creation of reality实相的创造

In The Early Sessions Book 1, Seth uses the typical process of "artistic creation" to give an in-depth account of the concept of "creation of reality." He reveals how consciousness transforms inner thoughts, energy, and visions into concrete actualities in the physical world (camouflage patterns). The following are the core discussions of this concept in the book:

1. The cooperation of the dual self-consciousness and the opening of the subconscious channel. Seth points out that in the process of creating artistic reality, the individual's dual self-consciousness (the inner self and the camouflage self) is allowed to work in cooperation within certain limits. At this time, the subconscious channel connecting the two is opened to a very great extent. The product of this fusion is highly individualized and, at the same time, easier for others to understand than dream fragments. The process of artistic creation actually involves the complex operation of the dual self-consciousness within a single extraordinary personality; inner data are transformed through the subconscious, thereby making a greater personality possible ^[1].

2. The materialization of inner reality in physical time. Artistic creation, in a deep sense, represents the manifestation or materialization of inner reality within the actual element of physical time. The inner individualized self imposes its visions and knowledge upon the world of camouflage patterns, giving its dreams a physical reality that ordinary dreams do not possess. In this kind of creation, the use of energy is highly conscious: the powerful hidden self (the inner self) actually makes use of the camouflaged conscious self and molds the two into a reality that combines both levels ^[1].

3. The driving force that gives reality and its combination with camouflage patterns. Seth emphasizes that at the present stage of human evolution, if an artistic creation (such as a painting) remains only in the mind, it has no "reality" even for the creator. Human beings are driven by a force to give them "reality" by materializing them within the framework of camouflage patterns. In order to have reality in our world, a creation must be materialized to some degree on the physical level ^[2].

4. The creation of an entirely new level and the independent consciousness of creations. Artistic creation is by no means a simple act of imitation, but a most fundamental creation: a conscious, genuine creation of "another level" from within the imprisoned perspective of camouflage patterns ^[2]. Even more distinctive is that such created realities (such as an artist's paintings) possess, to some degree, their own consciousness, and this consciousness is not imprisoned by their physical form itself ^[1].

5. The self-creation of the stage and awakening within camouflage. Seth compares physical reality to a stage play in which the actors play their roles and occasionally wonder in amazement how they got here and who built the stage. They usually do not realize that the entire reality is completely "self-created," and this unawareness is, on the whole, necessary; otherwise the urgency of solving problems would dissolve. Artistic creation represents a certain awakening to this self-created nature, but this awakening must be interwoven with the camouflage patterns in which the individual finds himself in order to manifest in the physical world ^[2].

In The Early Sessions Book 2, Seth gives an in-depth account of the concept of "creation of reality," revealing the inner mechanism of creation, its relationship to space and time, and its profound connection with "value fulfillment" and infinite energy.

First, Seth points out that the fifth law of the inner universe is "creation" ^[1]. In the discussion of this stage, creation is defined as involving not only the reorganization and transformation of energy units and fields from one form to another, but also the establishment of entirely new fields ^[1]. Creation means continually adding something unique, novel, and never before existing to the inner vitality and psychic values of the universe ^[2]. This creativity originates from the vitality of the inner universe itself, which is capable not only of continually renewing itself but also of generating more of itself ^[2].

Second, creation has an inseparable and close relationship with "value fulfillment." Seth explains that creation almost always goes hand in hand with value fulfillment, and is often the result of value fulfillment ^[1][2]. In the process of value fulfillment, all given possibilities will necessarily manifest, and each manifestation is, in the truest sense, a creation ^[1]. Although value fulfillment and creation are very similar, there is still a distinction between the two: if one must describe them in the continuous time terms familiar to human beings, then "creation" exists first ^[2].

Furthermore, the creation of reality in its essence transcends the human categories of space and time. Seth emphasizes that value fulfillment exists in a dimension entirely unrelated to human space and time, and in the deepest sense, the original overall creation also has no relation to human space or time ^[1]. The birth of the external universe known to human beings occurred very late in the entire history of creation and value fulfillment ^[1]. When scientists finally decipher the physical reality behind the birth of the known universe, they will only discover that it is nothing more than the external manifestation of a vital psychic reality that already existed long before ^[1][2].

