“Seth material” search engine (Jane Roberts)

My ESP classes didn’t begin until 1967, so Rob and I tried out the projection experiments alone, and only later were we joined by my students. I had given up my gallery work, and was teaching nursery school during part of this time. This was the framework in which most of these sessions took place.

This is a pleasant and easy method. With some experience you will discover that you can maintain control, walk out of the apartment and outside. You may then attempt normal locomotion or levitate. There is little strain with this method. Keep it in mind so that you are alert to the initial favorable circumstances. You may be half awake. You may be in a false awakening. The method will work in either case. You can, if you want to, look back at your body.

During this time, I was experimenting with waking projections also. The idea behind those was different: I wanted to go someplace in an out-of-body state, record my impressions of what I saw, and check the results in whatever way I could. With the dream projections, I was more intrigued by the manipulations of consciousness involved (the trick of staying between hallucinations and physical reality) and the methods. These tell far more about how consciousness works, and I was always intrigued by trying to continue normal awareness throughout dreaming.

As I mentioned in The Seth Material, my waking projections and the spontaneous ones in the Seth trance yielded enough evidence to convince us that I was legitimately out of my body and perceiving another location — and not just out of my mind. It is far more difficult to get objective proof for dream projections, yet the subjective proof is quite definite. The task of trying to maintain specific states of consciousness is enough work and effort to convince anyone having the experience that far more than simple dreaming or imagination is involved.

About two days later I met her downtown, the first time I’d seen her since her move. My first book was already out, and she knew about my work, so I told her of the projection and asked if the room meant anything to her at all. Her eyes widened as she told me that I’d described an inner room in her new house perfectly, down to the bare bulb in the ceiling and the paneling. The room was really far too large for a closet, though small enough for a normal room. She hadn’t known what to use it for, and so she’d finally turned it into a closet.

An almost automatic determination must be established, however, if conscious projections are to be anything but rare oddities. With the both of you, the problem is somewhat different than it might be with some others. These chemical excesses are used up, for one things, in your own creative work. You do this automatically. It goes without saying that your own work will gain immeasurably through the extended experience of projection. The yoga exercises allow you to draw an abundance — indeed, a super-abundance — of energy. This energy results, also, in chemical excesses that can be utilized in projections, without drawing energy away from your other work.