“Seth material” search engine (Jane Roberts)

Almost anyone will agree, I should hope, that the universe is a most splendid example of creativity. Few would agree, however, that you can learn more about the nature of the universe by examining your own creativity than you can by examining the world through instruments — and here is exquisite irony, for you create the instruments of creativity, even while at the same time you often spout theories that deny to man all but the most mechanical of reactions.

[...] The whole affair is quite complicated since — again as I have intimated — the world freshly springs into new creativity at each moment. No matter what your version of creativity, or the creation of the world, you are stuck with questions of where such energy came from, for it seems that unimaginable energy was released more or less at one time, and that this energy must then run out.

You each also became involved in this probability precisely to use it as a creative stimulus that would make you seek for a certain kind of understanding. There is always a creative give-and-take between the individual and his world. [...]

[...] Then in a creativity that came from the painting itself the colors would grow rich, the species attain their delineations, the winds blow and the seas move with the tides.

(Pause.) These portraits, however, are the result of creativity so inborn and miraculous that they are created automatically — an automatic art. At certain levels the species is always creatively embarked upon alternate versions of itself. [...] What you think of as diseases, however, are quite creative elements working at different levels, and at many levels at once.

(10:35.) Give us a moment… The creativity of the species is also the result of your particular kind of dream specialization. [...] It is almost a threshold between the two realities, and you learned to hold your physical intent long enough at that threshold so that you have a kind of brief attention span there, and use it to draw from nonphysical reality precisely those creative elements that you need. [...]

[...] I will, therefore, combine the idea of a disease with the idea of creativity, for the two are intimately connected.

[...] There must be great creative leeway allowed for such portraits. [...]

In this life you equated your own creativity with danger, now, to some degree. In the first place your father’s creativity, his inventions, brought him no recognition, no money in your mother’s terms. The creativity in your mother simply erupted in emotional tantrums, also dangerous and unproductive. You nicely channeled your creativity into comics, where it was socially acceptable and would also bring recognition in the terms of your society—cash.

In dealing with these records he was suspicious of creativity, for he feared it could lead to original alterations where instead a literal interpretation was important. He was also however a creative man so there were personality conflicts, and he literally forced the creativity to take a weak secondary position.

The dilemma was, here now, between truth—a literal translation of ancient records—or a creative approach which could lead to falsification, so he was highly suspicious of the creativity in himself. Through discipline he thought that he had this suspicious creativity well in hand. [...]

Now when you met Ruburt, and I will give you connecting points here, you recognized the strong creative abilities, and appreciated them, encouraged them. [...]

If creativity itself was sometimes considered irresponsible, or “feminine,” or adolescent, then psychic activity, he discovered, seemed to be held in an even murkier light, in which the abilities themselves were sometimes thought of not as creative enhancements but as symptoms of feminine weakness and irresponsibility. [...]

(9:46.) At the same time, he recognized the excellence of our joint creativity. [...] He is learning to identify himself with his pleasures —a highly important point—one that, understood, can release triggers of healing energy and creative impetus. [...]

[...] High play of that nature opens doors of excellence that responsibility alone can never touch, and results in far more valuable help to the world as a natural by-product than any self-determined behavior can, so these are the ideas that we want to stress, both in bodily terms and in psychic and creative ones, and Ruburt is beginning to understand some of that now. The idea of creative play—and in those terms of a certain kind of abandonment—should be encouraged; the kind of abandonment a child feels when playing a game, in which it identifies with pleasurable activity. [...]

[...] It was felt that creativity served no responsible end in society. [...]

Your father represented what you thought of as the secret, isolated creative self—more or less at odds with the world, unappreciated by it in family or financial terms; the alone, artistic self you thought unable to communicate, inarticulate and dumb, locked away from close communication with others, and indeed barraged by misunderstandings because of its very creativity—emotionally frozen, afraid to show itself.

[...] You blocked out emotional spontaneity, feeling that your mother’s was detrimental to creative isolation. [...] You trusted it however only because it was merged with creative purpose. [...]

He was also afraid of spontaneity not related to creativity because of his feeling that his father went willy-nilly and produced nothing. In solving his dilemma, which was the creative one, the both of you triumph for yourselves and for your parents.

Ruburt saw how being away from his desk and the house worked creatively to his advantage, as per the ride to your mother’s (in Centerville), and the earlier walk around the block. [...]

Even your concepts of creativity are necessarily influenced by Framework 1 thinking, of course, so our sessions do indeed follow a larger pattern than that, giving you certain perspectives from different angles in book dictation, and in other material. To some extent the larger creative pattern of the material, which does exist and is sensed, is nevertheless not directly perceived, for you are bound to perceive it piecemeal.

Creativity does not deal with compartments. [...] Even most people who are involved in creative work often apply their additional insights and knowledge only to their art, however — not to their lives. [...]

