“Seth material” search engine (Jane Roberts)

[...] Creative time and cultural time to some extent merged, in that you could see daily immediate evidence of creativity’s product, coming out of the typewriters, say, like any product off an assembly line. [...]

[...] Particularly if you want to make a living at your art, you fall into the frame of mind in which you think that “each minute is valuable” — but what you mean is that each minute must be a minute of production. [...]

[...] In other words, to some extent or another he tried to use an assembly-line kind of time for your creative productivity. [...]

[...] The rational approach works quite well in certain situations, such as mass production of goods, or in certain kinds of scientific measurements — but all in all the rational method, as it is understood and used, does not work as an overall approach to life, or in the solving of problems that involve subjective rather than objective measurements or calculations.

Give us a moment … Some inventors, writers, scientists, artists, who are used to dealing with creative material directly, are quite aware of the fact that many of their productive ideas came from the dream condition. [...] Few understand, however, that private reality is like a finished product, rising out of the immense productivity that occurs in the dreaming condition. [...]

A remembered dream is a product of several things, but often it is your conscious interpretation of events that initially may have been quite different from your memory of them. [...]

The approach that you use in the production of art is instinctively “magical.” [...]

Now there are important insights in tonight’s material particularly for Ruburt, but for you also, for it is that inner feeling of contact and awareness that is so amazingly productive in the creation of art and in the creation of any physical aspects that you want to change in the physical world. [...]

[...] On Friday, April 6, we received from the production department at Prentice-Hall the printer’s page proofs of the index for Seth’s Psyche, and on Saturday morning the proofs for Emir arrived from Eleanor Friede at Delacorte Press. [...]

[...] So those who felt that religion had failed them looked anew to science, which promised — promised to — provide the closest approximation to heaven on earth: mass production of goods, two cars in every garage, potions for every ailment, solutions for every problem. [...]

[...] Such situations bothered the individual far more than the threat of nuclear disaster, for they involved his contact with daily life: the products that he bought, the medicines that he took.

[...] (Long pause.) When can the search for the good have catastrophic results, and how can the idealism of science be equated with the near-disaster at Three Mile Island, and with the potential disasters that in your terms exist in the storage of nuclear wastes, or in the production of nuclear bombs?

[...] There have been civilizations devoted mainly to art, in which all other endeavors were considered subsidiary, and the quality of workmanship was everything, no matter what the product. Mass production was inconceivable, because the originality of each piece of art, or furniture, or bowl, held its value in that manner, and the idea of producing a copy of anything would have been considered ludicrous, or considered an act without reason.

[...] As people lose the kind of ancestral roots that exist in “less advanced” societies, so many sophisticated civilizations, with rapid overturn of goods and products, with printing presses and writing upon fragile paper, are lost to history.

[...] When you are creating a product or a work of art, the results will have much to do with your ideas of what the product is, or what the work of art is — so your ideas about your life, or life itself, will also have much to do with your experience of it as a living art.

In those terms, using our analogy, the recognition of Framework 2 would bring you from that point to the production of great art, where words served to express not only the seen but the unseen — not simply facts but feelings and emotions — and where the words themselves escaped their consecutive patterns, sending the emotions into realms that quite defied both space and time.

[...] Many of his short stories, so addressed, are products quite as good as the poetry.

[...] (Pause.) Now, as simply as I can put this, thoughts and emotions form, of their own electromagnetic reality, vitalized physical products called atoms and molecules. [...]

From your viewpoint, you only see the physical product. [...]

[...] You do not thoroughly appreciate emotionally your part in the production of our material, or realize that its direction and so forth must be, and is, colored by your own unique characteristics as well as Ruburt’s—and that at certain levels, the Seth material, as it exists, is a product of your lives together. Not as easily understood a product, perhaps, as a series of excellent paintings, not as easily categorized—and yet you are helping to paint a giant-sized picture of the psyche as it translates inner reality into the living fabric of the world.

[...] Nevertheless, occasionally a personality will astound itself by such an image production as the one you met in the park. Usually this particular type of image production vanishes by the time the personality reaches adulthood. [...]

