“Seth material” search engine (Jane Roberts)

Your own environment includes far more than you may have supposed. Earlier I referred to your environment in terms of the daily physical existence and surroundings with which you are currently connected. In actuality, you are aware of very little of your larger, more extensive environment. Consider your present self as an actor in a play; hardly a new analogy, but a suitable one. The scene is set in the twentieth century. You create the props, the settings, the themes; in fact you write, produce, and act in the entire production — you and every other individual who takes part.

Each of you are now involved in a much larger production, in which you all agree on certain basic assumptions that serve as a framework within which the play can occur. The assumptions are that time is a series of moments one after another; that an objective world exists quite independently of your own creation and perception of it; that you are bound within the physical bodies that you have donned; and that you are limited by time and space.

They all exist basically at one time. Those who are still involved in these highly complicated passion-play seminars called reincarnational existences, find it difficult to see beyond them. Some, resting between productions, as it were, try to communicate with those who are still taking part; but they themselves are merely in the wings, so to speak, and can only see so far.

Though I use the analogy here of a drama, these “plays” are highly spontaneous affairs in which the actors have full freedom within the play’s framework. And granting these assumptions that have been stated, there are no rehearsals. There are observers, as you will see later in our book. As in any good theatre production, there is an overall theme within each play. The great artists, for example, did not emerge out of a particular time simply because they were born into it, or (because) the conditions were favorable.

[...] He could have been a far better artist still, for if his vision was intense, my dear friend, it was cramped, and it moved within itself in an agony to find a creative release that could never be found in the creative product alone, but in the psyche from which that product emerges. [...]

[...] You can sense by watching a child’s play the future shape that his or her life can most productively take. [...]

[...] The end result, then, is not a product, but a more completed kind of being. [...]

[...] In conventional art you end up with a product on many such occasions—a book or painting or whatever—as you attempt to define in physical terms the reality of an inner existence with which you have always been familiar, and to leave in physical reality some evidence, however slight, of inner visions that flicker within all consciousness. [...]

A new product that has been hard to come by, and laws have held it back. I believe that a forementioned death will result in a change of policy in one respect, and a change in policy will help quicken the advent of the new product. [...]

[...] Searle makes birth control products, and as Searle’s representative John said the clinic’s business should be his “if I’ve done my work well.” [...]

(John could not offer any data re any new products by Searle. [...]

Now: We want to publish the book—and I will here continue, for our purposes, dealing with a book’s production rather than a painting’s. Still, however, we will keep the idea of a painting for a different reason. Now think of the book’s production and everything connected with it as being part of the same kind of creative activity, but in an arena where events as you think of them become the medium. It is as if—forgive the crossing analogies—the production of the book (pause) is transferred to another level. A living peoplescape in which each person who plays a part in that book’s production now joins the creative act at this secondary level as far as you are concerned. [...]

(9:19.) The artistic acts always directly involve strong direct interactions with Framework 2. In the production of our book we want, say, people we may not even know to come together in certain fashions to make certain decisions that will be in direct agreement with our own creative intent. [...]

[...] You think of, say, any event in a book’s production, distribution, translation or whatever, as the kind of multidimensional creative effort and event I have tried to explain. [...]

[...] Over a period of time, resentments X out large areas of otherwise productive experience. [...]

[...] The production of dreams is as “sophisticated” an endeavor as is the production of the objective life of a given individual. [...]

The Speakers help you in the formation of dreams which are indeed multidimensional artistic productions of a kind — dreams existing in more than one reality, with effects that dissect various stages of consciousness that are real, in your terms, to both the living and the dead and in which both the living and the dead may participate. [...]

[...] There are minute chemical and electromagnetic alterations that accompany these stages of consciousness, and certain physical changes within the body itself in hormone production and pineal activity.

[...] He will then return toward physical reality in an area marked as REM sleep by your scientists, where physically oriented dream productions will be created, putting the knowledge he has gained into use.

I am not, therefore, a product of Ruburt’s subconscious, any more than he is a product of my subconscious mind. [...]

[...] Language, as you know it, is partially and grammatically the end product of your physical time sequences. [...]

[...] In actuality, of course, people’s pleasure, if it were understood and pursued, would lead to far more fulfilling and productive work, or working lives, since individuals would automatically know how to choose productive activities that brought them pleasure, and that were then pursued for their own sakes. [...]

(Long pause.) In an industrialized society, people were trained to fit into assembly line productions. [...]

[...] It seemed almost sacrilegious to think that the production of excellent art could involve fun—or worse, an active sense of irresponsibility, a joyful sense of ease, so that if a painting came too quickly you could not trust it. [...]

[...] 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. [...]

[...] A new product being developed by the company that affects the nervous system, a strong U, long U sound connected with it. [...] The product is in the works, so to speak, but that is all at present.

[...] The new product may be the result of an error, for its benefits are not yet realized. [...] The product the end result of an experiment initiated for other reasons, you see.

(Concerning the new product mentioned; John said that fellow workers recently visited the laboratories in Chicago and told him about one scientist in particular who was testing, or wanted to test, or experiment for problems of the central nervous system, but the budget insistence made this difficult. [...]

