“Seth material” search engine (Jane Roberts)

(“I feel half massive, but half relaxed, too,” Jane said as we waited for the session to begin. “I feel an odd sense of frustration — or maybe just impatience is a better way to put it…. I think all of this psychic stuff that I’m half aware of has to be organized and expressed in our world — Seth, Cézanne, this book — so that we can make sense of the whole thing.”

(Her reference to the French painter, Paul Cézanne, involves an experience that she began just the other day. Since Seth discusses this himself in the session, I’ll let him carry on from here.)

Ruburt paints as a hobby. Sometimes he paints for fairly long periods of time, then forgets about it. Joseph is an artist. Ruburt has been wondering about the contents of the mind, curious as to what information was available to it. The Christmas holidays were approaching. He asked Joseph what he would like for a gift, and Joseph more or less replied: “A book on Cézanne.”

Ruburt’s love for Joseph, his own purposes, and his growing questions, along with his interest in painting in general, triggered exactly the kind of stimulus that broke through conventional beliefs about time and knowledge. Ruburt tuned in to Cézanne’s “world view.” He did not contact Cézanne per se, but Cézanne’s comprehension of painting as an art.

Ruburt is not technically facile enough even to follow Cézanne’s directions. Joseph is facile enough, but he would not want to follow the vision of another. The information, however, is extremely valuable, and knowledge on any kind of subject is available in just such a manner — but it is attained through desire and through intent.

(10:30. Seth did an excellent job of describing the conditions that resulted in Jane’s “Cézanne experience.” Specifically, though, this is what happened: Quite suddenly in the predawn hours of December 11 she began to write an automatic script that purported to come from the artist Paul Cézanne, who lived from 1839 to 1906. She has no idea whether or not the manuscript will continue “to come.” Already, though, I am struck by the insights on art and life as they are presented.

Ruburt’s Cézanne material therefore comes very quickly, taking a bare portion of the day. Yet its quality is such that professional art critics could learn from it, though some of their productions might take much longer periods of time, and result from an extensive conscious knowledge of art, which Ruburt almost entirely lacks. The productions of the psyche by their nature, therefore, burst aside many most cherished beliefs.

It seems almost heresy to suppose that such knowledge is available, for then what use is education? Yet education should serve to introduce a student to as many fields of endeavor as possible, so that he or she might recognize those that serve as natural triggers, opening skills or furthering development. The student will, then, pick and choose. The Cézanne material was from the past, yet future knowledge is quite as accessible. There are, of course, probable futures from the standpoint of your past. Future information is theoretically available there, just as the body’s “future” pattern of development was at your birth — and that certainly was practical.