“Seth material” search engine (Jane Roberts)

Cellular consciousness itself straddles, so to speak, various levels of sleep activity. Various aspects of it come to the forefront at definite times. This consciousness is constant, whether you wake or sleep. It existed before the ego’s formation, and in many cases exists after the ego’s organization is altered. In sleep cellular consciousness often intrudes into the dream process, appearing in the form of dream images. Cellular consciousness is highly codified in actuality, much more emotional than visual, and the visual dream images are but translations of inner comprehensions. (Long pause, nearly one minute.)

Such dreams do not basically imply a return to a distant past, for to the cells all things are present. (Long pause.) This reality is a basic part of your present existence, and simply represents a dimension of actuality that the ego cannot, by its nature, admit.

Give us a moment, please. (Pause.) These are impressions.

It seems some connection with cars or transportation. My fair lady—I do not know to what this refers. (Pause.) A string, as of lights, or pearls, in a string of succession, of items in succession.

The number four. (Pause.) Some connection with a February event. A scramble. Black and white colors. A photograph. Ruburt here thinks of the photographs taken in your studio, of him.

The photograph connection is strong (pause) but I do not believe the item is this precisely. (Pause.)

(“The photograph connection is strong [pause] but I do not believe the item is this precisely.” [Pause.] Seth tried to help Jane discriminate here, as he often does. Tonight’s object of course is not a picture or photo, but an envelope that contained a letter about people who make pictures. Also, I was taking pictures of Jane last week, as explained. Thus it can be seen how all such related data, even though separated by much time, comes together in these session experiments. This particular chain of association was not anticipated by me when I picked the Crowley envelope as object for tonight. The two studio settings—the studio I worked in with Wendell Crowley in 1941-3, and my present studio, are separated by as much as 23 years.