“Seth material” search engine (Jane Roberts)

Though you may not realize it, you really manage your subjective lives in a rather circular fashion. Pretend that the present moment is like a wheel, with your concentration at the hub. To maintain what you think of as time momentum, the hub is connected by spokes to the exterior circular framework. Otherwise the hub alone would get you nowhere, and your “moment” would not even give you a bumpy ride.

The forward motion brings you into the future, out of the past from which it seems you are emerging. So you plot a straight course, it seems, through time, never realizing in our analogy that the wheel’s circular motion allows you to transverse this ongoing road. The hub of the present, therefore, is held together by “spokes.” These have nothing to do with your ideas of cause and effect at all. Instead they refer to the circular motion of your own psyche as it seems to progress in time. Each present moment of your experience is dependent upon the future as well as the past, your death as well as your birth. Your birth and your death are built in, so to speak, together, one implied in the other.

When your eyes are on the road of time, therefore, you forget the circular motion of your being. When you dream or sleep, however, the world of cause and effect either vanishes or appears confused and chaotic. Normal daytime images are mixed and matched, so that combinations are formed quite different from those seen in the daylight. The known rules that govern the behavior of creatures and objects in dreams seem no longer to apply. Past, present, and future merge in a seemingly bizarre alliance in which, were you waking, you would lose all mental footing. The circular nature of the psyche to some extent makes itself known. When you think of dreams you usually consider those aspects of it only, commenting perhaps upon the strange activities, the odd juxtapositions and the strange character of dream life itself. Few are struck by the fact of their dreams’ own order, or impressed by the ultimate restraint that allows such sometimes-spectacular events to occur in such a relatively restricted physical framework.

For example, in a dream of 20 minutes, events that would ordinarily take years can be experienced. The body ages its 20 minutes of time, and that is all. In dreams, experience is peripheral, in that it dips into your time and touches it, leaving ripples; but the dream events themselves exist largely out of time. Dream experience is ordered in a circular fashion. Sometimes it never touches the hub of your present moment at all, as you think of it, as far as your memory is concerned; yet the dream is, and it is registered at all other levels of your existence, including the cellular.

(“A small circular object with something on top of it, perhaps like a stem.” [...] The postmark on the back of the object is of course small and circular. [...]

(Question: “What’s the color red connected to?” “I believe a circular object, though perhaps a dress.” As far as the object is concerned, it could be said the circular postmark is connected to the reddish postage stamp via the typical wavy lines of the cancellation.

[...] A small circular object with something on top of it, perhaps like a stem.

I believe a circular object, though perhaps a dress.

Right at the shore, perhaps down and ahead, a scooped out circular indentation, where there is swift current because of rocks—

[...] A circular formation surrounded by flowers I believe, with closely-crowded, old, at least second-story structures to the left side of the street, or close to the street and nearly identical in rows.

[...] 1461 means nothing, but we [Gallaghers] visited a water tower, circular, surrounded by flowers, we had to climb what is called the Queen’s staircase [steps] to get there. [...]

[...] The unit may become circular, for example. [...]

[...] It would look like one single unit—say, it is of circular form—so it would appear like a small globe with the poles lined up as in your earth.

If this large unit were then attracted to another larger one, circular, with the poles running east and west, in your terms, then the first unit would change its own polarity, and all of the units within it would do the same. [...]

[...] The unit may become circular, for example. [...]

[...] It would look like one single unit—say it is of circular form—so it would appear like a small globe, with the poles lined up as in your earth.

If this large unit were then attracted to another larger unit, circular, with the poles running east and west in your terms, then the first unit would change its own, and all of the units within it would do the same. [...]

[...] A circular corridor or path. Not circular but curved.

[...] A circular corridor or path. Not circular but curved.” [...]

[...] The gesture was gently curving rather than circular.)

