“Seth material” search engine (Jane Roberts)

(The session this evening, Wednesday, developed rather spontaneously out of several factors that combined almost effortlessly. The recent Sumari developments involving both of us played a part. So did my studying out photos of Baalbek, the first-century AD Roman ruins in Lebanon. The enormity of the stones in these buildings left me amazed; I didn’t see how blocks weighing 1200 tons could be moved without machinery, let alone fitted into place over twenty feet up on foundations, etc. The pictures were truly awe-inspiring. I came across them in one of the books on ancient history that Shirley Bickford, one of Jane’s students, brought for us to consult on the very ancient civilization, Sumeria, in Mesopotamia, from 4,000—2,000 BC, I believe, without consulting dates.

The pyramids, the huge boulders etched out (I think Seth refers here to Baalbek; I didn’t interrupt to ask), all of this was done in one way or another through the use of, a knowledge of, both coordination points in space (described by Seth in his own book) and the use of sound. (Also described to some degree.) There were instruments that released sound, and directed it in the same way, say, that a laser beam does with light.

Space and time are constructions of ideas. They do not appear physically, as say a table or a chair, yet they seem to define both a table and a chair, in that you cannot easily conceive of a piece of furniture, for example, existing except in the medium of space and time.

The ideas of space and time are constructed in different ways in various systems. In some they appear as natural phenomena, for example as various classifications of objects, in some as variations of sound or light. You find it exceedingly difficult to consider existence at all without space or time, yet basically consciousness is independent of both.

The ideas of space and time emerge only when consciousness adopts camouflage, only when it becomes wedded, in other words, with a physical-type existence. Time and space are both creations of consciousness, in other words, and vehicles of its expression.

(10:58. Jane’s trance had again been very good. Now she talked more about what she had said at last break, concerning the carving done on stone that had been softened by instruments employing sound. Only a very sophisticated instrument was used, she said, to soften the top layer of the stone so that it was “like frosting, which could then be easily carved. The instrument might have done both the softening and the carving.”

Now you had better end the session. My heartiest regards to you both.

(11:32. Both of us were quite tired. There was much more data available, we knew, but we were too weary to get it.)