“Seth material” search engine (Jane Roberts)

(10:18.) Now: If you alter that picture a little so that the images are somewhat scrambled — and you do this by altering the focus of your consciousness — then the familiar coordination is gone. Objects may appear blurred, ordinary sounds distorted. It seems as if you are on the outskirts of your own reality. In such a state, however, it is easy to see that your usual orientation may be but one of many frames of reference. (Pause.) If you did change the focus of your consciousness still further, you might then “bring in” another picture entirely. On the outside this would give you another reality. (Intently:) In it your “old” reality might still be somewhat perceivable as a ghost image,⁶ if you knew what to look for and remembered your former coordinates. On the inside, however, you would be traveling not around or about, but through one portion of the psyche with its reality, into another portion of the psyche with its reality. That kind of journey would not be any more imaginary than a trip from one city to another.

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.

You [Joseph]] were determined to find the kind of relationship you have with Ruburt, the kind of bond your parents never had,¹² and you applied the power of your will in that direction. At the same time you were determined to set yourself apart from the world to some extent, while still maintaining and developing an emotional contact with a mate that would be unlike any in your earlier experience. Creativity would have to be involved. You were also intrigued, determined to travel into the nature of reality, and at least glimpse a vague picture of what it could be. In this probability you provided yourself with a background that included sports and the love of the body, knowing [those qualities] would sustain you.

Your thoughts, for example, and your intents, have their own validity and force. You set them into motion, but then they follow their own laws and realities. All creativity comes from the psyche. I [recently] suggested a project to Ruburt’s class — one that will ultimately illuminate many of the points I am making in “Unknown” Reality. I suggested that Ruburt’s students create a “city”⁹ at another level of reality. This is not to be a pie-in-the sky sort of thing, or some “heaven” hanging suspended above, but a very valid meeting place between worlds. A psychic marketplace, for example, where ideas are exchanged, a place of psychic commerce, a pleasant environment with quite definite coordinates, established as an “orbiting satellite” on the outskirts of your world.

[...] Now, so strong is this tendency for vitality to change from one apparent form to another, that what you have here in your flying object is something that is actually, as you view it, not of your plane or of [whatever] plane of its origin … The atoms and molecules that structurally compose the UFO, and which are themselves formed by vitality, are more or less aligned according to the pattern of its own territory. [...] The earthly viewer attempts to correlate what he sees with what he supposedly knows or imagines possible in the universe.

What he sees is something between a horse and a dog, that resembles neither. The flying saucer retains what it can of its original structure and changes what it must. [...]

[...] [In the early sessions, incidentally, Seth used the word “plane” often, but not long afterward began the general changeover to “reality,” which for the most part we like better. [...]

What they do is take quick glimpses of your plane — and hold in mind that the saucer or cigar shape [often] seen on your planet is a bastard form having little relation to the structure as it is at home base.