“Seth material” search engine (Jane Roberts)

(Sessions 760-61 were devoted to separate topics that Seth has been developing apart from his regular book dictation for Psyche.

Seemingly its action goes out in all directions. It may be easier to say, for example: “This or that event began at such a time, and ended later at such-and-such a time.” As Joseph did his notes, however, it became apparent that some events could hardly be so pinpointed, and indeed seemed to have no beginning or end.

Because you tie your experience so directly to time, you rarely allow yourselves any experiences, except in dreams, that seem to defy it. Your ideas about the psyche therefore limit your experience of it. Ruburt is far more lenient than most of my readers in that regard. Still, he often expects his own rather unorthodox experiences to appear in the kind of orderly garb with which you are all familiar.

It did not occur to him that those experiences had anything to do with this book, or that in acting so spontaneously he was following any kind of inner order. He wanted these pages to follow neatly one by one. Each of his experiences, however, demonstrates the ways in which the psyche’s direct experiences defy your prosaic concepts of time, reality, and the orderly sequence of events. They also served to point up the differences between knowledge and comprehension, and emphasize the importance of desire and of the emotions.

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.