“Seth material” search engine (Jane Roberts)

(Pause, hand to closed eyes.) Between each official number in a given series he envisions literally infinite space. The infinitesimal becomes infinite.

Now (eyes open): In the same way the most infinitesimal self is infinite, and the most finite self, carried to the extremes of itself, is infinite. Each of you is part of an infinite self. That infinite self appears as a series of finite selves in your reality.

Beneath that perceived reality, however, each finite self, carried to its degree, is itself infinite. Now here is one for the books (with amusement): but there are different kinds of infinities. There are different varieties of psychological infinities that do not meet — that is, that go off in their own infinite directions.

If you would identify with your own psychological reality, following the inward structure of thoughts and feelings, you would discover an inward psychological infinity. These “infinities” would reach of course into both an infinite past and future. Yet true infinity reaches far beyond past or future, and into all probabilities — not simply straightforward into time, or backward.

There are infinite versions of yourself, but no one negates the others, and each is connected with the others, and aids and supports them. There are other quite legitimate numerical systems that you do not follow. There are other kinds of psychological organizations also. In those terms Ruburt has learned, or rather Ruburt is learning, to alternate a series — to bring information from one [neurological series] to another, so to speak.

However, none of this is apart from normal living. Whether or not they want to mention it here in “Unknown” Reality, both Ruburt and Joseph have learned to correlate data so that some of the implications involved in a simple move from one house to another become apparent. They are not mathematicians. They will not statistically analyze the results. Yet I tell you that the moves that you make in daily life have indeed infinite effects — and I am not using the word loosely.

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.

At least as she understands these concepts, Jane — and Seth — “took off” from them in individual, creative ways. For Chapter 19 of Politics (which is to be published in 1976) Jane transcribed from her library, in part: “If you imagine the official numbers 1 to 10 in a row, then there would be an infinite number of unofficial 1’s hidden in the 1 you saw, and an infinite number of spaces between the official 1 and 2. The position of the 1 on the paper would represent our sense-data world, while the invisible 1’s behind the official 1 would represent the official 1’s hidden values and infinite probabilities.”

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.”