“Seth material” search engine (Jane Roberts)

The imagination is highly involved with event-forming. Children’s imaginations prevent them from being too limited by their parents’ world. Waking or dreaming, children “pretend.” In their pretending they exercise their consciousness in a particularly advantageous way. While accepting a given reality for themselves, they nevertheless reserve the right, so to speak, to experiment with other “secondary” states of being. To some extent they become what they are pretending to be, and in so doing they also increase their own knowledge and experience. Left alone, children would learn how to cope with animals by pretending to be animals, for example. Through experiencing the animals’ reactions, they would understand how to react themselves.

In play, particularly, children try on any conceivable situation for size. In the dream state adults and children alike do the same thing, and many dreams are indeed a kind of play. The brain itself is never satisfied with one version of an event, but will always use the imagination to form other versions in an activity quite as spontaneous as play. It also practices forming events as the muscles practice motion.

When children dream, they utilize these inner senses as adults do, and then through dreaming they learn to translate such material into the precise framework of the exterior senses. Children’s games are always “in the present” — that is, they are immediately experienced, though the play events may involve the future or the past. The phrase “once upon a time” is strongly evocative and moving, even to adults, because children play with time in a way that adults have forgotten. If you want to sense the motion of your psyche, it is perhaps easiest to imagine a situation either in the past or the future, for this automatically moves your mental sense-perceptions in a new way.

Children try to imagine what the world was like before they entered it. Do the same thing. The way you follow these directions can be illuminating, for the areas of activity you choose will tell you something about the unique qualities of your own consciousness. Adult games deal largely with manipulations in space, while children’s play, again, often involves variations in time. Look at a natural object, say a tree; if it is spring now, then imagine that you see it in the fall.

Alter your time orientation in other such exercises. This will automatically allow you to break away from too narrow a focus. It will to some extent break apart the rigid interlocking of your perception into reality as you have learned how to perceive it. Children can play so vividly that they might, for example, imagine themselves parched under a desert sun, though they are in the middle of the coolest air-conditioned living room. They are on the one hand completely involved in their activity, yet on the other hand they are quite aware of their “normal” environment. Yet the adult often fears that any such playful unofficial alteration of consciousness is dangerous, and becomes worried that the imagined situation will supersede the real one.

(10:49.) Through training, many adults have been taught that the imagination itself is suspicious. Such attitudes not only drastically impede any artistic creativity, but the imaginative creativity necessary to deal with the nature of physical events themselves.

Man’s creative alertness, his precise sensual focus in space and time, and his ability to react quickly to events, are of course all highly important characteristics. His imagination allowed him to develop the use of tools, and gave birth to his inventiveness. That imagination allows him to plan in the present for what might occur in the future.

This means that to some extent the imagination must operate outside of the senses’ precise orientation. For that reason, it is most freely used in the dream state. Basically speaking, imagination cannot be tied to practicalities, for when it is man has only physical feedback. If that were all, then there would be no inventions. There is always additional information available other than that in the physical environment.

Dictation: To encourage creativity, exert your imagination through breaking up your usual space-time focus. As you fall to sleep, imagine that you are in the same place, exactly in the same spot, but at some point in the distant past or future. What do you see, or hear? What is there?

For another exercise, imagine that you are in another part of the world entirely, but in present time, and ask yourself the same questions. For variety, in your mind’s eye follow your own activities of the previous day. Place yourself a week ahead in time. Conduct your own variations of these exercises. What they will teach you cannot be explained, for they will provide a dimension of experience, a feeling about yourself that may make sense only to you.

They will teach you to find your own sensations of yourself, as divorced from the official context of reality, in which you usually perceive your being. Additionally, you will be better able to deal with current events, for your exercised imagination will bring information to you that will be increasingly valuable.

Do not begin by using your imagination only to solve current problems, for again, you will tie your creativity to them, and hamper it because of your beliefs about what is practical.

There is an inner knack, allowing for greater sensitivity to the feelings of others than you presently acknowledge. That knack will be activated. Again, the powers of the brain come from the mind, so while you learn to center your consciousness in your body — and necessarily so — nevertheless your inner perceptions roam a far greater range. Before sleep, then, imagine your consciousness traveling down a road, or across the world — whatever you want. Forget your body. Do not try to leave it for this exercise. Tell yourself that you are imaginatively traveling.

If you have chosen a familiar destination, then imagine the houses you might pass. It is sometimes easier to choose an unfamiliar location, however, for then you are not tempted to test yourself as you go along by wondering whether or not the imagined scenes conform to your memory.