1 result for (book:ur2 AND session:740 AND stemmed:actual)
[... 12 paragraphs ...]
The giant image of myself, never clearly glimpsed by Ruburt, represents my own greater reality. In a particular fashion, that identity cannot be fully expressed within the confines of any one form, any more than yours can. Period. Ruburt saw many miniature versions of me. In his inner vision these appeared as identical, simply so that he would identify them as portions of myself. They are actually quite different, one from the others.
[... 54 paragraphs ...]
8. We think it quite likely that Seth’s material in this delivery, and some of Jane’s in Politics, grew out of reading we did earlier this month on “new” forms of mathematics — which embody some ideas that are actually many centuries old. Involved, however, are very interesting “nonstandard” methods of regarding time, quantum theory, the infinite and the infinitesimal in numbers, model theory, and other mathematical tools.
[... 1 paragraph ...]
And: “It’s significant that we apply numbers to time, but as there are unrecognized spaces between numbers, there are unrecognized spaces (psychologically invisible) between or within moments, and some of the events of our bodies are ‘too small’ for us to follow, focused as we are in our prime series. These body events actually are ‘infinitesimal but infinite,’ following their own patterns that merge with ours.”
There are, of course, close relationships concerning this delivery of Seth’s for the 740th session, the material in this note, and the musical analogies Seth presented in the 735th session, when he discoursed upon the inaudible variations inherent in the compositions played by the young classical guitarist who’d visited us over the weekend of February 2. (I’ve been saving this reference for this particular note.) At 9:45, for instance, in that 735th session: “An infinite number of other ‘alternate’ compositions were also latent within the [first] note, however … They were quite as legitimate as the compositions that were played … and … added silent structure and pacing to the physically actualized music.”
[... 27 paragraphs ...]