“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.

As a rule there is little communication, you see, through those uncamouflaged or undifferentiated areas. They act in fact as boundaries, even while they represent the basic stuff of which all camouflage is composed. Without the camouflage, you see, you would perceive nothing using the physical senses.

The sentence is really meaningless however, because the physical senses themselves are camouflage, you see. There would be nothing to translate. It is only use of the inner senses that will allow you to perceive under these circumstances. Theoretically, if you can bridge the gap between various reincarnations, then you can bridge the gap between your system and another.

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.

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.

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.

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.

True motion has absolutely nothing to do with space. The only real motion is that of the traveling consciousness. (Long pause, eyes closed; one minute.) Spatially, a painting is flat. Its reality leaps out from its physical dimensions, and completely escapes them. (Long pause.) The depths within the painting do not physically exist, yet they are perceived.

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.