“Seth material” search engine (Jane Roberts)

(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.

(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.”

“The relaxation involves a curious sense of dropping down inwardly, of going slowly beneath the realities we usually recognize. It’s a smooth transition in which perception is slowed down topwise, but deepened so that usually unperceived stimuli seem to rise from an underside of consciousness and bodily sensation. In that kind of relaxation the body itself perceives differently; that’s what I’m trying to emphasize. Looking at a leaf while in that state, I easily feel myself as part of the leaf, and I think this is a biological as well as a psychic perception. At certain levels the body feels that way itself, although ordinarily we aren’t aware of it. Such a relaxation, then, is almost an extension of biological insight.”

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….”

[...] These methods may seem to lead to great distortions, particularly in contrast with the sensed possibilities of development. [...] When the new sensed reality is strong enough to provide not only greater comprehensions but also to construct a new framework, then the old framework is seen as limiting, and discarded.

[...] Your physical senses will only operate in their and your present.

What he was sensing, however, was an entirely different kind of reality. [...]

In other terms, certain portions of your own reality have long since “vanished” in the unrecognized death that your own sense of continuity has so nicely straddled. [...]