Therefore, any physical structure already exists before it manifests on the human material level ^[1][2]. On the human level, an "idea" gives birth to a specific physical structure, but this idea itself is only a translation of another deeper reality that gave birth to it ^[2].

Finally, the creation of reality depends on infinite energy. Seth clearly states that there is no finite and definite amount of energy in the universe that is used to create all things; on the contrary, there is truly infinite energy ^[2]. This infinite energy does not follow the cause-and-effect relationships familiar to human beings, and therefore it has no so-called "source" in terms familiar to human beings ^[2].

In summary, in The Early Sessions Book 2, the creation of reality is described as a dynamic process that transcends space and time, originates from inner psychic reality, is closely linked with value fulfillment, and is driven by the infinite and self-renewing vitality of the inner universe.

In The Early Sessions Book 4, Seth explores the concept of "creation of reality" in depth through "the unrepeatability of action," "distortion," and "the nature of perception." The discussion of this stage presents a distinctive perspective: the creation of reality does not arise out of nothing, but originates from the "distortion" in the attempt to replicate an original action, as well as from the creative reshaping brought about by the process of perception itself.

1. The unrepeatability of action and distortion as the basis of new reality Seth points out that an original action can never repeat itself in exactly the same way. When an action attempts to repeat itself but cannot succeed, a "distortion" is produced, and this distortion then becomes the basis of a new reality. Then this new reality also attempts to rebuild itself in exactly the same way, and after experiencing the same failure, is again distorted into a further aspect of basic reality. This law applies under all circumstances and conditions ^[1]. Therefore, the creation of reality is in essence a dynamic process of continually attempting replication, failing, and producing distortion.

2. The analogy of the artist's painting: the coexistence of distortion and new reality To explain this process, Seth provides a very vivid analogy: an artist attempts to faithfully copy a natural landscape. This attempt is doomed to fail, because the artist cannot obtain the actual perspective and working materials necessary for the existence of the landscape. To create a true copy of a living landscape, it would have to occupy as much physical space as the original, occupy exactly the same time in past physical existence, and be composed of the actual elements (countless molecules) that make up the original, which is obviously impossible ^[1]. The most an artist can do is to use the materials at his disposal to create an approximation within a limited perspective, that is, a "distortion" of the original landscape. The resulting painting is both a distortion of the original landscape and, at the same time, an entirely new and unique reality ^[1][2]. For example, the trees in the painting will not undergo seasonal changes as real trees do, but the atoms and molecules that make up the canvas and paint are themselves constantly changing. Seth emphasizes that the formation of all realities is like this: it is both a distortion of the original reality and the creation of a new reality ^[2].

3. Perception is itself an action that creates new reality Seth further explains that perceiving an action is itself an action. Because of this nature of perception, it necessarily distorts, to some degree, the object perceived. And it is precisely through this perceptual distortion that we witness the creation of new reality, however small that creation may be ^[3]. Therefore, the nature of an object is to a large extent determined by the person who perceives it. In reality, an object is multiple rather than single. Take an automobile as an example: in the human realm, the automobile is perceived mainly as a physical object; but in an electrical system without physical data sensors, it has an electrical identity and would be perceived as an entirely different phenomenon; in some other systems, it may be only a shadow, or may be perceived only when in motion or at rest. The reality of the material existence inside the automobile is also perceived differently according to the different perspective systems that observe it ^[3].

In summary, in The Early Sessions Book 4, Seth's unique account of "creation of reality" lies in this: creation is not a perfect, static projection, but is realized through the "distortion" produced by "the inability to perfectly replicate the original action," and through "perception itself as an action that reshapes the object." Every different perceptual system and perspective angle, through this inevitable distortion, continuously creates new, multidimensional realities.