“Seth material” search engine (Jane Roberts)

[...] (Pause.) There is some confusion regarding wheat products. [...]

Margarine, however, although a dairy product, is beneficial in this context. [...]

I’m proud to publish this book under my own name, though I don’t fully understand the mechanics of its production or the nature of the personality I assume in delivering it. [...]

Seth’s books may be the product of another dimensional aspect of my own consciousness not focused in this reality, plus something else that is untranslatable in our terms, with Seth a great psychic creation more real than any “fact.” [...]

So — once more — you form reality through your beliefs, and your most intimate production is your physical body. [...]

[...] It is used as a method of communication, but it is also a by-product of many other events, and it affects the physical atmosphere. [...]

Tonight, during a pleasant supper time, our friends Ruburt and Joseph watched a television production based upon the Cinderella fairy tale. [...]

[...] His desire and intense intent to understand more of the nature of reality triggered the production of that fragmentary automatic manuscript. [...]

Now, of course they think of books as products, so it seems to you that they should think in terms of the best products, in the same way that you might think of a best painting—but when you think that way, you are still projecting artistic characteristics where they do not fit. [...]

(The little I’ve worked with the pendulum tells me my troubles are rooted in money attitudes, as well as the production time I’ve lost on Mass Events for the last two weeks and more. [...]

[...] It is the product of an inner consciousness with far more sense of identity and purpose than the daily ego. [...]

An individual inner self, then, through constant massive effort of great creative intensity, cooperates with all other inner selves to form and maintain the physical reality that you know, so that physical reality is an offshoot or by-product of (pause), the highly conscious creative inner self. [...]

[...] Jane advanced to the point where she was able to translate some of this as we went along and the end product, in part, was some excellent poetry.

[...] (My phonetic interpretation.) Montellas are the end products of cordellas, arranged not only in a certain fashion, but congregated or placed within a certain rich sphere of dyniad activity.

(9:48.) Dream dramas are highly complicated, artistic productions. [...]

[...] A creative idea might lead to a book — certainly a physical-enough production. [...]

It is somewhat humorous that such a vital consciousness could even suppose itself to be the end product of inert elements that were themselves lifeless, but somehow managed to combine in such a way that your species attained fantasy, logic, vast organizational power, technologies, and civilizations. [...]

We find that Philip believes, basically, in the products that he sells. We find that the general nature of the products is related to experiences in past lives. [...]

[...] Our other friend, to the contrary, is afraid of this ability, and distrusts it, and is not at all committed to the product that he sells.

[...] Your “purpose” is to bring those diverse aspects together, to form them into your own kind of artistic production—to wed in your life and art those seemingly diverse qualities of spontaneity and order, spareness and abundance, beloved detail and wholeness, and to form in your life and art a new kind of synthesis.

[...] This is not creative action, or productive action, as he is now with your help beginning to realize.

2. I’m presenting the private portion of tonight’s session for two reasons: Seth comments a bit upon the creative production of the sessions, and he shows how we can habitually impose upon our physical selves our conscious ideas of what we “should be doing”—not paying enough attention to our impulsive, natural, bodily messages.

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

[...] Only the session notes taken by my husband, Robert Butts, tell me what particular daily events we were engaged in during the time of the book’s production. [...]

[...] I thought back to all of those unremembered trance hours, looking at them from a different standpoint — and almost startled by a simple thought that just hadn’t occurred to me in quite that way before: Those trance hours were productive. [...]

[...] You pride yourselves on your technology, and the production of durable goods, buildings and roads, yet many of these are insignificant when compared to other structures within the “past.”

[...] His state of mind during the day then varies, so that with his files (of poetry) today he was in a highly relaxed, creative, productive, mental level, one that served to cushion his mind from the critical reproaches he can often give himself, and therefore bodily relaxation could continue. [...]

[...] It is the … creative product, en masse, of our individual and joint dreams … Our world is a dream level for some other types of consciousness; it’s shared to some extent, then, and can serve as a meeting point.

[...] Still, other kinds of individuals will live long productive lives even while their physical mobility or health is most severely impaired. [...]

[...] Those who are interested in the more detailed mechanics of Seth-Jane’s production of “Unknown” Reality, especially where qualities of time are involved, should review my Introductory Notes. [...]

[...] Reality is on the one hand the product of perception. [...]

[...] It was a McCormick product. [...]

[...] The psyche’s production, in other words, has escaped practical, physical bounds, so that from my level of reality I can no longer expect Joseph to do more than record the sessions. [...]

[...] Physically, however, Ruburt and Joseph take many hours in its production. [...]