“Seth material” search engine (Jane Roberts)

(Peculiarly, I had no feeling of being detached from my physical body—that is, I didn’t feel I was bodiless, hovering above it: I had taken the bed up with me, you see. I felt the bed and I were several feet above the floor. I wanted to try turning over astrally, and I wanted to try reaching up toward the ceiling astrally, to see if I could touch it. I didn’t move at all, though, because of the noise from the kitchen. I managed to hold the state while considering the kitchen interference, but was concerned lest any attempt at movement on my part would break the spell entirely.

(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.

(During break I referred again to the photos of the massive ruins of Baalbek, in one of the books Shirley Bickford lent us. I explained to Jane my feeling that the amazingly intricate stone carving, particularly the bas-relief work, seemed beyond the abilities of the hammer and chisel. Jane broke in to tell me that this carving was done by small instruments that used inaudible sound waves; these radiations softened the stone, she said, so that the work could be performed. She didn’t know where this data came from. If from Seth, it wasn’t obvious to her.

(ACK-A-SOND-A. This is my phonetic interpretation of a word Jane got re the instrument in question, whether from Seth or not she didn’t know, as at last break. The sound wasn’t audible to human ears. The instrument “sort of looked like —I can’t really do it—the shape I’m getting is of a very rough pistol shape.... All you had to do was aim it. That was just for the small stuff.”