“Seth material” search engine (Jane Roberts)

The past, and every moment of the past, are being constantly changed from the operation point of the present. In your terms, the present becomes the past, which is again changed at every considerable point from the latest-present — you may put a hyphen between the last two words, so that the meaning is clear. Yet through all of this immense, continuous creation, there is always a personal sense of continuity: You never really lose your way in the distance between one moment and the next —

When you change the past from each point of the latest-present, you are also changing events at the most microscopic levels. Your intent has also an electronic reality, therefore. It is almost as if your thoughts punched the keys of some massive computer, for your thoughts do indeed have a force. New sentence: Even as sentences are composed of words, there is no end to the number of sentences that can be spoken — so “time” is composed of an endless variety of electronic languages that can “speak” a million worlds instead of words.

Now I may or may not return, according to those rhythms of which I speak, but know that I am “present” and approachable.

(Long pause.) Karina has that same kind of orientation. At this point in her life, she has actually refused to concentrate upon languages, which would tend to tie her more tightly to the details of the world. (Long pause, one of many.) She does “return to the past,” remaking it more to her liking. Her latest-present is beginning to show signs of a deterioration. She wants a turning-off point from which to construct other realities, so it is not so much that the latest-present is deteriorating as much as the fact that she is purposely letting her attention wander, and allowing the latest-presents (with the hyphen) to diminish in strength and vitality. She will of course construct a new form from which to operate.

Now I may or may not return, but know again that I am present and approachable (with humor.