“Seth material” search engine (Jane Roberts)

Dreams deal with associations and with emotional validities that often do not seem to make sense in the usual world. I said before that no one can really give you a definition of the psyche. It must be experienced. Since its activities, wisdom and perception rise largely from another kind of reference, then you must often learn to interpret your encounter with the psyche to your usual self. One of the largest difficulties here is the issue of organization. In regular life, you organize your experience very neatly and push it into accepted patterns or channels, into preconceived ideas and beliefs. You tailor it to fit time sequences. Again: The psyche’s organization follows no such learned predisposition. Its products can often appear chaotic simply because they splash over your accepted ideas about what experience is.

Ruburt’s experiences of late are particularly important, in that by implication they run counter to many accepted core beliefs that are generally held. We will use these latest episodes as an opportunity to discuss the presence of knowledge that appears to be “supernormal” — available, but usually untouched. We will further describe the triggers that can make such information practical, or bring it into practical range.

The private psyche, the part of you that you do not recognize, is aware of those patterns even as it is aware of private physical biological patterns about which it forms your image. Certain leanings, inclinations, and probabilities are present then in your biological structure, to be triggered or not according to your purposes and intents. You may personally have the ability to be a fine athlete, for example. Yet your inclinations and intents may carry you in a different direction, so that the necessary triggers are not activated. Each individual is gifted in a variety of ways. His or her own desires and beliefs activate certain abilities and ignore others.

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’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.