to how you operate, yourselves, in inner reality. [...]

[...] It is quite natural for children to play creatively with the various states of their own consciousnesses, to explore the “us-ness” of a seemingly single identity. [...]

[...] God is creativity and he creates creativity or other creators. Creativity of necessity, because of its nature, leads to further development and existence—to further creations. [...] Creativity always knows that further development always lies latent. [...]

[...] You have only to recognize the creativity within yourself. You have only to listen to your creative drive within you. [...]

(In regard to Seth’s remark, above, that our creative energies would be enhanced with the onset of these latest sessions, here’s the earlier reference he referred to, in the very first session for October 9, 1983: “Your joint creative abilities should also be more aroused because of this session, so that you will have more intuitive breakthroughs on your own, and jointly, that will benefit you both in many ways.” [...]

The hows and wherefores cannot be handled by the conscious mind, however, but should be taken care of by the creative intelligence within his subconscious mind. [...]

Your dehypnotizing practice is extremely helpful—and such a practice joins your creative energies so that they work in almost a double fashion on your behalf. [...]

[...] I told you that as a result of the sessions both your and Ruburt’s creative energies would be enhanced, so to some extent that acceleration was responsible for what you “saw.” [...]

[...] I was more than happy to follow this intuition from my creative self, for it answered many questions I’d started to consciously worry about.

[...] Why can’t we be left alone to live lives of peace and creativity? [...]

[...] Indeed, for several weeks following the initiation of the challenges I relate in the essays, supposedly creative activities like writing books and painting pictures often faded into insignificance by comparison. [...]

Yet, Jane and I were being creative with it all—the whole time—and moving several stages closer to understanding All That Is in the process. [...]

Many of the participators have never known that they had access to such energy; therefore, the notion that it could be used creatively never entered their heads. [...] For the first time, many of the participators realized intuitively that such energy was also the source of creativity. A good number of them will try various methods of reexperiencing this energy in order to release creative feelings they did not know they possessed. [...]

[...] Elementally there is only creativity. [...] There are different kinds of creativity, then, that must be learned, and a specialization in energy’s focus and feelings that emerges—elemental energy becoming conscious of itself and aware of issues that did not exist for it “earlier;” millions of molecules momentarily united with living consciousness, filled with primal energy, now learning love and forming highly sensitive psychic patterns; electrical charges that now form emotions instead of clouds; the innocent chaos of undifferentiated personality that exists behind the highly specified and truly sophisticated mechanism of one thought. [...]

[...] He also learns by his successes, and there are times when he holds his hand, moments of deliberation, periods of creativity. [...]

[...] The counterparts are not so evident, and yet it is the counterparts that are important: the self-discipline learned, the control, the compassion that finally is aroused, and the final and last lesson learned—the positive desire for creativity and love over destruction and hatred. [...]

It is highly important, again, that you remember the context in which the letters are written, and the great thrust of creativity that supports the world. I must remind you both that peoples’ good intent, their constructive creativity, their desire “to do better,” is far stronger, far more vital and all-pervading than any of their negative qualities—or, quite simply, you would not have a world, in your terms.

There are developments nearly ready, and I want him to remember once again the playfulness of creativity at all levels, including the physical. [...] They must be turned off, so that the creative abilities can transform them in their own way.

[...] You should also remember that each person is also immersed in Framework 2. The good intent and the creativity that individuals may at times be unable to express adequately, still exists and enriches the psychological atmosphere.

Carter was a cardinal in the 13th or 15th centuries—offhand, I am not sure which—then creatively unprincipled, comfortably lecherous, but he knew how to deal with politicians. [...]

In the beginning CU’s, then, units of consciousness, existing within a divine psychological gestalt, endowed with the unimaginable creativity of that sublime identity, began themselves to create, to explore, and to fulfill those innate values by which they were characterized. Operating both as waves and particles, directed in part by their own creative restlessness, and directed in part by the unquenchable creativity of All That Is, they embarked upon the project that brought time and space and your entire [universe] into being. [...]

