“Seth material” search engine (Jane Roberts)

Now. These units of which we spoke earlier are basically animations rising from consciousness.

I am speaking now of the consciousness within each physical particle regardless of its size; of molecular consciousness, cellular consciousness, as well as the larger gestalts of consciousness with which you are usually more familiar.

You could compare these units, simply for an analogy, to the invisible breath of consciousness. This analogy will not carry us far, but it will be enough initially to get the idea across. Breath is of course also a pulsation, and these units operate in a pulsating manner. They are emitted by the cells, for example, in plants, animals, rocks, and so forth.

Consciousness automatically produces these emanations, and they are the basis for any kind of perception, both sensory in usual terms, and extrasensory.

Intensity not only governs their activity and size, but the relative strength of their magnetic nature. They will draw other such units to them, for example, according to the intensity of the emotional tone of the particular consciousness at any given, quote, “point.”

These units—let us discuss them as they are related, for example, to a rock. The rock is composed of atoms and molecules each with their own consciousness. This forms a gestalt-rock-consciousness.

These units are sent out indiscriminately by the various atoms and molecules, but portions of them are also directed by the overall rock consciousness. The units are sent out then from the rock, informing the rock as to the nature of its changing environment, the angle of the sun, and temperature changes for example as night falls; and even in the case of a rock, they change as the rock’s loosely called emotional tone changes. As the units change they alter the air about them, which is the result of their own activity.

(I asked about which painting was involved because I wanted to be clear about the two most recent I’ve been working on. Seth verified that the little still life of fruit is the one concerned. The October 9 date would be, I believe, either the day I began this painting, or shortly after I started it. The data is very good, and is presented in a way in which Jane does not consciously—at least—think. I was concerned about form in this painting, and this concern, linked up with composition, gave me quite a little tussle in this painting. Form and composition usually are easy for me.

(This above data is excellent on Seth’s part, full of evocative ideas and intuitive good sense. I have at various times entertained related ideas, but never put them in as concrete form. Because of this I know I haven’t discussed them with Jane, as such. The idea of thinking of a person’s face as a landscape is very good. I am already thinking of ways to put the suggestions to work on a conscious basis.)