“Seth material” search engine (Jane Roberts)

(Before the session Jane said she had no idea of what Seth would talk about. She began speaking while sitting down and with her eyes closed. She had left a cigarette burning however, and her eyes soon began to open. Her voice was quiet, her pace quite slow.)

(One minute pause.) There are several points I would like to make. For all practical purposes, you will find yourself in some sort of body form in your out-of-body experiences.

These body forms however are necessary camouflages, for you cannot yet think of identity without some kind of physical body. Therefore you project yourself in a body form. It varies according to your own abilities, and without it you would feel lost indeed. The form itself is not important, but the form can tell you something about the dimension in which you are having experience.

Ruburt will not be happy with this. Projection is certainly possible in any case. However at your period of development it would be simpler to have everything working for you that you can. It is up to you to make decisions. Perhaps the other comforts that the room affords you with the bed in another position, is worth it to you for a while. This in no way changes the fact that projections are more easily executed with the head to the north.

I found this amusing. The symbol was a highly valuable one however, obviously. You will both improve with practice. Because of your ideas, you see, you experience more difficulty in getting out of the physical house. (Smile.) Ruburt’s window image, had the experience continued, would have effectively done this for him. He did not have the confidence to imagine himself, you see, passing through the physical walls.

However there is a chemical energy used in all such out-of-body experiences. The chemical reaction results in an electromagnetic connection between the consciousness and the physical body, and without it there would be no return to the physical body, in your terms. Of course it is mental energy that makes the chemical energy possible, however. This freedom of consciousness is not dependent upon physical existence, you see.

The sort of lines for example that a map would have to indicate small roads, or the lines like cracks in a dry ground.

(“Some larger lettering, and then some small.” Jane feels this is a distortion of my writing or lettering on the object. I would say lettering is a closer description than printed matter, being more specific.

(“The impression now of looking down, from a high position…” This is an excellent description of my position in the second-story studio, looking quite straight down as I sketched Jane on the lawn. She was perhaps twelve feet below me. Jane had an image in connection with this data, which is explained below. At the time I made the drawing I wondered if Jane would sense the fact even though she didn’t see me. Jane paused noticeably before she continued.

(“The sort of lines for example that a map would have to indicate small roads, or the lines like cracks in a dry ground.” My second question asked for more on the wavering lines impression discussed on page 185. See the copy of the object on page 178. The drawing is composed of thin pencil lines in part at least, and these could in the abstract represent small roads on a map, or lines like cracks in dry ground.

No. The invitation however did have some application, though there was some distortion. When you talked to Ruburt there was an implied invitation on his part, for he would have liked you to have gone down.