“Seth material” search engine (Jane Roberts)

In your terms the bleed-through can occur in both past and present, an idea from today bleeding into the past or the other way around. The ideas will be actualized or put into a practical structure according to your attitude toward them.

Some of the most sophisticated art is from the past. Bleed-throughs result in its being picked up in your present. Theoretically all of the information of so-called lost civilizations is quite available to you, as yours is to them. A closed mind will perceive none of this.

(Those at Baalbek; the Pyramids, etc.) Yet those structures exist even in your now, bleed-throughs to make you think and in other terms to make you remember. Many physical structures have existed in your terms in the same space now occupied by your apartment house. Because of your root assumptions however it is not possible for you to perceive these, nor those that will come “after” (in quotes). Yet those structures exist as validly as the apartment house.

(9:42.) If you are greatly interested for example in history, then the inner self brings you the information you need from all of it sources. Under certain conditions you may be propelled through the coordinates and find yourself in the era in which you are interested.

(9:47.) This applies to your own historical time as well as to others. At other layers of course your civilization is already in the past, as in others your civilization does not yet exist. The bleed-throughs however mean that each people according to their characteristic, interests and activities, attract certain ideas both from the future and the past, and there is constant interaction. Because of this even the past as you think of it, as I told you, is never done and completed, but constantly changed by your present and future.

(“It’s a real funny feeling, as though the sound could break through into the living room,” Jane said. I said I thought I understood what Seth was doing: in light of the material we’d been getting, he was giving Jane the experience of that ancient time and our present time, showing that both are simultaneous. This experience would tie in nicely with the material.

(“I feel that a whole mass of people would visualize a pyramid in their imagination,” Jane said, “then through their chanting, the use of certain vowels and pitches, they actually changed the air where that building was going to be. They made a boundary in the air,” she said, making angular gestures, “a cohesiveness, for this imaginary structure. Then they had certain kinds of tuning forks, then some kind of instrument. The noise of the chant was like something that you’d use to turn on this instrument—when the chant got to a certain pitch it turned on this instrument; and it somehow intensified and focused sound to what we would call an incredible degree —broke it down and then focused it in certain directions.”

(10:25. “And beside that the instruments also set up some kind of extra charge that we don’t understand yet, around objects that were so constructed, like the pyramids,” Jane continued. She was speaking faster now that she had in the session. “Doors and passageways inside the pyramids will open through the correct sound messages and signals, and were designed only to open if those correct signals were given.”

(Break at 10:35. “I wanted to take a break,” Jane said. “I never heard of anything like that. It sounded so crazy I didn’t even want to say it, about the invisible pyramids.... The chanting was over here.” She gestured to her left as she sat in her rocker; we were holding the session in her study in apartment four again. Jane’s gestures thus indicated the large open center area of the room, as though she was reaching over a wall almost. “I got some of the chants, but I couldn’t quite carry it through. Seth didn’t tell me anything like this was going to happen.”