“Seth material” search engine (Jane Roberts)

[...] Eleanor is to call again Friday after conferring the production manager about costs, etc., but in the meantime is preparing contracts. The production manager has the script with him in Albany, New York.

[...] Intellectually known truths are the goal—truths almost like some exotic product to be attained by man, as man searches through science or religion for ultimate answers.

“The ‘Unknown’ Reality itself is a product of the unknown reality of the mind, of course, since I produced it entirely in a trance state, as Seth. In a way the two volumes are the products of an inner psychic ‘combustion’ — the spark that is lit in our world, as Seth’s reality strikes mine — or vice versa. [...]

[...] Not only would the expanded format be something out of the ordinary in itself, but it meant that with two volumes I’d have the room I needed for notes and references; excerpts from Jane’s ESP class sessions, as well as from “regular” sessions dated before and after the production time of “Unknown” Reality; a little of Jane’s poetry; and appendixes — all of which I thought would add extra dimensions of consciousness to the books. [...]

I’ve noted the time every so often during each session to show how long it takes Jane to deliver a particular passage (and shortly I’ll explore further the time elements involved with the production of “Unknown” Reality). [...]

Like the other Seth books, then, each volume of “Unknown” Reality contains not only the Seth sessions, but Jane’s and my own ideas about them, as well as our notes on the circumstances surrounding their production.

The earth has its own natural given data, however, and you must use this body of material to form all of your manufactured products. [...] You form your dreams from it (long pause), and use its natural products to manufacture dream images. [...]

[...] In the same way, your thoughts are “manufactured products” in the dream world. [...]

[...] That intuitive faculty will then illuminate the intellect so that it learns to question in a broader, more exciting and productive manner than perhaps it did before.

Give us a moment … This book itself, because of the method of its production, is an excellent example of the unknown reality becoming, if not “known,” then recognized. [...]

[...] That’s her focus in life [and mine, too]: the full commitment to artistic production. [...]

[...] The creative work was so distant from me, that in this respect I could not call the product my own. I am, instead, given a complete product in Seth’s book — an excellent one — for which I am, of course, exceedingly grateful.

[...] As a whole it was completely new to me, though each word had been spoken through my lips, and I had devoted many evenings in trance to its production. [...]

Anyone can say, of course, that in Seth’s book the hidden processes are so separate from my normal consciousness that the final product only seems to come from another personality. [...]

Despite this, I’m aware of the fact that I was necessary to the production of Seth’s book. [...]

Such images are constructed of emotional energy, but they also are partially formed from the chemical structure of the individual or individuals behind such productions. [...]

[...] The working schedule will help also, for as he sees the product of his spontaneity, he knows he can trust it. [...]

[...] They were hysterical productions born of your own desperation and given instant physical validity. [...]

(Pause.) These sessions themselves involve the highest levels of creative productivity, at many, many levels, so he should refresh himself painting or doing whatever he likes, for that refreshment adds to his creativity, of course. [...]

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.

[...] In this book, Dreams, “Evolution,” and Value Fulfillment, for example, Seth portrays us as a vibrant, well-intended species—a physically attuned kind of consciousness beautifully tailored by our own cosmic ingredients to live lives of productivity, of spiritual and physical enjoyments, with each individual life in charge of its own fate and adding to the potentials of all other life as well.

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?

[...] He often perceived what you would call the products of the imagination as sense data, for example, more or less objectified in the physical world.

The imagination has always dealt with creativity, and as man began to settle upon a kind of consciousness that dealt with cause and effect, he no longer physically perceived the products of his imagination directly in the old manner. [...]

[...] Many, meaning to offer you relief through a product, instead actually promote the condition through suggestion, thereby generating a need for the product itself.

[...] Different reports place dairy products, red meats, coffee, tea, eggs, and fats on the list. [...]

(Long pause.) Your television dramas, the cops-and-robbers shows, the spy productions, are simplistic, yet they relieve tension in a way that your public health announcements cannot do. [...]

[...] You are pleased with his obvious productivity with plants, outside. [...]

[...] Ruburt automatically thinks of the productivity of land, when he thinks of land. [...]

You insist upon a material product of some physically demonstrative kind. In that context, dreams or daydreams are not viewed as constructive or productive.

[...] In Chapter One of The Seth Material, she describes her first “trip” through an altered state of consciousness — and how it resulted in the production of her manuscript, The Physical Universe as Idea Construction. [...]

[...] In addition to Seth’s volume, these sometimes resulted in very creative products of her “own”: Some of the psychic experiences connected with her book of poetry, Dialogues of the Soul and Mortal Self in Time, which she began in November, 1972, are described in the 639th session in Chapter Ten. [...]

A man’s purpose seemed to be no more than to put bolts together to make an automobile, to spend hours in a factory, working on an end product that he might never see—and because many such people felt that there was little intrinsic value to their lives, spent in such a fashion, they began to demand greater and greater compensation. They could then buy more and more products, purchase a house and show through their possessions that their statuses meant that they must be the men of worth that they wanted to be. [...]

[...] All meaningful work means in the meaningful and productive relationship between oneself and the natural world, that contributes to both one’s own survival and fulfillment, and to the survival and fulfillment of the natural world. [...]

[...] 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 material. [...]

[...] They rarely pretend to be themselves creative—yet all publishers, and people who work for them, are also intrigued by the products of creativity, and at least to some degree, being well reimbursed, they do indeed use their quite different abilities to distribute the creative products that they could not themselves initiate. [...]

[...] The creator’s feeling toward his creative product—or hers—largely determines its development, its progress, its distribution, and so forth.

In vital ways, Seth’s material itself is timeless, yet its production, of course, is tied to the events of our lives. [...]

In any case, I feel that the entire production, Seth’s dictated work and my running commentaries and references, adds up to extra dimensions of creativity that can be sensed, if not described. [...]

[...] Despite the different lights in which Seth may be regarded, despite the varying degrees of reality his existence may be granted by others, there can be no doubt of his individuality or productivity as it’s displayed in his books.

[...] You are aware of the various plays being considered for physical production. [...] When you are in other than your normally conscious state, you visit that creative inner agency in which all physical productions must have their beginning. [...]

[...] You can choose to buy or not buy a product whose virtues are being praised. [...]

Mysticism itself involves, basically, encounters with the art of being—a kind of creativity that in usual terms may produce no product at all, creative or otherwise. [...] This encounter promotes a heightened state of creativity, even though, again, a creative product per se may not show.