“Seth material” search engine (Jane Roberts)

[...] Ruburt’s natural person is highly spontaneous, creative, imaginative, with an excellent intellect, natural habits of working with a spontaneous rhythm—a rhythm that follows its own internal, logical and intuitive order. [...]

[...] He forgets his natural contours of mind and spirit when he hassles himself about time or hours, for his particular kind of creativity works in a different fashion. [...]

[...] It would have hurt nothing for him to get up, and he would have done some creative work besides. [...]

The psychic abilities are (underlined) the creative abilities—natural extensions of what you think of as the creative abilities. [...]

Creative people were unfortunately particularly affected, because their very abilities require an exuberance, an energy, that can only be quelled by a sense of meaninglessness. (Pause.) Neither of you were taught to trust creative abilities, much less psychic ones. [...]

[...] And from that probable future in your past, your creative abilities were accelerated. [...]

[...] He sensed your abilities also, and psychically the two of you pooled your creative resources to reach beyond the reality that you know, to search for some other vaster framework that could help explain the events of your private reality and the events of the public world. [...]

It is important that the creative self understands what has been going on also. In such a way the various portions of the personality can reinforce and help each other, and the Sinful Self can see that the creative elements are not blind to its worries, but will also use its abilities to help discover explanations and answers to the questions of the so-called Sinful Self. [...]

(My viewpoint was that it was impossible for me not to have strong feelings about the situation, even though—as I said—I agreed that her paper was a highly creative piece of work, that it augured well for the future, and that it was so far easily the best material we’d gotten on the symptom affair. [...]

[...] Thus giving the creative inner self the time and opportunity to let the entire physical system accelerate its own healing processes, and to begin again with the initiation of impulses, dreams, and so forth that will help bring a physical improvement about. [...]

[...] You can see the Sinful Self’s connection with creativity easily, as it communicated through its document, which is for example very well written, carrying its own flavor. [...]

[...] All of this because you both believe there are serious impediments in the way of creative work, and obstacles ever-present to mitigate against your creativity. [...] At the same time, because of some cultural beliefs, you are still not all that trustful about creativity to begin with.

[...] You would have them done, or do them, but your creative energy and your thoughts would be involved with your creativity, and the chores at times would give you a necessary enjoyed change. [...]

[...] You put up barriers to protect the creative self from the exterior world, which you fear would destroy it, and from the interior world, for left alone the creative self might just slam paint upon a canvas without discipline, or might show more than we are willing to show. [...]

[...] Some men never achieve any kind of creative or stable relationship with a woman, and so they are acutely aware of that lack in their lives. [...]

[...] Here we have creative love and intelligence operating this evening spontaneously and creatively in making contact with another. [...]

[...] You are learning how to use the creative energy of which you are a part, and you are indeed quite isolated, so you cannot do much harm, in your terms. [...] And so that despite you and your concepts of value, creativity always emerges triumphant, and those that are killed in one war come back to fight against war the next time, and hopefully, you teach yourselves some lessons. [...]

[...] They involve the use of creativity and development. [...]

(Ron:] “In your words, it would be whatever is the most creative in terms of what you want to do.”)

If life has such great potentials, as Seth maintains, if it began—and begins (and continues to begin) at such rich creative and productive levels—then why did our experience so often make it seem that we struggled against unknowing or uncaring cosmic forces, or that we were at the most so ignorant of our own source and creativity that our hands were tied, or that we were forever shut off from our natural heritage?

(Long pause at 7:51.) It began to strike me that even my own physical incapacities were indeed creative ventures that appeared in my experience as bad, or limiting, or even tragic. [...]

[...] For now I understood that freedom of motion was at least one true reflection of an individual’s creative potential.

[...] I, for one, was afraid that such an arrangement would not only demonstrate our acceptance of the fact that Jane was really caught in a terrible, permanent situation, but that it would end up destroying us psychologically and creatively.

