“Seth material” search engine (Jane Roberts)

Now: The senses that you use, in a very real manner, create the environment that you perceive. Your physical senses necessitate the perception of a three-dimensional reality. Consciousness is equipped with inner perceptors, however. These are inherent within all consciousness, regardless of its development. These perceptors operate quite independently from those that might be assumed when a given consciousness adopts a specialized form, such as a physical body, in order to operate in a particular system.

Each reader, therefore, has inner senses, and to some extent uses them constantly, though he is not aware of doing so at an egotistical level. Now, we use the inner senses quite freely and consciously. If you were to do so, then you would perceive the same kind of environment in which I have my existence. You would see an uncamouflaged situation, in which events and form were free and not stuck in a jellylike mold of time. You could see, for example, your present living room not only as a conglomeration of permanent-appearing furniture, but switch your focus and see the immense and constant dance of molecules and other particles that compose the various objects.

You could see a phosphorescentlike glow, the aura of electromagnetic “structures” that compose the molecules themselves. You could, if you wished, condense your consciousness until it was small enough to travel through a single molecule, and from the molecule’s own world look out and survey the universe of the room and the gigantic galaxy of interrelated, ever-moving starlike shapes. Now all of these possibilities represent a legitimate reality. Yours is no more legitimate than any other, but it is the only one that you perceive.

Now, I project a portion of my reality as I dictate this book to an undifferentiated level between systems that is relatively clear of camouflage. It is an inactive area, comparatively speaking. If you were thinking in terms of physical reality, then this area could be likened to one immediately above the atmosphere of your earth. However I am speaking of psychological and psychic atmospheres, and this area is sufficiently distant from Ruburt’s physically oriented self so that the communications can be relatively understood.

Consciousness is, among other things, a spontaneous exercise in creativity. You are learning now, in a three-dimensional context, the ways in which your emotional and psychic existence can create varieties of physical form. You manipulate within the psychic environment, and these manipulations are then automatically impressed upon the physical mold. Now our environment is in itself creative in a different manner than yours. Your environment is creative in that trees bear fruit, that there is a self-sustaining principle, that the earth feeds its own, for example. The naturally creative aspects are the materializations of the deepest psychic, spiritual, and physical inclinations of the species, set up in your terms eons ago, and a part of the racial bank of psychic knowledge.

You look out into the physical universe, and interpret reality according to the information received from your “outer senses.” I will stand, figuratively speaking, in physical reality and look inward for you, and describe those realities of consciousness and experience that you are presently too fascinated to see. For you are fascinated with physical reality, and you are in as deep a trance now as the woman is through whom I write this book.

And I end our session. We are close to the end of Chapter Two. Now I wish you good evening.