“Seth material” search engine (Jane Roberts)

(At 9:20 PM Jane said she “felt Seth around. I get a word or two in my head, so I know he’s here.” We had just finished a snack. Jane had read the last session while she ate. Her pace was quite slow to begin.)

(9:52. Jane’s pace had been slow for the most part, and she said she knew it. Usually she isn’t aware of her pace, the passage of time, etc.

(Nabene is the name for a personality of mine that presumably lived as a male in the first century AD in Rome, Italy. We know little about that life; one evening with Sue Watkins, who also lived then, I managed to tune into that existence to some degree via images. Seth has referred to Nabene a few times, and my role as a record keeper and teacher. Sue was one of my pupils. I was quite a taskmaster, I’m told. Jane and I would like to hold a session to learn more about this life, including who else we know was involved then, etc. I also lived in Jerusalem.

(At 10:10 Jane said, “I’m just sitting here waiting. The connection doesn’t seem as good tonight.”

(“I do. It just doesn’t seem as strong....” We continued to wait. At 10:15: “I had the feeling at break.” Jane said, “that Seth had gone away, rather than staying close like he usually does—as though he’d left to gather information or something. I’m perfectly willing to continue the session, though.”

(“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.”

(“This sounds really weird. There are also invisible pyramids—we just can’t see them.” I could tell that Jane didn’t know what to make of this data; she was even hesitant at telling me. “These pyramids were constructed in such a way that they reflect everything else, so that when you look at them you don’t see them as objects. Wait, I’m not getting this right... they’re perfect camouflages of wherever they are, but certain sound pitches would make them visible.”

(Jane said, “It’s as though they’re frozen—this isn’t a good word—at a certain stage until these patterns are given.” [Pause.] “All objects have their own sound patterns that help form their structure as much as the atoms and molecules do....”

(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.”

(At 10:43: “I’m just waiting to see what happens next. This isn’t terribly strong, but I have the feeling of a barrier over there,”and again Jane gestured to her left, “that I can’t get over. But all this stuff comes from over there. Something about these instruments making atoms and molecules denser, somehow—doing different things with them....”

(10:50. While Seth was talking I kept writing, of course, in order to get the material for future reference. Finally I sat quietly. Jane was already doing so, her eyes shut; I didn’t know whether Seth had left again or not. My own eyes closed and I let myself drift.

(I opened my eyes. Jane opened hers, and I could see that Seth was present. I described what I had experienced, not knowing if I had accomplished anything even remotely approaching what he had in mind. “I don’t know why,” I added, “but I associated the square base of the pyramid with this gong effect. It was as though I could see this shape especially well while listening to the gong sound, which was quite prolonged actually. It seemed to repeat itself. Like the chants, which were pretty monotonous, up and down a few notes on the scale. They weren’t pitched very high, either.”)

(“I don’t know why I use the word gong,” I said. “I couldn’t imitate it. I think there’s a funny association there also with old movies. I could have picked up the chanting idea from material Jane was getting earlier this evening.”

(11:04. Jane said that while I had been getting my effects, she had been somewhat separated from Seth after all. She saw groups of men “like pictures you’d see of Egyptians. I saw their dark skin—in color—against short robes. They were in groups chanting.”