At the same time, the paranoid person can use his creative abilities in fantasies that seemingly boggle the minds of the sane — and those creative abilities have a meaning, for the fantasies, again, serve to reassure the paranoid of his worth. If in your terms he were sane, he could not use his creative abilities, for they are always connected with life’s meaning; and sane, the paranoid is convinced that life is meaningless. [...]

Creativity is an in-built impetus in man, far more important than, say, what science calls the satisfaction of basic needs. In those terms, creativity is the most basic need of all. I am not speaking here of any obsessive need to find order — in which case, for example, a person might narrow his or her mental and physical environment — but of a powerful drive within the species for creativity, and for the fulfillment of values that are emotional and spiritual. [...]

[...] The quality of that life is not simply to be handed down or experienced, for example, but is to be creatively added to, multiplied, in a way that has nothing to do with quantity.

[...] The private unquelled thrusts toward creativity were seen as the unbalanced conglomeration of chemicals within a person’s most private being — a twist of perversity. [...]

There is more in this session than you realize, if you put it together, for the creative abilities are themselves creative, spontaneous, exuberant, by their nature unpredictable.

[...] Creatively, now, he is always interested in the new book—the current creative act, and he resented feeling that he had to type Psyche while not having current sessions. [...]

[...] The creativity implied was beside the point.

[...] There was work involved in the typing of manuscripts, hours spent, but the success itself was the result of your individual and joint intuitive creativity, curiosity, your sense of challenge and more adventure.

[...] Creativity as it is generally known represents but a small portion of far more extensive capacities. Creativity as you understand it is the three-dimensional aspect then of greater abilities that belong to our consciousness innately, whether it is consciously materialized or not (period).

[...] The acceleration of mental creativity therefore meant that the creative energy of thoughts became ever greater in practical terms. [...]

When it is so materialized much of the creativity is automatically expressed (pause), the individual being aware of only that ability that the mind can understand. [...]

Earlier he experienced high accelerations of creativity and consciousness (pause). [...]

[...] Your episode on the porch last night is an excellent example of creatively using your environment. [...] In so doing, you display a change of attitude, a willingness to be creative in your life as well as in your work.

He is not a creative writer, but a work-a-day one, whose creativity then seeks release. [...]

[...] An attempt to creatively divert his thoughts will help, so he gives his body time to escape his notice.

[...] At the same time, rally your forces, so that you creatively try to change a mood of disappointment. [...]

Many of the elements of his religious background have been creatively used and built upon, and this involves the complete transformation of potent, unconscious material, from potentially destructive to creative centers.

Now all of this serves to impede constructive and creative spontaneity, and when this does find its way though, it is in such an explosive manner that he fears it because it seems undisciplined. If he lets go creatively he fears his aggressions will also be expressed spontaneously. [...]

[...] Now this is a creative process where the personality uses for its advantage and development those elements in its background that it seems (underlined) could have destroyed it.

[...] Literally, as you recognize, a tremendous creative endeavor is required. [...]

[...] During that lapse, that first impression is being modified and enhanced within the psyche by subsequent events and understandings; it starts to build up in importance; then, when all of the intuitive-creative “work” has been done, the original perception emerges — or bursts — into consciousness. [...]

[...] To some extent this feeling for humanity often serves as an impetus for creative work. [...]

[...] In most cases, however, the slant of consciousness is primarily creative. [...]

[...] They are active, vital, and creatively aggressive. [...]

[...] Elementally there is only creativity. [...] There are different kinds of creativity, then, to learn, and a specialization in energy is focus and feelings that emerge; elemental energy becoming conscious of itself, and aware of issues that did not exist for it earlier; millions of molecules momentarily united with the living consciousness (pause), 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. [...]

Many of the participators have never known that they had access to such energy, therefore the notion that such energy 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. [...]

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

[...] 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. [...]

We are beginning to learn the creative joy of play. I believe, for example, that all creativity and consciousness is born in the quality of play, as opposed to work, in the quickened intuitional spontaneity that I see as a constant through all my own existences, and in the experience of those I know.

We can be highly motivated therefore, and yet use and understand the creative use of play, both as a method of attaining our goals and purposes and as a surprising and creative endeavor in itself.

