“Seth material” search engine (Jane Roberts)

I refer readers to Ruburt’s Introduction, in which he compares his own creative experiences as a writer to those he feels in our sessions. There are several points he did not understand, and so here I would like to clear them. (With a pause): New paragraph.

Referring to his Introduction again, he remarks that he misses the excitement of the chase, encountered in his own creative work. Here, you see, the acceleration is so rapid and intense that he is not consciously able to follow it. The unconscious, so-called, has little to do with this phenomenon. It is, however, related strongly to qualities inherent within each consciousness. Such ability is rarely used to full advantage. Connections are made so rapidly that the physical brain is not aware of them.

(Pause, one of many, at 10:30.) Ruburt has indeed always possessed this ability to a strong degree. For various reasons, reincarnationally speaking, he allowed himself to remain ignorant of the ways in which the ability could be used for the early portion of his life. During sessions, however, all the characteristics of the inner being are accelerated; the knowing, intuitional, creative abilities, working at a rate far beyond what you would call the norm.

This is a dimension of existence native to consciousness, however, when it is not physically oriented. Ruburt can, and will, learn to explore this dimension even further. Only his lack of confidence in the past held him back.

The acceleration propels him into a state in which he can operate quite well, while going beyond all those normal psychological realities that he would personally call his own. (Pause.)

Seen or viewed from my natural perspective, your objects do not exist. Your inner reality does, of course. Now Ruburt’s system physically undergoes some changes, although these are largely native to his constitution. (Humorously): He saw to that before this life began.

He uses nervous connections in a way that is unusual, and to his purpose. His pulse rate is normal. The acceleration begins, however, on a physical level, with the use of hormones and chemicals, and then leaps from there. Both halves of the brain spark, and from those connections, speaking physically now, the acceleration is initiated, and its effects on the body are cut off.

To some extent or another, each artistic creation, though to a lesser degree, involves the same principle. Now, I cannot keep the additional acceleration up, or the voice will go so quickly that our friend cannot keep to his notes —

(His loud and rapid voice soon quieting, Seth explained to me that he would give a “fine demonstration of an acceleration” in a session in which we used our recorder. Sue could sit in on it, and hopefully I would experience the acceleration as clearly as she does. This interlude ended in a break at 11:10.