I have said that acts of creativity best approach the workings of Framework 2, for [those] acts always involve leaps of faith and inspiration, and the breaking of barriers.

[...] When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. [...]

He believes now that he is in a pretty fair position, one he can happily accept creatively and financially. [...] It was not really great wealth, but some acceptable framework of financial security he was after, and some assurance that his books would bring him this, along with the freedom of creativity as he understood it.

[...] You will contribute creatively and financially. While you have been concerned with Ruburt, unconsciously in certain terms you have solved creative dilemmas, and soon opportunities will present themselves beside those you will make.

[...] For creative, financial and other present reasons, however, he felt that stern disciplinary measures had to be taken.

There was some resentment against you, for he could not accept what he considered as a sacrifice on your part in jobs throughout your life, and yet he was angry because you would not do, he thought, what he had done—try to do your creative best, and then force the marketplace to take it. [...]

His creative abilities led him beyond the precepts of that church, creatively speaking, at a fairly early age—though the actual breaking-off point did not occur in fact until he was in his teens. He was fairly young, then, however, when he first encountered conflicts between creativity as such, intuitive knowledge, and other people’s ideas about reality. [...]

[...] It was as if he were considered a writer no longer, or as if the writing itself, while considered good enough, was also considered quite beside the point—of secondary concern, and in the psychic field the very word “creative” often has suspicious connotations. Many such people want the truth, in capital letters, in quite literal form, without creativity slurring the message, so to speak, or blurring the absolute edges of fact and fiction. [...]

[...] It was, simply, that we were wrong to blame imagined excesses of the spontaneous self for her problems—that really the trouble lay in her discovery that with the psychic abilities she was destined to find herself outside conventional creative authority: a person who learned that she would have to protect her very integrity as a person against charges of fraud. [...]

[...] Her reading the NY Times Book Review each week had reminded me recently that her intent perusal of that publication represented a striving toward something she was not about to achieve—conventional recognition in creative writing.

[...] In all other areas of your lives you have prided yourselves on the unpredictability, the creative ground-breaking concepts. You forgot ideas of being practical in terms of Framework 1, and as a result of course your creativity became highly practical, and in the most profound terms.

[...] At times he might think of writing in one area or another, but his imagination did not set up barriers: it was always receptive to new ideas, casting about for new experiences, consciously involved in the process of creativity.

To Ruburt that is taken for granted—for there he operates extraordinarily well, mixing and merging the realities of Frameworks 1 and 2. The practical results of course appear in Framework 1, while the real creativity takes place in Framework 2. Understand that I make these divisions for simplicity’s sake, for the realities are merged. [...]

[...] Creativity is involved. [...]

They were meant to regulate creativity, as Nebene’s characteristics were. [...] The restrictions were thought to be ways of protecting creativity and ability.

[...] With the belief that he can trust the self, the creative self, the other characteristics become unnecessary, for you cannot force creativity.

I am not speaking merely in financial terms either, though since Ruburt is dealing directly with the world through his creative work, then money and reputation have become a symbol of success, that is basically creative. [...]

[...] The possibility of his not using his creativity in this world no longer exists. [...]

The characteristics needed for “mediumship” are much like those needed by any strongly creative person. [...] In periods of severe personality disturbances that can occur simultaneously with great creativity, the ego becomes terrified of the strength of the creative ability, fearing that it can be crushed beneath.

[...] Had Ruburt not been available, the material would have been given to a Speaker, living in your terms, who was also involved in the creative field.

It represented also the searching, creatively dissatisfied portion of you, looking for further understanding and knowledge. [...]

[...] It was known, for example, that Ruburt would need your support, as it was also known that the work itself would help your own creative abilities.

[...] Most artist, painters, do not feel the need, then, to “later” examine the moments of creativity themselves, nor to form still another subjective platform from which to examine the creative process.

[...] Ruburt does also in his writing, for he then becomes another self who watches the creative self. [...] (With gentle humor:) My books represent vast creativity, and yet you perform your own additional subjective leaps, forming subjective platforms that then deal with the circumstances of the books.

[...] And remember, they are the result of loving creative inspirations, again, the table and the chair, you follow me?—

[...] The creative artist can be in somewhat of a quandary, according to his beliefs, for he wants to preserve the precious moment, the fleeting thought, the daffodils, the perceived insights. [...]

[...] And through them the creative energy moves freely, released and free, down to my hands and fingertips. Blessed are my hands and fingers through which creative energy translates intuitions, poetry, and knowledge to the typewritten page. [...]

Your creative energies have always been highly beneficial and positive, and worked for you in ways you may not have known. Their energy has attracted other people to you both, and with all of your negative attitudes the overall impression others received from you, generally speaking, was of creativity.

Many do not know how to use their creative abilities. [...] Such people have often given you items for your household gladly and openly, because it made them feel a part of a creative endeavor.

