“Seth material” search engine (Jane Roberts)

In the dream state the actors become aware to some extent of the parts they play, and sense the true personal identity that is behind the artist’s craft. I have spoken of this before, but it is important to remember that you impose a certain kind of “artificial” sense of exaggerated continuity even to the self you know. Your experience changes constantly, and so does the intimate context of your life — but you concentrate upon points of order, in your terms, that actually serve to scale down the context of your experience to make it more comprehensible. There are no such limits naturally set about your consciousness.

(11:23.) On the one hand, dreaming on the part of animals — and men in particular — involves not only information processing, but information gathering. Dreaming prevents life from becoming closed-ended by opening sources of information not practically available in the waking state, and by providing feedback from other than the conventional world. Data gained through waking learning endeavor and experience are checked in dreaming, not only against physical experience, but are also processed according to those “biological” and “spiritual” data, colon: Again, that information is acquired as the sleeping consciousness disperses itself, in a manner of speaking, and merges with other consciousnesses of its own and other species while still retaining its overall identity. These [other consciousnesses] are dispersed in like manner.

In such ways each individual maintains a picture of the everchanging physical and psychological mass environment. Physical events as you understand them could not exist otherwise. (Long pause.) Basically, information is experience. In dreams you attain the necessary information to form your lives. That state of sleep, therefore, is not simply the other side of your consciousness, but makes your waking life and culture possible.

Death operates in the same fashion. The animals in particular realize this because they organize time differently from you. Dreaming provides all the conditions of life and death, therefore — a fact that often frightens the waking self. But here is a creative mixture: the perceptive organizations from which prosaically tuned conscious life emerges. Here are the raw materials for all the daily events you recognize privately and on a world scale.

(11:59.) Because that state is also connected with waking life, you also take into it many of the elements of your daily existence, so that your recalled dreams are often cast in fairly conventionalized terms. As a rule you remember the dream’s outer veneer, or what it turns into as you approach your usual level of consciousness. In a dream you are basically aware of so many facets of an event that many of them must necessarily escape your waking memory. Yet any real education must take into consideration the learning processes within dreams, and no one can hope to glimpse the nature of the psyche without encouraging dream experience, recall, and the creative use of dream education in waking life.

He is reminding you of life’s natural spontaneous creativity — the source of your own creativity, purposes, and intents. So that life can intrude upon your art (with amusement).