“Seth material” search engine (Jane Roberts)

Any creative work involves you in a cooperative process in which you learn to dip into these other streams of consciousness, and come up with a perception that has far more dimensions than one arising from the one narrow, usual stream of consciousness that you know. Great creativity is then multidimensional for this reason. Its origin is not from one reality, but from many, and it is tinged with the multiplicity of that origin.

Now: These other existences of yours go on quite merrily whether you are waking or sleeping, but while you are awake ordinarily you block them out. In the dream state you are much more aware of them, although there is a final process of dreaming that often masks intense psychological and psychic experience, and unfortunately what you usually recall is this final dream version.

In this final version the basic experience is converted as nearly as possible into physical terms. It is therefore distorted. This final touching-up process is not done by deeper layers of the self however, but is much more nearly a conscious process than you realize.

One small point might explain what I mean here. If you do not want to remember a particular dream, you yourself censor the memory on levels quite close to consciousness. Often you can even catch yourself in the act of purposely dropping the memory of a dream. The touching-up process occurs almost at this same level, though not quite.

Here the basic experience is hastily dressed up as much as possible in physical clothes. This is not because you want to understand the experience, but because you refuse to accept it as basically nonphysical. All dreams are not of this nature. Some dreams themselves do take place in psychic or mental areas connected with your daily activities, in which case no dressing-up process is necessary. But in the very deep reaches of sleep experience — those, incidentally, not yet touched upon by scientists in so-called dream laboratories — you are in communication with other portions of your own identity, and with the other realities in which they exist.

(10:26.) At a very simple level, for example, your consciousness leaves your body often in the sleep state. You communicate with people in other levels of reality that you have known, but far beyond this, you creatively maintain and revitalize your physical image. You process daily experience, project it into what you think of as the future, choose from an infinity of probable events those you will make physical, and begin the mental and psychic processes that will bring them into the world of substance.

At the same time, you make this information available to all these other portions of your identity, who dwell in entirely different realities, and you receive from them comparable information. You do not lose contact with your ordinary waking self. You simply do not focus upon it. You turn your attention away. In the daytime you simply reverse the process. If you were looking at your daily normal self from the other viewpoint, you see, using an analogy here, you might find that physically waking self as strange as you now find the sleeping self. The analogy will not hold however, simply because this sleeping self of yours is far more knowledgeable than the waking self of which you are so proud.