“Seth material” search engine (Jane Roberts)

(Jane reports that during the sessions she now talks along on faith or trust in a way that she couldn’t do ordinarily. Also while delivering Seth’s messages her hands seem to be “fatter.” She first noticed this phenomena two sessions ago but for some reason never mentioned it to me. At times during a session her hands feel heavier and waterlogged, the fingers fatter, the palms thicker, so that when she makes a fist her hand has a different feel to her than ordinarily.

For example had you left your last job when you were first very strongly tempted to do so, and when Ruburt urged you to do so, you would not have become sick in the way that you were. There would have been a period of finan cial strain but it would have been over by now, and it would have been a period of financial difficulties mainly. That is, you would have found yourself capable of dealing with the problem since you would not have used up so much energy as you tried to hold off the inevitable.

Because Ruburt has been somewhat annoyed with me and because I do not want to hurt either of you, let me say again that you averted many tragedies, and if you did not always take the easiest or the best course you have never taken the worst course, and you have never acted through malice. Now I hope Ruburt will stop yapping like an angry cur and let me continue.

As far as mediums are concerned, for that matter the term is rather ridiculous. From my point of view it is like saying that some people are breathers and some are not. Everyone is a medium, unwittingly and yet knowingly. It is well known to your scientists, or it should be, that you bring many things about without knowing how you do so.

Your so-called mediums are simply people who know more about what they are doing. You are learning step by step how to gain access to abilities that you have always enjoyed, always used to some extent, and which have helped mold the exterior circumstances of your life and given your personality much of its meaning. You will learn more. You can use these abilities in a practical manner and you have already begun to do so to some extent. I have given you enough personal data for a time but I will add to this material as I see fit.

Mental enzymes have much to do with psychic phenomena naturally, as they have to do with the transformation of energy on any level and of any kind. I will also continue with your fifth dimension material, add much to the time discussion, and go into some elements of existence on other planes that are different from your own. This will all take time and we have plenty of time, so there is no difficulty there.

The inner senses deal with what actually is. The inner senses are the carriers of our fuel, that is, they can be likened to the various cars of our imaginary train. It takes some doing to be aware of this fuel, since it is so instantly transformed by the outer senses into the stuff of camouflage. The process involved is subconscious. You can hardly catch yourself at it, and yet with training you will be able to catch yourself in the act.

You cannot see a handful of air though your hands may be full of it. You know its effects, you breathe it constantly, but consciously you do not realize what you are doing. You do not know how air tastes unless you really think hard about it. It is fuel to your physical body and the idea of it comes very close to this fuel of the inner senses, which is not a camouflage effect and which is our vitality unsolidified, or the little wires which make up our imaginary universe. In other words these little wires move along constantly like little individual railway cars carrying fuel, and also are composed of the very fuel themselves.

Do you need a break?

Surely you see where that leads us. If you will forgive me, my dear Joseph, you are full of air. I won’t say hot air. But you look like a man. The man form, the physical form, is a camouflage that you see. You do not see the air of which you are composed when you look into a mirror. You are also composed of much water, yet you do not see a wet spongy mess when you look into the glass, at least I hope not. You see the camouflage or the physical form.

Our last session was a very long one. I will not keep you that long this evening. However I do suggest that you play around with your own camouflage patterns for a few moments, and then I will continue. And Ruburt, if you can find anything personal in camouflage patterns then I am done for.

It is only the inner senses which will give you any evidence at all of the basic nature of life itself. Since very often the vitality or stuff of the universe seems as innocuous as air might seem to you, then look for what you do not see. Explore places that appear empty, for they are full. Look between events. What you see clearly with your outer senses is camouflage. I am not suggesting that you take everything on faith, nothing of the sort. I am saying that what seems vacant lacks camouflage, and therefore if this is explored it will yield evidence. I hope I have not carried you too far too fast.

Your own experience with creativity should serve you well as far as this discussion goes. When you paint a picture, my dear egotistical Joseph, you are dealing with a transformation of energy and a transformation of camouflage pattern. There is a moment, a brief but vital moment in such an act of creation, when you are dealing with the underlying vitality of which I have spoken. You are forced because of your earthly physical situation to transform this creative energy into another camouflage pattern. There is nothing else you can do. But for this moment you pluck this vitality from the inner senses, you grab ahold of this fuel with both hands. You have it. You transform it into a somewhat different more evocative new camouflage pattern that is nevertheless more fluent, more fluid, than the usual pattern, and which gives greater freedom and mobility to the basic fuel or vitality itself. You approach a transmigration of planes.

A certain distortion must be expected, in the same manner that a distortion occurs in the form of your flying saucers. The painting in other words achieves a certain freedom from camouflage, while it cannot escape it, and actually hovers between planes in a way that no thoroughly camouflaged object could do. That is, something that exists completely in your plane cannot be evocative in the manner that a painting or, and this is for Ruburt, a poem can be.

I do not want to get too involved. However by certain means the instruments will themselves transform data from terms that you cannot understand into terms that you can understand. Scientists do this all the time. However what this involves is a watering down of data, a simplification that distorts all out of shape, the original is hardly discernible when you are done. You are destroying the meaning in the translation.

The instruments themselves do this transforming, transforming say the idea of time or light years into sound patterns, radio waves and such. You lose too much in this process. What you get is so distorted that you have absolutely no near perception of the original. I will go into this much more deeply, as there is much more to be said on a technical level. But when you decipher one phenomena in terms of another you always lose sight of whatever glimmer of understanding may have reached you.

Scientists realize that the atmosphere of the earth is a distortion, or has a distorting effect upon their instruments. What they do not understand is that their instruments themselves are bound to be distortive. This cannot be emphasized too strongly. Any material physical instrument will have built-in distortive effects. The one instrument which is more important than any other and which has given you, that is mankind, all its breakthroughs and advance is the brain. Or rather the mind which contains the brain, and which is the meeting place of the inner and outer senses.