(9:45.) Instead, you have an inner dimension of activity, a vast field of multidimensional creativity, a Creator that becomes a portion of each of its creations, and yet a Creator that is greater than the sum of its parts: a Creator that can know itself as a mouse in a field, or as the field, or as the continent upon which the field rests, or as the planet that holds the continent, or as the universe that holds the world—a force that is whole yet divisible, that is one and the inconceivably many, a force that is eternal and mortal at once, a force that plunges headlong into its own creativity, forming the seasons and experiencing them as well, glorifying in individuation, and yet always aware of the great unity that is within and behind and through all experiences of individuality: a force from [which] each moment’s pasts and futures flow out in every conceivable direction.

[...] Metaphysically, they can be thought of as the point at which All That Is acts to form [your] world—the immediate contact of a never-ending creative inspiration, coming into mental focus, the metamorphosis of certainly divine origin that brings the physical world into existence from the greater reality of divine fact. [...]

[...] As physical creatures, they focused upon what you think of as physical identities: separate, individual differences, endowing each physical consciousness with its own original variations and creative potentials, its own opportunity for completely original experience, and a viewpoint or platform from which to participate in reality—one that at that level could not be experienced in the same way by any other individual (all very intently). This is [the] privileged, always new, private and immediate, direct experience of any individual of any species, or of any degree, as it encounters the objective universe.

[...] Naturally this is brought about by my own reactions to whatever the trigger happens to be, but still “Unknown,” and other creative endeavors have often been involved, when conflicts between what I think of as useful creative work run into doing things like shoveling snow, or other household items that I seem to think of as “chores.” [...]

Three: I will remember the creative framework of existence, in which I have my being. Therefore the possibilities, potentials, seeming miracles, and joyful spontaneity of Framework 2 will be in my mind, so that the doors to creative living are open.

(9:27.) When you feel that way, you deepen a sense of isolation, while at the same time robbing yourselves of the true pleasures of accomplishment and creativity that a light isolation provides. [...]

[...] From the private session for January 30, 1974, which I quoted in Appendix 2: “Your father’s creativity … had its side of secrecy, privacy and aloneness … you identified creatively with his private nature. [...] You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household….”

The Sumari abilities are highly creative ones, however. [...] The playful, creative elements of personality can then be released. [...]

[...] The creative aspects of the Sumari can be particularly useful if those aspects are encouraged in any personality, simply because their inventive nature throws light on all elements of experience.

Following this analogy, in the same way each psyche contains within it infinite notes, and each note is capable of its own endless creative variations. [...]

(We also see creative connections between the way Jane produced The Wonderworks this month, and the book outline for The Way Toward Health last March, as described in Appendix 7. She conceived and delivered the latter while in a dissociated state also. [...]

“Creative expression, from its intuitional spark to objectification, mirrors in our private realities the way the universe was [and is] constantly created.

“Wonderworks — inner experiences just beneath usual consciousness — contain different orders of events.¹ Literally the stuff of all creativity (in miniature).

[...] It is the … creative product, en masse, of our individual and joint dreams … Our world is a dream level for some other types of consciousness; it’s shared to some extent, then, and can serve as a meeting point.

In his own way your father was saying “Since you do not trust my creativity I will deny you its benefits, even if I deny myself its benefits”—this to your mother; and you picked up a taboo: you could make money on art as long as you felt it was not really (underlined) creative—that is, commercial. [...]

The Nebene characteristics, now creatively used, then also mitigated against Ruburt’s easy expression of such feelings, and he did tie up some characteristics of Nebene with his mother’s scorn. [...]

[...] You would not be forced to work as he did, and waste his creativity, so you chose a wife who would make no such demands—apart from other reasons. [...]

[...] The part-time job on your part was of course a compromise, but loving you, he felt it was at the expense of your creative output and purposes.

[...] Love seeks expression and creativity. Sexual expression is one way that love seeks creativity. [...]

[...] This does not mean that such a person is repressing sexuality in any given case, and stealing its energy for creative production — though, of course, this may be the case. Many natural artists in any field normally express love through such creative endeavors, rather than through sexual actions.

THE PSYCHE, LOVE, SEXUAL EXPRESSION, AND CREATIVITY

[...] The psyche and its relationship to sexuality affects your ideas of health and illness, creativity, and all of the ordinary areas of individual life. [...]

