“Seth material” search engine (Jane Roberts)

Now. Experience is not built up layer upon layer, along the lines of continual moments. Basically, experience has nothing to do with time as you know it. Experience is felt in terms of intensities and value fulfillment. As you should know, an experience lasting only a few moments can outweigh in significance a much more lasting one. The dream experience is rather independent of physical time, and its experience, or rather its intensity—my error—is felt more directly while you are in the dream situation.

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.

Now, there is a connection between these areas and the idea of infinity, but first take your first break, and we shall continue.

Now during some projections you may be aware of nothing as far as surroundings are concerned. There will be only the mobility of your own consciousness. If this ever occurs you will be traveling through such an uncamouflaged area. You could then expect to encounter next a more differentiated environment, that seemed to become more clear as you progressed toward the heart of another system.

Nor do such projections involve necessarily journeys through space as you know it. There are systems, extremely vivid in intensity, that have no existence in physical reality. It is now thought, I believe, that time and space are basically one, but they are both a part of something else. They are merely the camouflage patterns by which you perceive reality. Space, as you experience it in the dream state, comes much closer to reality.

You may now take a break and we shall continue.

Now again, theoretically, it is possible to travel under such circumstances and perceive experiences that would ordinarily take you centuries, physically speaking, and in only a flash of your time.

Practically speaking, this is seldom done, but it has been on occasion. The brain cannot contain such episodes. A portion of the self would retain these experiences. Now in a creative individual, some of these could be expressed symbolically in a painting or other work of art, but the ego could not consider them as actual.

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.

Now, some systems have no basic form, but adopt the form, the forms, thrust upon it. Your own system is obviously one of these. Other systems, by their very nature, set up a resistance, that resists. There is in such cases a constant battle of forms.