“Seth material” search engine (Jane Roberts)

Now the one goal not only of my existence, and I feel this personally, but of all existence is creativity. I do not speak to you, in your terms, because you find it so difficult to understand or experience the reality of creativity and so all personalities, in whatever their sphere of activity, are involved in the nature of creativity. [...] The consciousness and creativity of one, while seeming alone, is not alone but is a threshold upon which others may rest, and a framework from which others may grow. [...]

[...] You are openly vulnerable, not only to fear, but to the creativity that courses through your being. [...] When you set up blocks against the negative ones, you also set up blocks against the creative spontaneous ones. [...]

[...] There will always be such points, but your existences that you are aware of, feelings; and that itself is vitality and strength and within the feelings themselves there is creativity and the feelings spur you on. [...]

[...] Creativity is always vulnerable and within the vulnerability of your present life is the key to your own infinite existence. [...]

[...] For one reason, you identified your painting creative self with your father, and you felt that he had had to protect his creative self in the household from your mother. [...] Therefore, free time was not enjoyed creatively. [...]

Your father’s creativity, as mentioned (in other sessions), before, had its side of secrecy, privacy and aloneness. Again as mentioned, you identified creativity with your father’s private nature. [...]

[...] Our creative errors. [...]

You did not, fully now, realize your contribution to Seth Speaks in financial terms, though you understood your creative contribution. [...]

[...] The addition, however, brought with it a new sense of responsibility—not just to make money, but as his writings continued he wanted his creative work to be “responsible” and he began to discover that others, so it seemed, were all too ready to latch upon what he almost considered magical inspirational productions, and to follow them with very literal minds. So then his creative endeavors not only had to bring in money, but they had to be good, moral, responsible, for they were becoming part of a body of work.

The same sort of situation operates in millions of families, and the rewards that you gave each other for your creative endeavors were excellent, and worked beautifully. [...] You did, however, both for years believe most firmly that your creative endeavors were dependent upon the need for protection from others, the world, from time, and even from any of your own characteristics that did not seem to fit into that overall pattern.

[...] So Ruburt added the necessity of money to his creative goals, in a strong fashion.

The creative abilities, of course, do not think of bodies-of-work. [...]

Creative change, some playful indulgence, the use of the creative abilities, and some simple reasoning with yourselves, will be of great benefit. [...] You are to concentrate upon the creative suggestions I have given you, and not upon the difficulties.

[...] The overly conscientious self is not creative, particularly—meaning innovative, but it does have great sustaining qualities and power.

Such an optimist will of course not be blind, and he will see that there are indeed many blemishes in the world; but his overall faith not only sustains him, but because of his own state of mind his creativity blossoms to whatever degree he has it. [...]

I have told you time and time again that but for a few exceptions you have not used your creative abilities to help solve your problems. [...]

All of this stems, again, from your misconception of the nature of the creative self. Now logically it may not be stable in intellectual terms, for it knows that one and one do not always give you two, but its great stability lies in its flexibility, its intuitions, and in its unending source of creativity.

[...] The truths that came through could be considered as creative fantasies and therefore did not have to be accepted literally, or accepted by the intellect.

One of the reasons why he did not understand that the spontaneous intuitive self was the deeply creative and therefore deeply stable self, was that he identified it with his idea of femininity as he unfortunately misunderstood it. [...]

[...] Without the psychic development, your combined background could have quite undermined your creative abilities entirely. [...]

[...] Your system in this respect is more creative than the systems just mentioned. On the other hand, within these other systems there is a strong innovative group consciousness developing, in which identity is retained but greater inner play allowed between individuals, a large creative interchange of symbol-pools, a drawing upon mental and psychic symbols with greater facility. Because of this, these individuals recognize more clearly the connection between creative images and given sense data. [...]

[...] They are the given “natural data,” the raw material of creativity in the realities that you help seed but do not perceive.

The aggressive nature of symbols is little understood, nor the relationship between aggression and creativity. [...]

It is both the creative and aggressive aspects of consciousness that allow it to use symbols, to move through various levels of experience, and the aggressive nature of thought that so propels it, despite your knowledge, into realities that you do not understand.

