“Seth material” search engine (Jane Roberts)

They share certain coordinates. Knowing those coordinates would of course be very important, but the other realities would still remain nonrealities to you unless you changed your primary focus. When you do that there is no need to know what the coordinates are. The inner self is quite aware of all of this. It picks and chooses the information and data that is important to you, and makes it available according to your desires.

(“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.”

(“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.”

(Pause at 10:30. “These are structures engineered on our earth, extremely cleverly, Sound patterns would physically materialize them, but if these patterns aren’t given then the structures are just out of the range of what we’d normally [call?] physical. They’re complete, see, if this pattern is given or spoken.”

(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....”

Now I would like you to close your eyes, or leave them open if you prefer. Let various inner sounds, memories of sounds, enter your consciousness, that may or may not be familiar to you. Try to think of the sounds of images. Think specifically of pyramids and see what sounds come to you.

(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 would like both of you at odd moments to look at objects, then try to hear their sound. This will be handy training for some other things to come. This also applies incidentally to various organs of the body, and to the body itself. Then let the sounds evoke whatever naturally comes from them. There is a strange interrelationship between sound and what you think of as time, but a binding one.