“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.

(Break at 9:29. Jane was dissociated as usual. Her slow pace had increased somewhat by break time. She resumed at 9:39.)

You are in touch with infinity in such undifferentiated areas, for it is only camouflage that gives you your conception of time.

The tangerine then would be compared to a group of many systems, and yet it would represent in itself but one small portion of an unperceived whole. The tangerine would be but one segment, you see, of a larger system. You can see then why projections would lead you in a far different direction from your normal linear sort of travel, and why time as you know it would be meaningless.

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.

Projections that deal with your own system will of course involve you in some kind of camouflage. If none is present you know you are out of the system. The dream universe is obviously then strongly connected with your own, since pseudoimages are present. Already you are free to some extent from the space-time reality of your system. Therefore within the dream state you are in the outward areas of your physically-oriented universe, you see.

The traveler must leave his own camouflage paraphernalia completely behind however, or he will go nowhere. It is possible, theoretically, to travel to any system in this manner, and bypass others you see. Such a traveler would not age physically. His physical body would be in a suspended state. The traveling consciousness would lose all physical conception of time however. A very few individuals have traveled in this manner to any extensive degree. Most of the knowledge gained escapes the physical organism however, for the experiences could not be translated by the physical brain.

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.

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.

(End at 10:38. Jane was far-out this time, she said. Her eyes opened slowly, and were heavy and bleary.

(Jane said Seth had been trying to get through concepts that were difficult. She had an image of spirals, for instance, all interlocked without being regular, that concerned the material on paintings and time, but she couldn’t get it clearly nor even describe it adequately. There were images within this concept that were something like an accordion, Jane said, having to do with time opening and closing, etc.