Now: Periods of reverie and creative moments of consciousness both represent excellent entryways into these other areas. In the usual creative state of consciousness, the regular waking consciousness is suddenly supported by energy from these other areas. Waking consciousness alone does not give you the creative state. Indeed, normal waking consciousness can be as afraid of creative states as it is of blank states, for it can feel that the I is being thrust aside, can feel the upthrust of energy that it may not understand.

[...] I am not telling him not to have his creative writing class. [...] The people who have called about creative writing are only using that as an excuse. [...]

(Through March 26 to 28, Jane had a notice running under Personals in the Elmira Star Gazette, stating her intention to form a class in creative writing. [...]

[...] The connection may be highly intuitional, however, associative, and creative. [...]

[...] The origin of events lies in that creative, subjective realm of being with which you are usually least concerned. [...]

[...] They grow out of each other in a kind of spontaneous expansion, a profusion of creativity, while the conscious mind chooses which aspects to experience — and those aspects then become what you call an objective event.

[...] From your standpoint this represents a deep state of unconscious creativity — at the cellular levels particularly — by which all cellular life communicates and forms a vital biological network that provides the very basis for any “higher” experience at all.

[...] Alternate paths of experience — new possibilities and intuitive solutions — constantly appear in the dream state, so that man’s learning is not simply dependent upon a feedback system that does not allow for the insertion of creative material. [...]

As the outer ego is constantly creative, so is the inner ego. The focus in which the creativity occurs is merely different. [...]

We come therefore to the fact of creative tension. The individual in his psychological state is familiar with creative tension, often in its pure state. [...]

Creative distortion, in its relationship with action, affects therefore the creation of thoughts. The principle of creative distortions is mainly responsible for the fact that no identical thought is ever transmitted from one individual to another. [...]

The creative dilemma, the creative distortion, is of course itself an action that is resolved in further acts. [...]

[...] Not because he did not like the material, but because then, at least, he understood that for him (underlined) assembling it during his creative hours was not fulfilling his kind of creative need.

My books will provide a different kind of accelerated creativity that can be achieved in no other way, and that will leave him freedom to pursue another kind of creativity that can come only from him, and not from me. [...]

Initially there was great enthusiasm with both, but Rich Bed was his baby and Adventures a method of learning and an initial way of releasing pent-up creative energy. [...] It meant however more creative time spent in examining (underlined) the psychic experience. [...]

The creativity was in the sessions. [...]

The creative body consciousness creates the eye. The creative inner psyche creates the ego. [...]

[...] As you know there are connections between us.²  He does not understand as yet the true nature of his own creativity. [...] His psyche is enormously creative. [...]

This is creativity of a most specialized nature and allows him to probe, if he will, into the nature of consciousness, the psyche, and creativity in a way that few can. [...]

The great creativity of consciousness is your heritage. [...]

The work with predictions today, whatever the results, is creative, for it turns his mind into areas that will show results often in completely unpredictable psychic events. When you grab hold of your feelings of creativity, again, you have seen results, and you will see them. [...]

Ruburt emulates your own work habits, and tries to regulate his creative life so that it bears a resemblance to yours. [...]

[...] The contention is one caused by riches, creative riches, and abundance.

Ruburt’s creative work is highly spontaneous. [...]

But you must not think in terms of one line of development for creativity goes out in all directions, and All That Is having within itself the nature of all creativity cannot be static, cannot end and will always continue to create new development. [...]

[...] There is no pinnacle or end of creativity. There is, instead, an infinity of development and creativity. [...]

[...] The idea of responsibility, however, began to overweigh the joy of creativity. [...] (Long pause.) That kind of responsibility runs directly counter to creativity. You understand that I must simplify that to some extent, but generally speaking creativity does not deal with questions so much like “this is true, or this is false,” it says this is, period. [...]

[...] You do know where the book begins or ends, more or less, in your creative lives, however, and you have the satisfaction of that creative activity. [...]