[...] Intensive concentration along these lines should be followed by several days when you simply do your prayer experiments and then let the whole thing drop from your mind, and give the creative inner self an opportunity to work for you. [...]

Any creative work involves you in a cooperative process in which you learn to dip into these other streams of consciousness, and come up with a perception that has far more dimensions than one arising from the one narrow, usual stream of consciousness that you know. Great creativity is then multidimensional for this reason. [...]

(9:49.) Great creativity always seems greater than its pure physical dimension and reality. [...] Such creativity automatically reminds each man of his own multidimensional reality. [...]

[...] All of her [writing] is a part of her creative life, but now she is investigating the nature of reality far more directly…. [...] The creative self is operating, you see — going exactly where it wants to go.”

(Jane’s psychic experiences, Seth said, would themselves initiate other creative endeavors, leading her to delve into deeper, literally unending, universal pools of creativity….

[...] I do not want to overemphasize this point, so do not overemphasize it yourself—but the idea is that you sometimes become angry at your own “unconscious creative abilities.” I put that in quotes because you equate creative abilities as largely unconscious. You think, then, that if you were not so creative you could have a proper niche for yourself, and therefore you tense a portion of the body that seems to be connected to the unconscious side of the self, and chose the groin, which connects old beliefs about males to the beliefs about creativity. [...]

[...] In a large measure, those beliefs represent the evidence of the old world before it is set upon by the light of new creativity. Bounce against that world, into the more creative realm that you know in your heart is a far truer representation of reality,

(Long pause.) In the past eras of history, as you know, artists had patrons, but your society has not learned to deal with its creative people. [...] They never fit that Protestant work ethic, and the very idea of a creative mind has not fit in—so far, at least—with the overall patterns of the society in terms of religion or science. [...]

(“It’s vague now: Americans not trusting creative thought unless it applies specifically to practical considerations.... [...] There was the idea that true creative work is the springboard for the more usual kind.... [...]

Some of this has to do with the complicated nature of creativity itself, and with the contradictions that seem to exist at certain levels. Your kind of creativity has always been together and jointly of a private nature—so much so that you do not even like to work in rooms too close to each other. [...]

(Long pause.) End of session, except to remind you that the dream message also reflects material that I have been giving you concerning creativity and the stressing of pleasure above responsibility. [...] They exercise your curiosity, creativity, and sense of exploration. [...]

I may indeed dictate a new letter to you (as Jane said recently), to make our position clear, but Ruburt’s main position is not one of service: it must be one of pleasure and creativity. Pleasure and creativity automatically and spontaneously alter the world for the better, without methods and even without effort. [...]

[...] There are two main areas and issues that wind in and out of this dream, as in the other two: the idea of work and service in relation to the idea of art and creativity. [...]

Your father’s creativity, as mentioned [in earlier, unpublished sessions] 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 …

There are unpredictable levels of understanding that are the creative results of certain courses of action that you take. These can exist whether or not the course itself seems advantageous, and can even overshadow the benefits [that] a successful course might have given, in those terms … Though it would seem, then, that you have made errors, the errors in themselves are creative, and have brought about unforeseen probabilities that now enrich — and also change — your original course.

[...] You make mental plans for your creative work. [...] You have no idea of the creative potential you are missing. [...]

As you allow your mental creativity reign in this direction you automatically bring into play exactly what is necessary to make such creativity practical. [...]

[...] The associative processes of the world, with their literally infinite capacities for creative constructs, are there available. [...]

(10:10.) Ruburt has been worrying, rather than concentrating upon his creative work. [...]

Your set of problems are of the most creative kind. [...] Your full energy for work and your creative drive is released, and will be, as you creatively use and understand your problems, but not concentrate upon them, not let them close your eyes to the joys and freedoms that you have. [...]

[...] The possibilities of its creativity are often forgotten. [...]

[...] But do not let these repressed feelings blind you to the beneficial qualities of your situation right now, or its creative possibilities.

The effort made in any creative change would be nothing compared to the constant feeling of unease that could result simply from a fear of change. [...]

Now you hear the words, but I am behind the words and highly creative activities must go on on both our parts, so that my thoughts can be translated into words that will make meaning and sense to you. [...] I must play upon them as a painter plays with color or a musician plays with notes and keys, and he (Ruburt) must acquiesce and join in this creative activity. Then in his books he must further use his creative ability to translate what I have said. We use Ruburt’s nervous mechanism and we change it creatively, as to a lesser extent we hope to change you all creatively. [...]

[...] Your teacher, your immediate teacher, has had strong creative abilities and he was very jealous as to how they should be used. [...] Now you should realize that this endeavor is indeed a highly creative one, for you have here at the least, at the very least, two personalities, my own and Ruburt’s, and we dwell entirely (in) different dimensions. [...]