“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.

Your consciousness then takes many forms, and these forms need not be alike any more, say, than a caterpillar is like a butterfly. The soul or entity has complete freedom of expression. It changes its form to suit its expression, and it forms environments like stage settings, and worlds to suit its purposes. Each setting brings forth new developments.

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.

(10:20.) Highly simplified indeed, the effect would be something like changing one set of glasses for another, for the physical senses are as artificial, basically speaking, to the inner self, as a set of glasses or a hearing aid is to the physical self. The inner senses, therefore, are but rarely used completely consciously.