“Seth material” search engine (Jane Roberts)

Later you may not recall it, but you have a more direct connection with reality in the dream state, and the intensity of the dream experience is more completely perceived. I am speaking now in terms of basic reality. It is less camouflaged in the dream state. For this reason, in any projections you may be startled, for here you also enter a less strictly camouflaged situation.

You will sometimes automatically translate this reality into physical terms. Such images will be hallucinatory, but it may take a while for you to distinguish their real nature. It must be understood however here that all physical objects are also hallucinatory. They may be called mass hallucinations.

The completely uncamouflaged layer could be rather bewildering. However you might automatically attempt to project images within it. The images would not take, so to speak, but would appear and disappear with great rapidity. This would be a silent area. Thoughts as a rule would not be perceived here, for the symbols that form them would not be understood.

The thoughts would not be perceived if they were present, you see. If a certain intensity is reached here however, a peak of intensity, then you could perceive the spacious present as it exists within your native system. You could, from this peak, theoretically look into the other system, but you would not understand what you perceived. You would not have the proper root assumptions, you see.

I have used here the idea of two neighboring systems for simplicity’s sake, as if they were laid out end to end. Obviously such is not the case. The systems are more like the various segments of a tangerine, with the uncamouflaged boundary areas like the white membrane between the tangerine sections.

Now, each brush stroke of a painting represents concentrated experience, and compressed perceptions. In a good painting these almost explode when perceived by the lively consciousness of another. The observer is washed over by intensities. Again, experience that has nothing to do with physical time. The same can be said for a successful poem, though here I speak of Ruburt’s knowledge of poetry, rather than of any of my own.

Your physical time is something like this. There is a strong connection here I have been trying to get through, but it is for now too difficult for Ruburt to catch. All of the experience an artist has gained is in any given painting, not physically perceived, but strongly perceived by the inner senses.