[...] We have discovered that no one can escape the vast creativity of the mental image, or of emotion. [...]

Now, each whole self, or multidimensional personality, has its own purposes, missions, and creative endeavors that are initial and basic parts of itself and that determine those qualities that make it eternally valid and eternally seeking. [...]

[...] Without this creativity, planetary life in your terms would always be sterile. [...] The three-dimensional self then goes about its purpose of opening up new areas of creativity.

[...] The thoughts that you think, for example, in your actor’s roles, are still completely unique and lead to new creativity. [...]

[...] Consciousness can never be still, but seeks further creativity.

[...] In learning to use these potentials, in learning to rediscover its relationship with the entity, the three-dimensional self raises still further the level of achievement, comprehension, and creativity. [...]

The spontaneous self, the creative self, is also immersed in Framework 2, and the creative conscious mind springs from there also, even though its focus must of necessity be in Framework 1’s world of space and time.

[...] There are too many people who expect the worst from you, yet even then the creative self will try from Framework 2 to bring all resources possible, through dreams and intuitions, to alter that pessimistic progress.

Now: in somewhat the same way, Ruburt’s more or less newly optimistic thoughts are inserted, say, in the opposite direction, into Framework 2, where then they find their best creative form: in this case they roll into Framework 1 as increased mobility.

[...] This causes a transforming reorganization of energy, thought, and creativity—a vast transforming process, for behind the individual is the entire good intent of nature, which springs from the resources of Framework 2.

Ruburt’s nature leads him toward the kind of creativity he is naturally embarked upon. [...] To cut down on creative activity will not alleviate the situation. An overconcern (underlined) about the mechanics of publication, or the necessity of publication, or the wheres and hows of publication, or a sense of responsibility about the work, can indeed cause difficulty, but the basic creative expression—which has been impeded in the past by fears—should still be encouraged. [...]

[...] The discomfort and concentration cut down on his creative abilities, which added to the problem. [...]

(Pause at 8:30.) His fears have to a strong extent come out into the open: the fear that he will not be able to go ahead or of blockage, that fear being physically translated—but again, it stands for an inner fear that he has creatively blocked, or psychically blocked, that he has learned—that his own fears stand in his own way and cannot be resolved, or that he is at an impasse. [...]

[...] You are taught as children to be honest in very literal terms, and often children’s natural imaginative abilities and creativity get them in a good deal of trouble. [...]

[...] I thought there were many more valuable kinds of experiences to be had in many kinds of healthier, more creative endeavors, instead of letting the symptoms interfere with Jane’s attempts to perform such creative endeavors.

In his prayer periods emphasize that his full attention can go into his work and creative endeavors. [...]

[...] Health should be considered then —and this is important—as a means to a desired end; full productive creative work; full use of abilities; daily enjoyment; helping others. [...]

[...] Health as a means of allowing creative energy to flow through him.

Science might admit that the novel idea itself was highly creative, an example of the mind at play as it used experience as a creative raw product — but of course you had your experience before you read the article. [...]

[...] You live personally in a world of lush creative ideas. [...] (Pause.) It is used to working creatively. [...]

[...] You reacted creatively, using the precognitive story as a basis for a fictional endeavor. [...]

[...] (To me:) You organize mental and physical events in a creative manner. [...]

“Violence will always be used creatively. [...] Violence will always be used creatively, but if you do not understand this—and at your present rate of development you do not—then any violence is violence against yourself. [...] Despite all man does, he cannot really work any destruction—but while he believes in destruction, then to that extent he minimizes what he is, and must work harder to use creativity.”

In all of this—the bombings and persecutions and killings—I thought of great, loose groups of consciousnesses swirling in angry revolt, with each consciousness “working” individually and collectively for and against others, each one seeking to know new creative aspects of itself within the framework of a chosen national structure.²

[...] Dreams are mental work and play combined, psychic and emotional rich creative dramas. [...]

[...] I reminded Jane that some time ago Seth had remarked that as physical creatures we human beings cannot bear to directly confront the basic, vast, unimaginably awesome and creative consciousness of All That Is. [...]