Often when the child cries about a bogeyman, what he has seen is such an image production or fibrous projection, formed by vivid desire or fear on the part of the subconscious. [...]

[...] Then on April 14 Ethel Waters calls from Production at Tam’s insistence saying that after Events was delayed till May 14 because of the disclaimer problems; so it would come out the same month as God of Jane.... [...]

[...] Psychological events are automatically manufactured by each individual, and no one but the individual can really ascertain the quality of the product.

You can return a badly wrought piece of furniture and get your money back—but what do you do when you understand that you form your own reality, and also decide that you aren’t pleased with large segments, at least, of the product?

[...] There are periods of balance, where for example—and I am using analogies, understand me—you may find a product, a person at a certain balance point, pleased with all aspects of life, in good health, well-off financially, and meeting goals. [...]

[...] Later, when you did not need jobs and the books began to sell, then your creative time also became productive-money time to some extent.

[...] He is regenerating, and those periods are also natural, and act to increase the creative “periods” of obvious daily production. [...] Then it surfaces with its productions. [...]

[...] That consciousness is not a finished product, however, but one meant to change, [to] evolve and develop.” [...]

[...] The majority of accepted beliefs — religious, scientific, and cultural — have tended to stress a sense of powerlessness, impotence, and impending doom — a picture in which man and his world is an accidental production with little meaning, isolated yet seemingly ruled by a capricious God. [...]

[...] It can highly benefit mankind through new developments, if these developments in the future are not quenched, and if the administration is forward looking, if it looks for new products and new services that it can fill. [...] Daring both in the choice of men, those who will represent the company to the public, and in the choice of men who will develop products, and this is an area with which you should become more familiar, for it is this upon which the company depends.

There will be new openings as to products. [...]

There will be sidelines however as far as products are concerned, and you had better keep yourself well-informed. [...]

It is the choosing of the right men not only in the organization as salesmen and in public relations, but also in using judgment and intuition as to those men in another field entirely who will come up with new products, new drug inventions, new ideas, and it is here that the company suffers severely, depending on the tried and true.

He tried desperately to schedule his highly creative productivity to fit that pattern. [...] He found that sometimes his so-called writing hours were not as productive as his after-hours writing. [...]

Sometimes after a full writing day, without too much actual creative production, he would do his best work in his free time after supper, when he did not have to work. [...]

[...] His three-hour production today gave him more with a free attitude than five or six hours of determined application to “work.”

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

The dream world, then, is a by-product of your own existence [from your standpoint]. [...] Since dreams are a by-product of any consciousness involved with matter, then trees have their dreams. [...]

[...] It is the product of your own existence, and yet you can neither consciously call it into existence nor destroy it.

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

[...] Almost anyone can become a satisfied and productive amateur in this art-science; but its true fulfillment takes years of training, a strong sense of purpose, and a dedication — as does any true vocation.

[...] Yet your world is composed of quite natural products, objects that emerge, almost miraculously when you think of it, from the inside of the earth.

[...] If certain other beneficial alterations occur, and further understanding on Ruburt’s part, we may be able to meet at other levels of consciousness — in the dream state, when he is not cooperating in the production of our book material.” [...]

[...] Yet its quality is such that professional art critics could learn from it, though some of their productions might take much longer periods of time, and result from an extensive conscious knowledge of art, which Ruburt almost entirely lacks. The productions of the psyche by their nature, therefore, burst aside many most cherished beliefs.

[...] Its products can often appear chaotic simply because they splash over your accepted ideas about what experience is.

[...] 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. [...]

[...] It means that the thrust of their love is, overall, expressed through the production of art, through which it seeks a statement that speaks in other than corporal terms.

[...] The complexes and neuroses outlined and defined are products of your traditions and beliefs. [...]

[...] Among them was one from a Dan Curtis production company, who wants to option her life story for a possible movie for television. [...]

[...] He believed that often creativity expressed itself at the expense of other portions of the self, and that if it were allowed to spill over the edges (with gestures) from artistic productivity into normal living, then it would lead to all kinds of disruptive activity. [...]

Specific creativity is but one important aspect of the psyche’s vast, almost incomprehensible productivity, for it produces your lives. [...]