[...] We have not said nearly enough about the dream universe, to really launch a discussion concerning its by-product. Nevertheless I shall tell you that its by-product is the world of negative matter.

[...] That parallel self would not be recognized by you, as psychologically identical, and is indeed quite independent, and a by-product. But since all beings can be said to be by-products in one respect, this does not imply any lack of equality.

It is true that physical stimuli may signal a dream, but the stimuli, the physical stimuli, does not actually signal the beginning of the dream; but it calls your attention to the dream, which has been in progress, as if you walked into a darkened theatre and began to see portions of a production which had been going on.

[...] This is an inner symbol manipulation that is carried out as automatically as you breathe or walk, a by-product of your own physical and psychic structure, of your chemical and electromagnetic constitution.

[...] The inner self is a developing entity, not a finished product. [...]

[...] The results are not always of the best, but the sculptor is independent of his product and knows there will others.

Now these particular kinds of illnesses are the end product of a process of discovery. [...]

[...] The explosive first emergence represented the first forceful emergence of the problem into physical terms, but as such was actually productive and of a healing nature—much more beneficial, say, than if such emergence had not occurred.

For there, you envision on the one hand the best possible book, content, production, et cetera; and as if to purposefully torment yourself, you also envision the opposing “gross practical product” that could possibly result—a product that would only mock by contrast the ideal that is also so vividly envisioned.

This does not mean there are not, for your understanding, “good products and bad products” from your vantage point. [...]

“The dream world is indeed a natural by-product of the relationship between the inner self and the physical being. Not a reflection, therefore, but a by-product involving not only a chemical reaction but the transformation of energy from one state to another.

“In some respects all planes or fields of existence are indeed by-products of others. [...]

[...] Since dreams are a by-product of any consciousness involved within matter, this leads us to the correct conclusion — that trees have their dreams, that all physical matter, being formed about individualized units of consciousness of varying degrees, also participates in the involuntary construction of the dream universe.”

[...] A certain amount of time spent assembling a certain product, performing the same motions over and over on an assembly line, will at the end of a certain period give you a certain number of assembled items. Creativity is the one thing not needed, for the products are to be put together in a fairly regimented fashion.

[...] Protestant work ethics do not produce great art, and they can finally undo the good that they have done, by turning all work into a meaningless performance in which the product itself becomes a means to an end, and loses any esthetic value.

[...] To some degree, you squeezed your exuberance into a tight fit, and tried to make a creative productivity regulate itself, to fit the industrial time clock: so many hours bringing a feeling of virtue, even if the attitude itself cut down on the exuberance of inspiration.

[...] For once stated, that desire —which is a desire—would lead to insights and inspirations that would collect in odd hours, scribbled down in a few moments, that would lead quite easily to a finished product.

[...] Thoughts are initially psychoelectric patterns in pure form, productions of the inner self that must be translated in order to be used by the physical self.

Personal identity, the basic “I”, is a product of the subconscious, and as such it exists as an actuality within the electric field; because of this it is basically independent of the physical field, held to it mainly by the ego. [...]

[...] The ego is a product of the physical field, formed from physical birth on. [...]

[...] In other words, though the ego was adopted originally by the inner self, and was a product of physical heredity and environment, it does not die; but its existence is changed from physical reality into electrical reality. [...]

But never as a finished product. For a state of health is not an end product.... [...]

(“By our projecting our thoughts to this finished product, we can influence our health, our future, our position, etc. [...]

[...] His implication was that the product of good health was the ability to do good more efficiently. [...]

[...] But never as a finished product. For a state of health is not an end product—or an unchanging station in those terms. [...]

(“By projecting our thoughts to this finished product, we can influence our health, our future, our position, etc. [...]

[...] His implication was that the product ofgood health was the ability to do good more efficiently. [...]

The dream world is indeed a natural by-product of the relationship of the inner self and the physical being. Not a reflection, therefore, but a by-product involving not only a chemical reaction but the transformation of energy from one state to another.

It is important that you realize that the dream world is a by-product of your own existence. [...] Since dreams are a by-product of any consciousness involved with matter, this leads us to the correct conclusion—that trees have their dreams, that all physical matter, being formed about individualized units of consciousness of varying degrees, also participates in the involuntary construction of the dream universe.

In some respects all planes or fields of existence are indeed by-products of others. [...]

[...] As a general rule the production of any kind of art is a private one initially. [...]

At its very basis, regardless of all tales to the contrary, art is indeed love’s production. [...]

Ruburt is involved with the production of art. [...]

[...] If the “products” help people, that help is an additional feature flowing naturally from the art itself, and not applied to it with a heavy hand. [...]

[...] (Whispering:) The same applies to the production, the physical production, of the physical books at Prentice, or to sales. [...]

[...] Creativity involves productive change. [...]

In fact it is not a product in those terms at all, but a process of becoming. All That Is is not a product, finished or otherwise, either. [...]

Now: The soul is not a finished product.