“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.

You are born with the inclination toward language. Language is implied in your physical structure. You are born with the inclination to learn and to explore. When you are conceived, there is already a complete pattern for your grown physical body — a pattern that is definite enough to give you the recognizable kind of adult form, while variable enough to allow for literally infinite variations (very intently).

This does not mean that you learn what in larger terms you already know; as for example, if you learn a skill. Without the triggering desire, the skill would not be developed; but even when you do learn a skill, you use it in your own unique way. Still, the knowledge of mathematics and the arts is as much within you as your genes are within you. You usually believe that all such information must come from outside of your self, however. Certainly mathematical formulas are not imprinted in the brain, yet they are inherent in the structure of the brain (intently), and implied within its existence. Your own focus determines the information that is available to you. I will here give you an example.

If you are gifted, and want to be a musician, for example, then you may literally learn while you are asleep, tuning in to the world views of other musicians, both alive and dead in your terms. When you are awake, you will receive inner hints, nudges or inspirations. You may still need to practice, but your practice will be largely in joy, and will not take as long as it might others. The reception of such information facilitates skill, and operates basically outside of time’s sequences.

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.