“Seth material” search engine (Jane Roberts)

This does not involve projection. (Which we had wondered about this afternoon.) There were other issues, having to do with Ruburt’s own mental characteristics. Now it is true that generally speaking, material of an emotional nature actually has a stronger vitality, and is easier to perceive. Beyond this however Ruburt has no(smile) love for detail, and will always use detail as a clue to see where it will lead him. He would not be content simply to give the details on the snatches of paper as you gave them. This is fairly automatic, this tendency, and the nature of his mental life. We use this, I hope to advantage, in our sessions in other ways, and I will have more to say concerning this.

(Pause, one of many short ones, etc.) Now I was teaching him, and I went along with his natural interests and inclinations. The antagonism he had for testing came not from the idea itself so much as from the idea of focusing upon detail for detail’s sake.

(Smile.) You might tell him that although he does not know it, he has a fine subconscious understanding of detail, which he then puts together and synthesizes. (Pause.) If he understands the creative uses of detail, then he will not be so consciously antagonistic to it. Now. Have you any questions on this?

Now if the life in question is a recent one, in your terms, the details may be more readily recalled and far more precise. Even a life centuries ago may be perfect in detail however if it included, for example, battles or events of great import, where the dates themselves were impressed upon the personalities because of the occurrences at those times.

[...] Some individuals are more intrigued by detail than others: A particular “previous personality” may be one who had a great love of detail, in which case you would discover the richness of it. [...]

[...] They were simply a result of correlating many details into the correct specific pattern.

[...] This is the most complex of systems, in which each detail has meaning—not only because of its unique individual nature, but because of the greater meaning that any one detail has in the larger mental structure of the universe.

In that regard, each detail adds to the significance of the universe, and adds greater or different meaning to each other detail. [...]

In that mental system, therefore, each detail is known with all of its probable variations, and in its relationship to all of the other multitudinous and indeed infinite living details that compose any given day. [...]

Ruburt begins with the large philosophical issues, and somewhat purposefully adopted a thinking pattern at least, or a method of operation, that to some extent ignored details, lest he become too involved in them—in, say, slaying a multitudinous number of detailed paper dragons. [...]

Often your detailed questions, however, will initiate new concepts that will themselves provide, by the way, the required answer. Your specific questions, however, also serve to give necessary ribs to the delivery of the material, so that many aspects are covered, and details not ignored. [...]

You think in a more detailed fashion, or you begin from a more specific viewpoint, and then move outward toward concepts and large philosophical issues.

[...] There is an important reason for your love of detail, and also there are charges connected with this. The details represent far more to you than you realize. You do not love detail for detail’s sake, for example, but you can overreact strongly in such areas.

[...] When your idea of artistic vision is concerned then, each detail is of utmost importance to you. Details represent steps to truth, to you, in those areas. Other parts of you realize quite will the importance for example of inspiration, in which the steps or details do not appear in logical terms, so you allow both aspects to balance themselves.

Now when your idea of truth, or art, or artistic integrity, is connected with detail then the charged areas show themselves. [...]

[...] Ruburt is as “detailed” about his own working habits as you both admit you are in yours. He seems to be in awe, relatively speaking, of your simplified “perfectionist” detailed ways, while to a certain extent you seem to be in awe of his inspired undetailed ways—a game each of you play.

[...] It is meaningless to say that the books are Ruburt’s. Your ideas of “perfection” and love of detail, or if your prefer, your feeling for the significance of detail that appears exteriorized in your notes, is as present in the inner consistency of the material itself as given by me.

Ruburt keeps track of intuitive details that neither of you are even conscious of, and so there shows an integrity that he at least sometimes is not aware of. [...]

[...] They did not think of detail, and details were arranged more beautifully and precisely than would be possible in conscious physical terms. The details just seemed to fall into place.

(It may be that I’m quite intrigued by the understanding that in Framework 2 one doesn’t have to be concerned with the details—that desired goals are being arrived at in ways we may not easily grasp—but that the work is being accomplished. This understanding, faith, if you will, in such a process can then be seen as quite a leap in understanding for me, with my love of detail.

[...] I kidded her, also, about “saying the heck with the details,” I remember.)

With you, Nebene checked the details of the book. [...] Because of the strain, and because he felt his spontaneity so hampered, he came up with (Oversoul)Seven, defiantly, where Nebene could not follow; pure creativity, he felt, with no factual details that he could be called upon.

