“Seth material” search engine (Jane Roberts)

(We read that in ordinary terms highly creative people [like Jane] usually generate large amounts of theta and low-alpha waves pretty constantly while doing their thing. Measuring and recording brain waves is a complicated task, however; not only is it important which areas or lobes of the brain are monitored — if not all of them — but because of the mechanical limitations of the EEG itself much that goes on in the brain is necessarily missed. In addition, the two hemispheres of the individual brain often show variations in electrical energy states. But most importantly, we think, while the EEG can indicate broad categories of brain activity, it can hardly probe the participant’s very individual and subjective content of mind within this camouflage [physical] reality. Nor at this time, given the minimum premise that Jane’s speaking for Seth constitutes any indication of “paranormal” activity, do we think that her performance could be identified as such per se on the graphs of her brain waves. The state of “EEG art” isn’t that advanced yet [if it ever will be]. Presumably, however, when speaking for Seth, Jane would show definite changes in all frequency areas in both hemispheres, with the theta and delta ranges altered the most. We also think that her EEG readings would vary once again when she spoke or sang in Sumari, her trance “language.”

Beta was not meant to carry the full weight of conscious activity, however, although its accelerating qualities can lead to initiations into “higher” realms of consciousness, where indeed the brain waves quicken. The other patterns (delta, theta, and alpha) are highly important to physical and mental stability, being very interwound with cellular consciousness. In cases usually called schizophrenic, the beta acceleration is not supported by the stabilizing attributes of the other known frequencies.

In these sessions the full range of brain waves is utilized as you understand them. Here, in a highly creative, disciplined, and yet spontaneous performance, a situation is set up in which knowledge is obtained from the known frequencies, combined so that consciousness can use itself more fully, reaching into many areas closed to one range of consciousness alone. The various diverse, unique characteristics of each level of awareness are given play. In a way this is like an accelerated, chosen, well-organized “conscious” dream venture, in which Ruburt travels through mediums of consciousness until finally he, still being himself, is nevertheless no longer himself (humorously), but me.

He is combining and alternating frequencies so that he literally brings forth a different creature of consciousness — one that in your terms is not alive, yet one whose very reality straddles the life that you know. The most elemental portions of my reality begin at the furthest reaches of your own.

[...] Here each metropolis would represent a conglomeration of consciousnesses operating within an overall general frequency of clearest focus, a high point of psychic communication and exquisite focus in the given kind of reality. Unless you are tuned in to those particular frequencies, however, you could not pick up that reality. [...]

[...] When you begin to travel away from that home station, you become more aware of the other frequencies⁴ that are buried within it. You move through other frequencies, but to do this you must alter your own consciousness.*

[...] When you are sleeping, then, your consciousness often ventures into other realities, usually in a wandering fashion without tuning itself in to any precise frequencies. [...]

[...] The “you” that you recognize is but one signal on one such station, tuned in to a certain frequency, experiencing that station’s overall reality from your own viewpoint — one that is unique and like no other, and yet contributing to the whole life of the station.