“Seth material” search engine (Jane Roberts)

The window of each day can be opened or closed, but it is framed by your current psychological experience. Even when it is shut light shines through it, illuminating your daily life. In miniature form each day contains, in its own way, clues to all of your own simultaneous existences. The present self does not exist in isolation.

Vague yearnings toward certain accomplishments may be clues that the necessary characteristics are inherent but untrained in the self that you know. In its own way, the twenty-four hour period represents both an entire lifetime and many lives in one. In it, symbolically, you have “death” as your physically attuned consciousness comes to the end of the amount of stimuli it can comfortably handle without rest. So, at your normal physical death, you come to the point where your earth-attuned consciousness can no longer handle further data without a “longer rest,” and organize it into a creative meaningful whole — in terms of time.

(10:10. “That was one of the few times in all of these sessions,” Jane said, “when I was not even in trance.” She had squirmed about on her chair constantly, but her delivery had picked up to its usual steady pace. For more data on moment points, see the material at 9:26 in the last session. Resume at 10:28.)

Many artists unknowingly paint portraits of their simultaneous selves.³  Many mothers find themselves feeling younger than their offspring at times, or about to call some of their children by different names. Impulses to try activities you have not tried before may indeed be messages from other portions of your own being.

There simply is no time as you think of it, only a present in which all things occur. There are miracles of condensed information within the cells themselves that scientists cannot perceive, for they exist outside of the scope of physical instruments. In its own way, cellular comprehension includes a vast recognition of probabilities in your terms, and works with flashing manipulations in which these probabilities are contended with and responded to — and therefore altered.

(10:42.) The physically attuned conscious mind in your now cannot handle those staggering probabilities while maintaining a sense of identity, yet there are conscious traces within your daily thoughts that are the psychological representations of such knowledge.

Often you do not trust your imagination, considering that it deals with phenomena that cannot be called fact. Therefore you artificially form a situation in which overall traces must be made. If you are too imaginative, for example, you may not be able to adequately deal with physical life. This applies only in the cultural media in which you presently operate, however. Originally, and in your terms of time, it was precisely the imagination that in its own way set you apart from other creatures, enabling you to form realities in your mind that you could “later” exteriorize.

Using age as an example now, it may seem to you that you are a given age, that within your subjective experience it must be paramount, that regardless of your age you are to some extent closed off from the experience of being any other age. In some simultaneous existences you are very young, however, and in others very old. Some of your physical cells are brand new, so to speak — the regeneration of fresh life is physically within you; in your terms this is true not only until your death but even after it, when your hair and nails can still grow. Identify then with the constantly new energy alive within you in this now of your being (very intently) and realize that on all levels you are biologically and psychologically connected with that greater identity that is your own.

On the other hand you may draw another man to you, and end the marriage that has served its purposes in all ways, finding now the impetus and the reasons for change. Because your imagination transcends time, it is one of your greatest touchstones to your own identity.

In the exercise just given, you use the belief in effective change in any given area, and then allow your imagination freedom along those directed lines. Such an exercise automatically does even more, opening up the window of perception and letting in the knowledge and experience of other portions of the self. As this light and energy flows through, it will be tinted or colored by your own psychological reality, as the rays of the sun are through colored glass. This simply means that the other-dimensional information will often appear in ordinary guise, through an intuitive hunch, a sudden idea, or some solution that has already occurred to you but has not been acted upon.

Your cells’ multidimensional knowledge is usually not consciously available, nor can they put it into psychological terms for you. Such work with the imagination acts as a trigger, however, drawing information to you from other levels of your greater reality, and concentrating it on the specific problem at hand. It will then appear in terms understandable to your own experience.

In itself, such an exercise creatively alters probabilities, for you no longer live with the problem as an unchanging concrete reality. This is a psychological and psychic impetus, altering the messages that you habitually send to your body and to its cellular construction. You are then creatively manipulating in several layers of experience.

(Last evening had also been very warm, and Jane had slept poorly: She kept waking up with data about dream landscapes being “right there” before her, and wondered if she could travel among them “like crossing fences from one backyard to the next.” At the same time she knew that all of these localities were part of a mass dream landscape. As far as she knew the material hadn’t come from Seth, Jane said, but in retrospect it seems obvious that it had been in preparation for Chapter Twenty.