“Seth material” search engine (Jane Roberts)

[...] Little by little the fine relationship, the precise connections between psychological feelings and bodily reality, erode.

[...] They know exactly when to alter their patterns to longer or shorter sleep periods, therefore adjusting the adrenaline output and regulating all of the bodily hormones.

The physical condition itself, on that level (pause), is caused (long pause) by “improper” relationships—that is, things not working together well, though the parts themselves are not diseased, per se—and that is the result of stress, habitually applied, of bodily habits. [...]

(Long pause.) Now: the substance (DMSO), used as you are using it, will not do Ruburt any harm, and can be of great value, as it introduces more equitable bodily motions and sensations that now, with Ruburt’s greater understanding, he can accept, appreciate, and put to fullest benefit. [...]

The interior self causes the physical challenges that then seem to spurt further bodily activity. [...]

[...] It is true that he is quite aware of his bodily conditions, and yet overall he is not concentrating upon them, or regarding them negatively. [...]

[...] I also thought Seth’s description of the bodily changes taking place very good, and hopeful besides. [...]

You used your own bodily reserves to produce the images. [...]

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.

You do innately possess that freedom in your painting—as Ruburt innately possesses that same freedom of bodily motion. [...]

[...] The seemingly innocuous injury, which hasn’t even left a black-and-blue sign, is quite painful at times and most inconvenient in regards to various bodily functions involving any sudden movements, as in sneezing, etc.

At the same time, because of Ruburt’s own purposes, they were perfectly preserved—not for instance attacked in any fashion, but in many ways isolated from the rest of bodily activity.

(“Each of these ideas came as emotional revelations, accompanied by various bodily sensations and alterations of visual perception. [...]

The use of full intuition with discipline and control, and a daily schedule that includes contemplation and a temporary relaxation and slowing down of bodily process, [means] he will live longer because of this, and his work will be deeper and of greater import.

[...] Their bodily processes slowed. [...]

[...] Using it you are released momentarily from bodily pressures, and with that freedom, you can move to relieve them. [...]

(Long pause.) Those innate bodily abilities also help sustain you as you continually create the image. [...]

[...] He put off bodily functions as long as he could, for what he thought of as mental creativity—and all of this is highly related to the ideas of time as I explained them.

[...] The feeling is much like that she experienced following our first suggestion period, she added, where my suggestions produced a different, better sense of bodily weight, even in the soles of her feet. [...]

In dreaming, however, the full sense-picture usually projected by the brain, and reinforced by bodily action, is not necessary. [...]