1 result for (book:sdpc AND heading:prefac AND stemmed:present)

SDPC Preface 6/59 (10%) Sonja Jack program television camera
– Seth, Dreams and Projections of Consciousness
– © 2011 Laurel Davies-Butts
– Preface

[... 2 paragraphs ...]

During the interview Jack asked me if Seth would come through. I replied that it was up to Seth. Actually, since I hadn’t gone into trance on any other programs, I doubted I would now. Instead, Jack began to play a taped Seth session. As I heard those deep resonant tones of his, I knew that Seth was present.

[... 13 paragraphs ...]

People have often asked me how I know when Seth is present, and I have had some difficulty in answering. Examining my feelings after the program and finding myself face to face with that energy, I realized that the same sort of energy, to a lesser degree, is one of my main cues that Seth is ready to come through.

[... 7 paragraphs ...]

And, as far as I know, Seth has no imprisoning body. He projects part of his consciousness, at least at times, into mine. Curious thought — I can also imagine some good-humored game of musical chairs in which I try to get out of my body, while Seth tries to get into it. While this presents a rather hilarious image, it is actually unfair. Seth doesn’t have any great interest in taking over my body for any length of time, while I have an insatiable curiosity about the experience of getting out of mine.

[... 6 paragraphs ...]

Fortunately or unfortunately, however, I suspect that our relationship is far more complex. One thing I know: Seth does not have his present basic existence in the three-dimensional world, and I do. He has given us instructions that allow Rob, my students and myself to take our own sometimes faltering steps out of our usual physical reality. He initiated our exploration into the universe of dreams, for example, and is therefore largely responsible for this book. But we must return to our normal daily dimension of actuality. And Seth returns to his.

[... 1 paragraph ...]

My out-of-body experiences are not nearly as well directed, deliberate or effective as Seth’s behavior is here, for example. Seth dictates one final draft of his own book, while I do at least three drafts of my own. (This present book is my third since the sessions began, so Seth is hardly “stealing” any of my creative energy.)

[... 20 paragraphs ...]

This is most obvious in dreaming, of course. Dreams may well represent us at our most creative, for not only do we process the past day’s activities, but we also choose tomorrow’s events from the limitless probable actions that are presented to us while the waking self is still.

[... 3 paragraphs ...]

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