[...] Ruburt does not like to be held down by details. [...] Ruburt feels that details often get in the way of intuition. [...]

[...] Let us get to the details in our time. [...]

[...] They work with a carefully calculated eye, under conditions in which each detail, however minute, is of supreme importance. [...]

[...] They protect themselves by setting up the conditions of such an encounter, and controlling those conditions, again down to the smallest detail.

[...] Margaret thinks the dream remarkable, and is going to check details time-wise.)

[...] My own notes contain a detailed chronology of events between my drawing, when we were given the newspaper containing the photo in question, etc. [...]

[...] Because for one thing it was general enough so that it did not bring any immediate details into your minds, and left plenty of room for action in an overall manner. [...]

The first thoughts, with their emphasis on detail, were still important, convincing him that such a trip was possible, even under present conditions. [...]

[...] Those who are interested in the more detailed mechanics of Seth-Jane’s production of “Unknown” Reality, especially where qualities of time are involved, should review my Introductory Notes. [...]

[...] He explains in some detail how we live more than one life at a time, how “the greater self ‘divides’ itself, materializing in flesh as several individuals, with entirely different backgrounds — yet each embarked upon the same kind of creative challenge.” [...]

[...] Seth’s information and my own notes detail the interdependent, yet spontaneous, psychic and physical relationships within which each of us elects to move; they reveal how a conscious understanding of such factors, some of which may reach back into one’s childhood, can help greatly in practical daily living. [...]

[...] It is his way not to concentrate upon details. [...] In the area of his physical condition, however, he does concentrate upon details: how to get up, how to go to the bathroom, how to do thus-and-so—an uncharacteristic mode of behavior.

So in our change of method, have him try as best he can to forget such details. [...]

He has been trying too hard to some extent in Framework 1, where the spontaneity of motion in Framework 2 will allow for the more or less spontaneous accomplishment of detailed motion in Framework 1. I want to emphasize the importance of the improvements that are taking place in Framework 1. These sessions, however, will result in an acceleration and ease, if the sessions are put to use.

[...] I thought a detailed report of what foods Jane should avoid would help alleviate her symptoms, if there was any relationship. [...]

(The list is a summary of three other pages of detailed notes, which are on file. [...]

[...] Joseph deals in details. [...] You do not have to think before you cross the floor—where there Ruburt is aware of the slightest detail—the arrangement of his body or the furniture, the lay of the floor.

[...] I do my own part in these sessions, and if I may say so (highly amused:) very well indeed—and yet there is certainly something in Ruburt’s mind and abilities that allows him to speak, regardless, over the years, an immense amount of material, some of it highly detailed and orderly. So how can Ruburt say that he cannot deal with the details, and thus disapprove of himself?

Not only does television actually serve as a mass means of communal meditation, but it also presents you with highly detailed, manufactured dreams, in which each viewer shares to some extent. [...]

There is no need in my outlining in detail the multitudinous events that must occur so that you can watch your favorite program. [...]

The inner mechanisms that happen prior to your experience will take place in the vast mental studio of Framework 2. There, all the details will be arranged, the seemingly chance encounters, for example, the unexplained coincidences that might have to occur before a given physical event takes place.

I realize that I have left some details out, but the details that have been left out belong in other layers of the dreams.

(Dream # 1; November 19,1965: This was extremely sharp and vivid in detail, and in full color. [...]

(Dream # 2; December 1,1965: In color, and sharp and vivid and very detailed. [...]

[...] We could only hope that on some of the specific details given by Seth, the Gallaghers had noticed also. [...]

(I tried to pin her down on details of the hill, since this would be somewhat unusual on an island like Nassau, which as far as I know is quite low-lying. [...]

(The closest Jane could come on the hill details, then, is that it was a longer and gradual incline rather than a short upright climb; and that it raised up perhaps the height of a one-story building in the course of its climb. [...]

When specific details are mentioned under such circumstances you may gently probe: “Is there more?” or “Do you see more?” or “Are you there?” These are general permissive questions that allow him leeway. [...]

In the future perhaps we can give you some other details concerning your friend’s existence, and daily environment. [...]

[...] Some are details. [...] If you or Nebene ever thought that objective details were important then see how important Ruburt thinks subjective ones area. [...]

[...] So if Nebene is a stickler for details and carries grudges, so did our friend.

[...] We went into considerable detail here. [...] I explained in some detail my feelings of guilt because Jane has her troubles. [...]

[...] Jane recalled no details about the suit, the time it took, the money involved. [...]