“Seth material” search engine (Jane Roberts)

From a very small amount of physical data, then, certain kinds of developments are deduced, and almost automatically such passageways are activated. (Pause.) A very small example: the smell of an orange may instantly provide you with a mental image of one, so that that received from one sense is picked up in a fashion by the others—all serving in one way or another to give you a more completed picture of the object or event involved.

(Pause.) If such an individual can convince himself or herself that somehow the entire affair is more in the nature of a game, then you can have at times some success, because in a game the conscious mind is willing to make allowances, and to “pretend.” In a good variety of cases, however, the formal experiment itself sets up a barrier, for the conscious mind is being asked to cooperate in a venture that it considers nearly an impossibility.

(Pause at 9:20.) This opinion is backed up, you see, by the habitual use of accustomed neurological activity, and even while such an individual may agree that PK is possible at certain levels, there is a kind of neurological prejudice built in. Added to that is the conscious mind’s position as the arbiter of actuality. This in particular applies to events like metal bending of silverware or whatever.

(Long pause at 9:31.) The displacement target effect is highly important, for it operates in many other fashions. In all natural healing, of course (as Jane mentioned this noon), you are involved with PK activity—as you are ultimately with any physical act, and with any motion, microscopic or otherwise. Too much concentration, however, upon the desired end—too much concentration —can bring about a displacement target effect.

(Long pause.) The motion of microscopic events always involves probabilities, which are at the heart of your world, and healings always involve activity at that level also. To divert the conscious mind can therefore be of great import —enjoying television, relaxing in whatever fashion, allows the desired activity to occur. That is why such diversions are so beneficial. On some occasions company can provide the same service. Ruburt should therefore try to divert his mind more. His ink sketches serve that capacity. Television also.

(Pause.) In your creativity you both largely avoid black and white thinking, and automatically leap out of that framework. The conscious mind is quite willing to let go in that regard, for art not only provides it with enjoyment but fulfills its own framework of action. It does not regard art as a game, exactly, but it does not expect the same rules to apply, either, to a painted apple on a canvas and a real one.

(Pause at 9:45.) The changed pattern of activity is helping Ruburt. It is (underlined) an excellent idea for him to write down any and all improvements he notes in each day. They become part of the physical evidence of the world.

His body is changing at microscopic levels—highly important. (Pause.) The major issue is indeed the reminder that he can trust his own native rhythm and motion—that it is safe to express himself in his natural life. The main point also is to be relieved of comparison with a super image, with thoughts of what he should be, and an acknowledgement of his own (underlined) feelings about any event or situation. He did indeed identify with his own tensions, so that as these are relieved he is sometimes frightened.