“Seth material” search engine (Jane Roberts)

Now. You recall certainly the material dealing with the inner senses. Experiments and experiences using psychological time, and all projection events, deal rather directly with the use of these inner senses.

Training will allow you to maintain the proper balance. Usually you do not use all of the inner senses in any given projection experience. Now, for this reason you see certain projections will seem entirely different than others.

You remember that I listed briefly the three forms that you use during your projections. Now I will also say that in the first form you usually use certain inner senses; in the second form you use more of these, you see, and in the third form you make an attempt to use all of them, though very rarely is this successful.

As you know, this is characteristic of one of our inner senses. In some projection experiences you will also know, or experience a concept, and at first you see you may not understand what is happening. You usually think out an idea. There are some experiences that involve what we shall call pseudoprojections.

I want to make this clearer however. Suppose that you suddenly understand the concept of oneness with the universe, and that this particular inner sense of feeling concepts is to be used. You would then construct, as you construct dream images, a multitudinous variety of shapes and forms meant to represent the complicated varieties of life. You would then have the experience of entering into each of these lives. You would not think what it was like to be a bird, you would momentarily be a bird. This does involve a projection of sorts, and yet it still must be called a pseudoprojection.

You see, some experiences will be simple attempts to use the inner senses more fully. You are at a point where you can utilize these to a much larger extent. Some such experiences will appear to be projections, and as we go along I will tell you how to distinguish between them.

(“This is difficult to put into words… The impression of something going forward, as of a path, you see, that is wide, and then narrows into the distance.” Jane made her gesture, as described on page 242. “That may need some interpretation, but that is the impression.” I sought more information on this impression by the first question. At the time of the above data Jane held the envelope horizontally. There can be a literal interpretation: The drawing of the milkweed on page one of the object is V-shaped in the abstract sense—wide at one end, narrowing to a point, as did Jane’s gesture. Also the A in the Art Shop monogram narrows somewhat but doesn’t come to a point. There can also be a symbolic interpretation, and Seth raises this possibility in answer to the first question.