“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.

Not only is the entity strengthened, but portions of it, having been actualized in three-dimensional existence, now add to the very quality and nature of that existence. Without this creativity, planetary life in your terms would always be sterile. The soul or entity then gives breath to the body, and to the three-dimensional self within it. The three-dimensional self then goes about its purpose of opening up new areas of creativity.

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.