“Seth material” search engine (Jane Roberts)

(9:49.) At the same time Aunt Sarah, unbeknown to you, might pick up a blue vase, one that you had just seen in your mind as belonging on a shelf in her living room. Touching the vase, your Aunt Sarah might think of the person who gave it to her, now on the other side of the continent. That person, perhaps thinking of buying a present for someone, might settle upon a vase in a flash of inspiration, or suddenly begin humming a song with the name “Sarah” in the title, or possibly even think of your aunt. If on the other hand any opposing associations existed anywhere along the line, the “chain” of association could be broken. The last lady might consider a vase, for example, but reject the idea. Because of the time element, it seems to you that the first episode caused the others, and that your first association concerning your aunt brought about the “following” events.

These are kept separate in various systems of actuality, while still combining in an overall fashion. You understand the cause-and-effect kind of order, but this is built upon the noncausal aspect of significances. In a way the dreams that you recall are like numbered paintings, tailored to fit your own intents and purposes, fitting the contours of your mind so perfectly that you forget the larger experiences from which they were drawn.