“Seth material” search engine (Jane Roberts)

Give us a moment … The hat on the table, while possessing all of the necessary paraphernalia of reality for that scene, might also, however, serve as a different kind of reference point for one of the other programs simultaneously occurring. In that reality, say program two, the entire configuration of hat and table may be meaningless, while still being interpreted in an entirely different way from a quite different perspective. There in program two the table might be a flat natural plain, and the hat an oddly shaped structure upon it — a natural rather than a manufactured one. Objects in your reality have an entirely different aspect in another. Any of the objects shown in the program you are watching, then, may be used as a different kind of reference point in another reality, in which those objects appear as something else.

(Slowly:) The simple picture of the universe that you see on our screen, therefore, represents a view from your own now perspective — but each star, planet, galaxy or whatever is made up of other reference points in which, to put it simply, the same patterns have different kinds of reality. True space travel would of course be time-space travel,⁵ in which you learned how to use points in your own universe as “dimensional clues” that would serve as entry points into other worlds. Otherwise you are simply flying like an insect around the outside of the television set, trying to light on the fruit, say, that is shown upon the screen — and wondering, like a poor bemused fly, why you cannot. You use one main focus in your reality. In the outside world this means that you have a “clear picture.” (Humorously:) There is no snow! That physical program is the one you are acting in, alive in, and it is the one shown on the screen. The screen is the part of your psyche upon which you are concentrating. You not only tune in the picture but you also create the props, the entire history of the life and times, hyphen — but in living three-dimensional terms, and “you” are within that picture.

In certain terms, then, this involves in a very small way the creation and colonization of a different kind of reality — consciously accepted, however, from your perspective. On an unconscious level, the world as you know it expands in just such a fashion.¹⁰ Several students have had dreams involving their participation in such a project. Ruburt found himself in an out-of-body state, looking at a jacket. It had four rectangular pockets. It was giant-sized. As he looked at it the front flap was open. In the dream he flew through this flap literally into another dimension, where the point of the flap was a hill upon which he landed. From that second perspective, the pockets of the jacket in the first perspective became the windows of a building that existed in a still-further, third dimension beyond the hill. Standing on the hill, he knew that in Perspective One the windows of the building in Perspective Three were jacket pockets, but he could no longer perceive them as such. Looking out from the hill in Perspective Two, Perspective One was invisibly behind him, and Perspective Three was still “ahead” of him, separated from him by a gulf he did not understand.

(11:15.) He knew, however, that if the shades were pulled in the windows in Perspective Three, then the jacket-pocket flaps would appear to be closed in Perspective One. He also realized he had been directing the erection of the building in Perspective Three by making the jacket (in Perspective One).

When he approached the hill in Perspective Two, he spoke to the contractor who was there before him. Ruburt said that he wanted to change the design. The contractor agreed, and shouted orders to people who were working in Perspective Three, where the building stood.