“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.

(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.