“Seth material” search engine (Jane Roberts)

These “period pieces,” overall, have a particular purpose. By the very nature of consciousness, it seeks to materialize itself in as many dimensions as possible — to create from itself new levels of awareness, new offshoots. In doing so it creates all reality. Reality, therefore, is always in a state of becoming. The thoughts that you think, for example, in your actor’s roles, are still completely unique and lead to new creativity. Certain aspects of your own consciousness could be fulfilled in no other way.

(9:28.) The soul, therefore, or entity, endows three-dimensional reality, and the three-dimensional self with its own properties. The abilities of the entity lie within the three-dimensional self. The three-dimensional self, the actor, has access to this information and to these potentials. In learning to use these potentials, in learning to rediscover its relationship with the entity, the three-dimensional self raises still further the level of achievement, comprehension, and creativity. The three-dimensional self becomes more than it knows.

Entities or souls, in other words, send out portions of themselves to open up avenues of reality that would not exist otherwise. (Long pause at 9:39.) The three-dimensional selves, in existing within these realities, must focus their attention there completely. An inner awareness gives them a source of energy and strength. They must, however, come to understand their roles as actors, “finally” from their roles, and through another act of comprehension, return to the entity.

There are those who appear within these plays fully aware. These personalities willingly take roles, knowing that they are roles, in order to lead the others toward the necessary realization and development. They lead the actors to see beyond the selves and settings they have created. These personalities from other levels of existence oversee the play, so to speak, and appear among the actors. Their purpose is to open up within the three-dimensional selves those psychological doorways that will release the three-dimensional self for further development in another system of reality.

The settings in your physical environment, the sometimes lovely paraphernalia, the physical aspects of life as you know it, are all camouflages, and so I call your physical reality a camouflage. Yet these camouflages are composed of the vitality of the universe. The rocks and stones and mountains and earth are living camouflage, interlocking psychic webs formed by minute consciousnesses that you cannot perceive as such. The atoms and molecules within them have their own consciousness, as do the atoms and molecules with your body.

(10:07.) Since you all have a hand in forming this physical setting, and since you are ensconced yourself in a physical form, then using the physical senses you will only perceive this fantastic setting. The reality that exists both within it and beyond it will elude you. Even the actor is not entirely three-dimensional, however. He is a part of a multidimensional self.

Within him there are methods of perception that allow him to see through the camouflage settings, to see beyond the stage. He uses these inner senses constantly, though the actor part of himself is so intent upon the play that this escapes him. In a large manner, the physical senses actually form the physical reality they seem to only perceive. They are themselves part of the camouflage, but they are like lenses over your natural inner perceptions that force you to “see” an available field of activity as physical matter; and so they can be relied upon only to tell you what is happening in a superficial manner. You can tell the position of the other actors for example, or time by clock, but these physical senses will not tell you that time is itself a camouflage, or that consciousness forms the other actors, or that realities that you cannot see exist over and beyond the physical matter that is so apparent.

You can, however, using your inner senses, perceive reality as it exists apart from the play and your role in it. In order to do this you must, of course, momentarily at least turn your attention away from the constant activity that is taking place — turn off the physical senses, as it were — and switch your attention to those events that have escaped you earlier.

Your particular set of camouflages is not the only set, you see. Other realities have entirely different systems, but all personalities have inner senses that are attributes of consciousness, and through these inner senses communications are maintained about which the normally conscious self knows little. Part of my purpose is to make some of these communications known.

(10:29.) The soul or entity, then, is not the self that reads this book. Your environment is not simply the world about you as you know it, but also consists of past-life environments upon which you are not now focusing. Your real environment is composed of your thoughts and emotions, for from these you form not only this reality but each reality in which you take part. (Long pause.)

The inner senses will allow you to perceive the reality that is independent of physical form. I will ask you all to momentarily forsake your roles therefore, and to try this simple exercise.