[...] This dispenser is composed of round and curving lines, has a circular hole through it perhaps an inch and a half in diameter, a larger round design in red printed about this hole, and of course contains a round roll of Scotch tape perhaps two inches in diameter.

(11:22.) While you can only speak one sentence at a time, and in but one language, and while that sentence must be sounded one vowel or syllable at a time, still it is the result of a kind of circular knowledge or experience in which the sentence’s beginning and end is known simultaneously. [...]

In the same way the experienced event occurring in time is dependent upon a circular happening, in which beginning and end are entwined, not one occurring before the other, but coexistent.

(“And with something circular.” to me represented the round bottle of ink showing in the photo on the table beside my drawing board, and to the standard color mixing tray on the drawing board itself; this contains four circular wells.

[...] And with something circular. [...]

[...] Rounded objects and colored I thought another reference to “something circular.” [...]

(“What did you mean by the something circular reference?”)

(The date within the circular cancellation is not clear as far as the last two letters go. [...]

[...] There is no oval shape just within its borders however, either literal or implied, although there are several oval shapes within the picture on the card, as well as the circular postmark on the back. [...]

[...] Mother Goose, on the object, wears a red skirt, and a purple blouse and hat with red circular decorations. [...]

[...] The picture on the postcard used as object contains many small circles, mainly the flowers as noted above, and the small circular designs, also apparently flowers, on the blouse and cap of Mother Goose. [...]

[...] And there’s the feeling of circular ripples from the small wheels, going all the way down to the right foot and toes; and with this, the feeling that these small wheels, circles, or clock-works have been too tight; constricted; and that these in the head are the “master ones” and as they release, motion is being restored to some degree all over. [...]

[...] When you are dealing with “Unknown” Reality and your work on it, you perceive the overall completed book in flashes of perception—a circular kind of communication and comprehension. [...]

[...] Directly in back of the painting is a large circular ceramic sculpture, perhaps a foot in diameter, that is more egg-shaped than a perfect circle. [...]

[...] See the data and our interpretation on page 109, with the description of the two near-circular sculptures in the same window of Bill Macdonnel’s gallery, with the disputed nude painting. [...]

[...] As stated, the smaller of the two near-circular sculptures, about ten inches across, is of polished silvery metal, highly reflective. [...]

(This metal sculpture, an estimated ten inches across its widest diameter, actually appears quite a bit smaller than the more round or circular ceramic sculpture at a foot across. [...]

Also a circular object, something transparent. [...]

[...] A red and yellow circular object connected here.

(“Also a circular object, something transparent.” [...]

(“A red and yellow circular object connected here.” [...]

[...] Consciousness not focused in cellular construction involves itself with a kind of direct cognition, involving comprehensions that come in a more circular fashion.

[...] The experience, however, is circular, and therefore very difficult to verbalize or to organize into your normal patterns of information.

The number 12, 14 steps and a circular clock, very large, above a stairway, with spokes out from it in gold, of wood, of nautical design.

[...] It came in that circular fashion, like a concentrated minisession but it’s hard to write out for that reason too, so I only have a few highpoints.

(“I have the impression of a circular shape, with a smaller square in the center. [...] As stated the ribbon had somehow become much flattened out, but before this the two bows would be circular in shape. [...]

I have the impression of a circular shape, with a smaller square in the center. [...]

Right at the shore, perhaps directly down and ahead, a scooped-out circular (gesture) indention, where there is swift current because of rocks. [...]

[...] (Seth rattled these dates off rapidly.) A circular formation (gesture) surrounded by flowers I believe, with closely-crowded, old, at least second-story structures to the left side of the street, or close to the street and nearly identical in rows.

[...] “A circular object of sun or moon shape” does not mean anything in particular to us, although on the walls at the Inn were various circular objects, such as clocks, a barometer, etc. [...]

[...] A circular object of sun or moon shape. [...]

[...] Events happen in a circular fashion, and to that degree tapes that would satisfy you both, and me, are already being made.