“Seth material” search engine (Jane Roberts)

(I’ll preface the abbreviated version to follow of Jane’s first slow, or “long sound” session, the 612th for September 6, 1972, with these notes about Seth Two, since this is the ideal place for them.

(Unlike Seth, Seth Two has never been physical in our terms, and only partially comprehends our reality even while helping to form it. Very quickly, and perhaps simplifying too much, here’s Seth Two from the 407th session, speaking in Jane’s high, distant, deliberate and asexual interpretation of what such an energy gestalt’s “voice” might sound like:)

(These two ideas from Seth, which came through in connection with his data on moment points, are to me very suggestive of the concept of long sound. From the 681st session:) In your terms — the phrase is necessary — the moment point, the present, is the point of intersection between all existences and reality. All probabilities flow through it, though one of your moments may be experienced as centuries, or as a breath, in other probable realities of which you are a part. (From session 682:) There are systems in which a moment, from your standpoint, is made to endure for the life of a universe…. ³

(Jane’s expressions of long sound and her sensations of massiveness are of course directly related to the multidimensional neurological activity, the “sidepools” of consciousness, that she described in Appendix 4 of Volume 1. Seth also mentioned neurological pulses and/or speeds in various sessions in Volume 1. In the opening delivery for Session 686, for example, see his information on our species’ selection of one “official” series of neurological pulses for physical reality, and, at 12:19 A.M., his remarks on prejudiced perception. Appendix 5 for the same session contains more of Jane’s own material on neurological speeds.

(10:20. “I can’t do it,” she said quietly. “I don’t think I can do it….” She repeated variations of this idea several times; some of them were less intelligible than others. “I don’t understand what I’m getting, and I don’t know what to do with it. It … doesn’t sound logical.” Pause. “I don’t know … but I’ll try….”

(10:22. In a voice quite a bit deeper and stronger than usual, but not as overpowering as I’ve heard it be on occasion, Jane began to express a series of very “long,” drawn-out syllables. I’d expected anything from a whisper to a scream. What follows at first are my phonetic interpretations of the sounds she uttered. Her eyes were closed, her head still down. [When Jane reads these typed notes she may not agree with some of my approximations.] Now in a heavy voice, almost grating:)

(Pause at 10:26. I couldn’t distinguish words or meanings here. I concentrated merely on trying to convert the sounds into letters:) “Wwwwhhhheeeeeeeuuuuuuunnnnn……Aaaahhhhhhmmmmmmnn……Wwwwhhhheeeeeeee……Baaaayyyyyyeeeeeeeuuuuu……Sssseeeeeeeuuuuuuugggghhhheeeee.”

(10:28. Jane’s head vibrated quickly from side to side on a small scale, not at all disruptive, as she continued:) “Wwwweeeeeeee……Cooooooommmmmmmmeeeee……Wwwweeeeeeeeee……Aaaahhhrrrrrrr……Thhhheeeeeeee……Iiiiinnnnneeeeerrrrr……Mmmmooooossssshhhhhiiiiiooooonnnnnnnn……Ssssoooooooooot.” (“We come. We are the inner motion —” I couldn’t decipher the last syllable or word.)

(She repeated variations of this idea again and again, which gave me time to write down some of them. Her speech was as fast as it could be while remaining at all explicit. Then at a bit slower rate:) “All of these are aspects of one reality … Atoms are sound. You do not hear them….”

(10:38. Jane slumped in her rocker, eyes closed. She had trouble getting them open. She remembered giving the variations on the sounds and methods of speech. She told me that “something” wanted to manifest through her so slowly that it was almost inexpressible; she’d felt deep rolling sounds going through her, yearning to be translated, yearning to make sense in our terms. “It would have taken me three hours to do it right.” The slow material simply came out that way when she tried to express it. She couldn’t really understand what “they” wanted her to do, if anything.

“I’m getting something, Rob. Something to do with atoms. The slow thing, represented by those drawn-out sounds, is in the center of the atom. Then that’s surrounded by faster-than-light particles, represented by the real fast sounds. So the center of this thing — whatever it is — is massive in terms of mass.⁸ I don’t know whether this means it’s heavy or not, but it’s tremendous in terms of mass — though it may be very small in size.

(Pause at 10:50.) “… [this core is] always surrounded by these faster-than-light particles. This is a structure … but it does cause a pulling-in or wrinkling effect where it appears. There are many of these, I think, in our galaxy as well as others. Nothing can be drawn through the dead hole, though, as things can be drawn through the black hole, because of [the dead hole’s] literally impenetrable mass. Now as with atoms alone, and all other such structures, these also exist as sound.¹⁰ Black holes and white holes do also.¹¹ The sounds are actually characteristics that act as cohesivies, characteristics automatically given off. The slower center portions of the dead holes themselves move backward into beginnings becoming heavier and heavier.”

(11:12.) “As mentioned, sound is connected here also, and each one of these phenomena has consciousness that does express itself, and is aware of the stages through which it passes. In certain terms, dead holes connect past and present; also future. In practical terms, they have to do with the seeming permanence of an object. They are the invisible portions of the atom. There are giant-sized atoms, as well as the ones you’re familiar with.”

