“Seth material” search engine (Jane Roberts)

(Pause at 9:24.) Now stated simply, time is not a series of moments. The words that you speak, the acts that you perform, appear to take place in time, as a chair or table appears to take up space. These appearances however are a part of the complicated props that you have set up “beforehand,” and within the play you must accept these as real.

(9:35.) Other assumptions accepted for the same reason include the idea that all perception comes through your physical senses; in other words, that all information comes from without, and that no information can come from within. You therefore are forced to focus intensely upon the actions of the play. Now these various plays, these creative period pieces represent what you would call reincarnational lives.

(9:51. Jane left trance quickly. “Wow,” she said, “Seth’s going to have an awful lot to say about that — I can feel it up here.” She touched her forehead. “Every so often I get a huge sweep of something that I can’t put into words; do you know what I mean? But he’s going to break it down for us.

The word “result,” you see, automatically infers cause and effect — the cause happening before the effect, and this is simply one small example of the strength of such distortions, and of the inherent difficulties involved with verbal thought, for it always implies a single-line delineation.