“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.

Using such significances as yardsticks, you accept or reject probable events. You imprint the universe with your own significance, and using that as a focus you draw from it, or attract, those events that fit your unique purposes and needs. In doing so, to some extent you multiply the creative possibilities of the universe, forming from it a personal reality that would otherwise be absent, in those terms; and in so doing you also add in an immeasurable fashion to the reality of all other consciousness by increasing the bank of reality from which all consciousness draws.