(The day after this session, Jane greatly enlarged upon her original estimate — three hours — of the time she’d need to interpret the long or slow sounds. Now she felt that “to do proper justice to them would take years — centuries perhaps.” Because of our ordinary time sense the sounds were actually so slow to us that they appeared to be motionless, or “dead,” she told me, leading us to speculate that this may be one of the reasons why in usual terms we call inanimate matter — rocks, for instance — “dead.” But Jane couldn’t really define any sources behind last night’s material, beyond calling them “consciousnesses, or beings — but maybe not personalities as we think of that term.” Then, again increasing her estimate, she said that if “they” tried to communicate with us through sound, through our sensual equipment, “it would take forever.”

(After reading my typed interpretations of the long sounds she’d started to deliver at 10:22, Jane wrote: “I knew what the drawn-out words were at the beginning, and thought Rob had understood them. Now I haven’t the slightest idea of what they said.”

(I want to conclude this appendix with a poem Jane wrote during the summer of 1963, a few months before she began the sessions. To me her long sound material, given nine years later in the 612th session, simply represented her psychic way of “catching up” with, and developing, deeply intuitive knowledge that she’d possessed all along:)

3. In Note 9 for the 712th session, see the two analogies to long sound that I drew from the 514th session in Seth Speaks.

7. From Jane’s notebook: “I was writing poetry one day early in August 1971, when suddenly I mentally heard the oddest sounds — incredibly fast, too quick to follow. Instantly I ‘knew’ that these faster sounds were objects coming into material focus. They slowed down to become physical. I sensed this neurologically, though how that was possible, I don’t know….”

Perhaps this mental event was Jane’s way of “practicing” for the physical one that was to follow a month later, in the 612th session. In my opinion, she offers a most important insight here toward understanding the formation of our mundane physical reality. Besides Jane’s material in appendixes 4 and 5 for Volume 1 of “Unknown” Reality, see Seth’s deliveries on inner sound, light, and electromagnetic patterns in the four sessions (623–26) making up Chapter 5 of Personal Reality.

10. Sound, and various symbolic attributes of that phenomenon, are uniting factors in back of much of Seth-Jane’s material, and I could list many instances. I’m not referring here only to “outside” developments like Jane’s powerful Seth voice, her speaking and singing in Sumari, or her slow and fast sounds as produced for this session, but to inner, audible and inaudible manifestations or translations of sound.

In the 24th session for February 10, 1964, Seth explained how a recent vision I’d had, involving a ladderlike series of heads opening and closing their silent mouths, had really been my attempt to cast inner data into a more familiar outer-sense kind of perception. “You felt sound,” Seth told me. After my initial unease over this new type of experience, I found it most intriguing; I’ve had my own little adventures embodying that feeling perception of sound ever since. In the same session, Seth discussed Jane’s periodic feeling of sound; in her case, she often hears music internally.

Seth, from the 154th session for May 12, 1965: “Basically, the physical body has the potential for perceiving stimuli on a generalized basis. By this I mean that although the eyes are for seeing, the ears for hearing, and so forth, the potentials of the physical body include the capacity to hear, for example, through any given portion of the bodily expanse … Sound, then, can be felt as well as heard, although in such cases you may say that the sound is heard in the depths of the tissues; this, however, being an analogy … Ruburt, in feeling sound, merely experienced it from a different perspective.

“Within your system colors may be perceived as sound (chromesthesia, or ‘colored hearing’). Their connections with human moods are only too apparent. Concerning Joseph’s point about sound: Sound, alone, entering the body, instantaneously changes it … Any perception instantly changes the perceiver. It also changes the thing perceived….”

For some other material on sound see the 572nd session for Chapter 18 of Seth Speaks, for instance, or the already mentioned sessions (in Note 7) that make up Chapter 5 of Personal Reality.

And added later: Many people undergo some form of chromesthesia — that is, certain colors or color patterns are seen upon hearing certain sounds. Occasionally Jane will experience one of her own variations of such an ability. A good example for this note can be found in her material at 10:47 in the 714th session: “Wait a minute … What I’m getting is a fantastic sound that’s imprisoned in a crystal, that speaks through light, that’s the essence of personality. I’m getting almost jewel-like colored sounds….”

In trance or out, Jane likes to “take off” in her own creative ways from concepts like that of the tachyon, or the black hole or the white hole — so in this session she came up with the “dead hole.” Then, from another angle, she explored related ideas in Adventures; see Chapter 19, “Earth Experience as a White Hole,” in which she wrote, “What kind of a structured universe could explain both the inner and exterior worlds? If we consider the universe as a white hole — our exterior universe of sense — we at least have a theoretical framework that reconciles our inner and outer activity, our physical and spiritual or psychic experience; and the apparent dilemma between a simultaneous present in which all events happen at once, and our daily experience in which we seem to progress through time from birth to death.”