“Seth material” search engine (Jane Roberts)

There is form. The very mechanism of the body however is so constructed that it can bear the brunt of many errors, and free itself from them, though this may not seem to be the case at times. Nevertheless yours is a slow-motion world in many ways as far as your perceptions are concerned, while you are within it. Your body is much like a sculptor or a sculpt, never really completed, the inner self trying out various techniques of creativity on its first test piece. The results are not always of the best, but the sculptor is independent of his product and knows there will others.

Now you may take your break and we will continue. Ruburt for example has found out what certain mental patterns will do to his image, and he is now attempting to undo the damage that became apparent. Without the damage he would not have accepted the obvious truths. Now the sculptor does at times identify with his sculpt, but never entirely, and it will help him if he remembers that he did the damage, and therefore can undo it.

The sculptor’s creation is pragmatically realistic, in that it exists as an object, and can be quite legitimately perceived, as can your world. The sculptor’s statue, however, comes from the inner environment, the patterns of probabilities. [...]

[...] (Pause.) If there were no death, you would have to invent it (smile) — for the context of that selfhood would be as limited as the experience of a great sculptor given but one hunk of stone (with quiet dramatic emphasis).¹

[...] Inside sculptors are working. [...]

[...] The sculptors do not trust him. [...]

[...] The third man, Ernfred Anderson, who has a national reputation as a sculptor and teacher at Elmira College, and is a close friend of Bill, Jane and mine, advised Bill to remove the painting. [...]

(The purpose of the gallery is to provide an outlet for painters, sculptors, and ceramacists to bring their work before the community. [...]

[...] With this goes my questions concerning the ability of sculptors to do the marvelously intricate carving adorning all of these buildings, on such an enormous scale. [...]

[...] She is the wife of Ernfred Anderson, a sculptor who was director of the art gallery where Jane worked part-time for several years. [...]

[...] One class member, a close friend whom I’ll call Peter Smith, is an artist and sculptor; after studying my Roman sketches, he had a note passed across the crowded room to me:)

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