“Seth material” search engine (Jane Roberts)

Now: As mentioned somewhat earlier in this book, while your normal waking consciousness seems continual to you, and you are aware usually of no blank spots, nevertheless it has great fluctuations. To a large extent it has memory only of itself and its own perceptions. In normal consciousness, then, it seems as if there are no real other kinds of consciousness, no other areas or levels. When it encounters “blank spots” and “returns,” it blots out awareness that the moment of nonfunction occurred.

(Pause at 10:23.) In periods of conscious “blank spots” or certain fluctuations, these memory systems are often perceived. As a rule the conscious mind with its own memory system will not accept them. When a personality realizes that such other realities exist and that other experiences with consciousness are possible, then he activates certain potentials within himself. These alter electromagnetic connections both within the mind, the brain, and even the perceptive mechanisms. They bring together reservoirs of energy and set up pathways of activity, allowing the conscious mind to increase its degree of sensitivity to such data. The conscious mind is set free of itself. To a large measure it undergoes a metamorphosis, taking on greater functions. It is able to perceive, little by little, some of the content before closed to it. It need no longer perceive the momentary “blank spots” fearfully, as evidence of nonexistence.

Now: Periods of reverie and creative moments of consciousness both represent excellent entryways into these other areas. In the usual creative state of consciousness, the regular waking consciousness is suddenly supported by energy from these other areas. Waking consciousness alone does not give you the creative state. Indeed, normal waking consciousness can be as afraid of creative states as it is of blank states, for it can feel that the I is being thrust aside, can feel the upthrust of energy that it may not understand.

[...] These exist not only psychologically or psychically, but as blank areas in terms of space. [...]

Such blank spots can be seeded with new symbols, and are often used as channels through which new creative ideas and inventions are inserted. [...]

[...] These blank spots of inertia, therefore, are creative to some extent, in that these other symbols may swim into view within them.

[...] Imagine a blank canvas or board, or blank framed picture if you prefer. [...]

[...] Then imagine the blank picture as if you were going to paint it in your mind. [...]

[...] once I think the title of the—(Jane left this blank)—or the children’s tale appeared in the air in large block letters. [...]

Ruburt, on one occasion, created a window thought-form on the blank wall through which he actually flew, simply because he held fears and could not imagine going through a solid wall. [...]

(I told Jane that Seth’s opening line for Chapter 2, about possessing a group of attitudes toward oneself and toward life, at birth, runs directly counter to establishment theory that the newborn is like a blank slate, to be imprinted through teaching and experience. [...]

You are seeing shadows upon a blank and a black screen. [...]

(My mind seemed to be a blank. [...]

[...] It is printed in heavy black type on yellow card stock; the back is blank. [...]

[...] I drew a blank here. [...]

[...] We should mourn for them though they be but (blank space, missing word?) We must feel for them though they be cow dung.

[...] There is no need to feel that when you block out the ordinary conscious mind, there is only blankness. [...]

[...] The back of it is blank. [...]

[...] The back side of the object is blank.

[...] The back is blank. [...]

[...] The back is blank. [...]

([Pete:] “My mind’s a blank… My sister was thinking of a possible trip to Australia for Christmas.”)

[...] The back side of the sheet was blank. [...]

[...] The back of the object is blank. [...]

When you arrive, or emerge, into physical life, not only is your mind not a blank slate, waiting for the scrolls that experience will write upon it, but you are already equipped with a memory bank far surpassing that of any computer. [...]

[...] The large number at the bottom is in red; the back of the bill is blank. [...]

[...] The back is blank. [...]

[...] I “drew” a rough analogy with painting (to make a pun): The artist may start working on a blank canvas, yet each physical brush stroke he or she delineates is built upon inner knowledge and experience; in the painting these qualities are objectified in new combinations, which in turn add further to the artist’s conscious comprehension. [...]

[...] They remain as blank spots, uncultivated and unproductive areas within the psyche—areas in which there are no problems because there is no experience permitted. [...]

[...] Such people then issue a blank invite to control the body they no longer wish to control.