“Seth material” search engine (Jane Roberts)

[...] (Pause.) That kind of reasoning says that left alone, any condition will worsen. [...]

(Pause.) That is all for now, and I bid you a most fond good afternoon—

(Pause, then humorously:) You “know” that a chair is not going to chase you around the room, for instance — at least the odds are against it. [...]

Give us a moment … (Long pause, eyes closed.) There are lands of the mind.⁵ That is, the mind has its own “civilizations,” its own personal culture and geography, its own history and inclinations. [...]

[...] Jane’s delivery had been a little fast, though with pauses; animated and forceful, eyes open much of the time. [...]

(Long pause.) One point however. [...]

[...] A pronounced limp. (Pause.) There is a connection with the glass and a note. (Pause.) The note from a woman.

(Jane paused at 9:16, her eyes still closed. [...]

[...] (Pause.)

[...] The malfunction the result of subconscious associations on the part of the subject. (Pause.)

[...] That overall relationship is changing rather quickly, without pause being taken while each adjustment is stabilized. [...]

[...] I sneezed many times, and Jane paused at intervals to let me catch up on the copy.)

[...] She now took a rather long pause, walking over to a window and looking out before resuming delivery. [...]

[...] She delivered the above material with many pauses, some of them of many seconds’ duration. [...]

(Pause.) The child wanted to please the parents. [...]

(Pause.) Get our friend some Pall Malls....

[...] (Pause.) Great artists are those who materialize physically the paintings already created by the whole self in potential form.

[...] (Long pause.)

(Long pause at 4:20.) Bureaucratic blindness causes the delay. [...]

(“It’s me,” Jane said after a pause. [...]

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(Pause.) I am not sure here. [...]

[...] Her delivery in the beginning was rather slow and interspersed with pauses, but after a page or so it began to pick up speed, until she had me writing at a pretty good rate. [...]

(Here Jane laughed, then took a long pause as she paced about the room. [...]

[...] She resumed in the same faster manner, although still with occasional pauses, at 10:07.)

[...] (Pause.) It is used to working creatively. [...]

(Long pause at 10:01.) He can see how important periods of letting go are. [...]

(Pause.) End of session —

[...] (Long pause at 9:18.)

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(Pause.) What is actually involved is a kind of paranoia, which can become such a powerful response that it can take over a person’s life, and color all projects. [...]

(Long pause at 4:19.)

(Pause.) Your “dreaming” psyche seems to be dreaming only because you do not recognize that particular state of awareness as your own. [...]

[...] (Long pause.) The program does not make them feel less safe. [...]

[...] After a pause Seth said the verbatim material would be published also, but gave no hint of a date.

[...] (Pause.) You are used to thinking of any bodily commotion as disruptive, and put it in the worst possible light, because your backgrounds have given you little experience in such situations—you, Ruburt, or anyone else, largely in your culture. [...]

(Long pause.) With the growth of this particular variety of self-consciousness came the exteriorization, magnification and intensification of definite elements that lie latent in other animals, the individuation of strong emotional activity to a new degree, for example. The emergence of the “pause of reflection” mentioned earlier (in the 635th session in Chapter Eight, for instance) and the blossoming of memory along with the emotional intensification, led to a situation in which members of the new species recalled, in the present, the dead and the diseases that killed them. [...]

(Pause.) They attract you because of their instinctive knowledge, and they represent the inner freedom that man is in the process of objectifying on a conscious level. [...]