“Seth material” search engine (Jane Roberts)

Now: Good evening —

Now when you leave your home station and alter your consciousness, you are always a tourist if you take your own baggage of ideas along with you, and interpret your experiences through your own personal, cultural beliefs. There is nothing unconventional about gods and demons, good spirits or bad spirits. These are quite conventional interpretations of experience, with religious overtones. Cults simply represent counter-conventions, and they are as dogmatic in their way as the systems they reject. Underline that sentence.

Look at the image in your mind as it exists in the snapshot, and see it as being aware only of those other objects that surround it. Its world is bounded by the four edges of the picture. Try to put your consciousness into that image of yourself. Your world view is limited to the photograph itself. Now in your mind see that image walking out of the snapshot, onto the desk or table. (Pause.) The environment of the physical room will seem gigantic to that small self. The scale and proportion alone will be far different. Imagine that miniature image navigating in the physical room, then going outside, and quite an expanded world view will result.

(10:37. Jane’s delivery had been rather fast throughout, except for an occasional long pause. She felt more alert now, she said, but still wasn’t as wide-awake as usual. She’d been taking a little wine during her trance. At her request I got her a glass of milk — which she didn’t finish before Seth returned.

(During break I saw a certain look pass across Jane’s tired face. I couldn’t describe the expression, but it reminded me of the internal “vision” I’d had this afternoon when I lay down to sleep: I found myself looking at a very old, very probable future manifestation of myself in this life, who rested quietly in bed. Just before supper tonight I finished writing an account of what I’d seen, and Jane read it while we ate. See Note 4. Now as we discussed the event in a little more detail, I made a quick sketch of that possible self of mine.

Now here is another brief but potent exercise.

Now this is a mental camera we are using. There is a knack about being a good dream photographer, and you must learn how to operate the camera. In physical life, for example, a photographer knows that many conditions affect the picture he takes. Exterior situations then are important: You might get a very poor picture on a dark day, for instance. With our dream camera, however, the conditions themselves are mental. If you are in a dark mood, for example, then your picture of inner reality might be dim, poorly outlined, or foreboding. This would not necessarily mean that the dream itself had tragic overtones, simply that it was taken in the “poor light” of the psyche’s mood.

Now: It represented two things: An association with a definite past old-age sensation, and a “precognitive” moment in this life that you have not as yet encountered. Because you were [psychically] open, the position of your body and head acted as the associative bridge between the two events. You were not senile in either.