“Seth material” search engine (Jane Roberts)

3. Permanence is not a matter of time. Existence has value in terms of intensities.

Only if these basic root assumptions are taken for granted will your projection experiences make sense to you. Different rules simply apply. Your subjective experience is extremely important here; that is, the vividness of any given experience in terms of intensity will be far more important than anything else.

The unity, you see, is different. Basically, perception of the spacious present is naturally available. It is your nervous physical mechanism which acts as a limiting device. By acting in this manner it forces you to focus upon what you can perceive with greater intensity.

When you travel beyond a certain range of intensities, even psuedo-objects must vanish. They exist in a cluster about, and connected to, your own system. The lack of these, obviously, means that you have gone beyond your own camouflage system. If it were possible, you would then travel through a range of intensities in which no camouflage existed. Then you would encounter the pseudo-camouflage of the next system. This would or would not be physical matter, according to the system. You would then encounter the heart of the camouflage area. The completely uncamouflaged areas at the outer edges of the various systems should remind you of the undifferentiated areas between various life cycles in the subconscious. This is no coincidence.

If a certain intensity is reached, however — a peak of intensity — then you could perceive the spacious present as it exists within your native system. You could, from this peak, look into other systems, but you would not understand what you perceived, not having the proper root assumptions. I have used the idea of neighboring systems for simplicity’s sake, as if they were laid out end to end. Obviously, such is not the case. The systems [of reality] are more like the various segments of a tangerine, with the uncamouflaged boundary areas like the white membrane between the tangerine sections.

Nor do such projections necessarily involve journeys through space as you know it. There are systems, vivid in intensity, that have no existence in physical reality at all. It is now thought, I believe, that time and space are basically one, but they are both a part of something else. They are merely the camouflage patterns by which you perceive reality. Space as you perceive it in the dream state comes much closer to the reality.

Each brushstroke of a painting represents concentrated experience and compressed perceptions. In a good painting, these almost explode when perceived by the lively consciousness of another. The observer is washed over by intensities. The excellent work of art recreates for the observer inner experience of his own, also, of which he has never been aware. As you know, paintings have motion, yet the painting itself does not move. This idea should help you understand experience in terms of intensities and projections or the movement of consciousness without necessarily motion through space.