He is reminding you of life’s natural spontaneous creativity — the source of your own creativity, purposes, and intents. [...]

[...] (Long pause.) Pretend that you are a fine actor, playing in a multidimensional theater, so that each role you take attains a vitality far surpassing the creative powers of any ordinary play.

[...] You are also involved in a kind of creative dilemma, since in a manner of speaking you confuse yourself as the actor with the character you play so convincingly that you are fooled.

[...] Those “products” of your consciousness are indeed unique, creative, and form a characteristic mosaic that has its own beauty and elegance.

Value fulfillment itself is most difficult to describe, for it combines (pause) the nature of a loving presence—a presence with the innate knowledge of its own divine complexity—with a creative ability of infinite proportions that seeks to bring to fulfillment even the slightest, most distant portion of its own inverted complexity. Translated into simpler terms, each portion of energy is endowed with an inbuilt reach of creativity that seeks to fulfill its own potentials in all possible variations—and in such a way that such a development also furthers the creative potentials of each other portion of reality (all very emphatically).

Now because All That Is contains within itself such omnipotent, fertile, divine creative characteristics, all portions of its subjective experience attained dimensions of actuality impossible to describe. [...] They sensed a kind of value fulfillment that required of them the utilization of their own creative abilities. [...]

(9:35.) Energy is above all things infinitely creative, innovative, original. [...]

In those terms, then, there was in the beginning an almost unimaginable time in which energized consciousness, using its own creative abilities, its own imagination (underlined), experimented with triumphant rambunctiousness, trying out one form after another. [...]

Violence, in your level, is the other face of creativity, but you do not realize it and it is you who have set up the separation. [...] All living is a thrusting out toward, and joyful thrusting out toward, the energy that you have not learned, as yet, to use creatively, you call violence. It has great potentials for creativity, and it is up to you now to learn how to use it creatively for it is another face of creativity. [...]

[...] They did not face the issue of creative energy and how to use it. [...] Learn what energy and life is, and then you will use it creatively and you will not fear it. [...]

[...] They blocked large portions of energy, rather than learn how to use it and so, in many ways, denied themselves facets of creativity. [...]

([Arnold]“Do the animals that we know have a creativity in their actions as we do?”)

[...] Each of you should now and then try to sense your individual power, for it goes out creatively in the books. [...]

[...] I suggested that you both use your creativity in that regard—again, a suggestion not lightly made. [...]

[...] Concentrate upon your creativity, both of you, and your power, with the morning suggestions I gave you, and the library. [...]

I want you united, so to speak, with your powers focused psychically, creatively, and toward bettering Ruburt’s physical state. [...]

[...] Relaxation, again, is a part of the creative process. [...]

[...] The small panics themselves, for example, are meant to lead to psychological questioning and so forth in a give-and-take mental and therapeutic exchange of activity—an activity bound to release and activate the creative abilities also. [...]

[...] The creative material will flow. [...]

[...] Allow yourself at times to imagine, at least, an important portion of your own creative self as innocent, sweet (gesture), and natural as that young Butts boy relative (Steve). [...]

[...] Such attitudes not only drastically impede any artistic creativity, but the imaginative creativity necessary to deal with the nature of physical events themselves.

Man’s creative alertness, his precise sensual focus in space and time, and his ability to react quickly to events, are of course all highly important characteristics. [...]

Dictation: To encourage creativity, exert your imagination through breaking up your usual space-time focus. [...]

Do not begin by using your imagination only to solve current problems, for again, you will tie your creativity to them, and hamper it because of your beliefs about what is practical.

[...] You both insist upon applying quite intellectual concepts to creative work, and ignoring Ruburt’s natural rhythms. He works in great bursts of activity, but instead of understanding this, and trusting the quiet periods and the creative self, he is up in arms. The creative self is playful and spontaneous. [...]

I have a suggestion, and it is that you mentally speak to what I will call “the basic creative self”—and remember, these are terms. [...] It is also the Framework 2 self, but the word “creative” is more potent for the two of you to use. [...]

[...] It increases all healing functions, and despite churchly tales to the contrary, it regenerates and inspires the creative abilities.