Creativity often deals with material that is not known, not cut-and-dried, not even immediately useful, perhaps—so Ruburt would feel, for example, sometimes at least, that poetry was not responsible, or even that his own spontaneous activities were not responsible unless they were immediately useful in practical terms. [...]

Actually, of course, the creative abilities follow a larger vein of knowledge, and are responsible to themselves. [...]

Those kinds of conflicts can only exist in a society in which the entire concept of creativity is segmented, in which the creative processes are often seen as inner assembly lines leading to specific products: a society in which the very nature of creativity itself is largely ignored unless its “products” serve specific ends.

His specific art (pause) was both his method of understanding his own creativity and a way of exploring the vast creativity of the universe—and also served as a container or showcase that displayed his knowledge as best he could.

The sessions I give you, in usual (underlined) terms, are a new extension of that creativity—but again, that extension has an ancient heritage. [...] It is also a method of perceiving and understanding creativity. [...]

[...] The creative abilities become even more available, hence his new creativity, and the new physical steps he has taken. [...]

[...] His creative abilities were growing and developing, his concepts enlarging, but he was for some time so convinced of science’s viewpoint that the ideas of the Sinful Self were looked upon as unworthy and superstitious. [...] When his creative abilities found contemporary scientific thought also too narrow, however, and his natural intuitions had led him toward a new framework—one that, again, introduced values having to do with the nature of consciousness, or soul—then the new ideas began to conflict directly with the old buried ones, particularly those that had to do with the conflicts between creative expression, the church, and “forbidden knowledge.” To go ahead creatively, forming new versions of a spiritual reality, to state that man and his impulses were good, brought him finally into direct conflict with the old beliefs of the Sinful Self, whose value system was based upon the idea that the self was indeed sinful, not to be trusted. [...]

[...] It can be told now what it yearned to be told then—that it was indeed good, and not bad or evil, that it could indeed use its curiosity without the threat of abandonment, and that it could trust its own creativity and love of play. [...]

The creative abilities will instantly begin a new attempt to reconcile the entire affair, given a freer hand than before. [...]

[...] The Sinful Self does not identify as well with the creative abilities, for it does not trust them. [...]

[...] The tension between the two leads him to temper aggressiveness with creativity, or to use aggressiveness creatively.

[...] Together, of course, they represent the fount of creativity, psychically as well as physically.

The anima represents the necessary initial “inwardness,” the brooding, caring, intuitive, inside-turning characteristics, the inward focusing from which creativity comes.

[...] The characteristics of the animus provide the aggressive thrust that returns the personality back outward into physical activities, triumphantly holding the products of creativity that the anima characteristics have secured.

[...] It is impossible for you to perceive in the same direct fashion the majestic, almost unimaginable field of creative action in which any of those events occur, however, in which each act, however seemingly destructive, has vital creative purposes that may or may not appear within the limited references of your conventional dimensions. [...]

[...] Within that framework, however, you do have the creative abilities, and these stand out in their own fashions, since they “play with the facts.” [...]

[...] Or were only creative hypotheses being offered? [...]

[...] Is creativity itself involved in a kind of mischievous lying? [...]

You do not need to force yourselves to be creative. In Ruburt’s natural, quite periodic rhythm of creativity, he writes rather steadily, exuberantly, and inspired. [...] He is regenerating, and those periods are also natural, and act to increase the creative “periods” of obvious daily production. The creative self is always creating, and it does its best when it is simply trusted. [...]

[...] His creative abilities have not deserted him, but it is that fear that they will if they are not consciously, persistently exerted that bothers him. [...]

[...] When you worry all day then the library goes out the window, and so does your feeling of creative adventure, in your own creative hours, both of you. [...]

[...] Few people stray from those frameworks, and few creative people, even of high quality, operate outside of the accepted disciplines, schools, and organizations.

[...] It is also important, now, that you concentrate upon your own creative works, both of you—Ruburt particularly, so that he takes his mind off of his body, and focuses elsewhere. [...]

[...] Dedicate yourselves to your joint and private creative pursuits, to providing a mental climate in which you can produce while Ruburt’s improvements continue. [...]