“Seth material” search engine (Jane Roberts)

[...] You explore its ramifications. [...]

[...] Overall, the body is exploring the best rhythm of metabolism, and fitting itself in with the medication. [...]

2. In Volume 1 of “Unknown” Reality, Seth designed all but two of his eight exercises, or practice elements, to help the reader directly explore some of the aspects of probable realities — although even the exceptions (numbers 6 and 8) aren’t far removed from probability concepts. [...]

For several years after Jane’s death, I explored possible publishing ventures with old and trusted friends — people who, like Richard Kendall and Suzanne Delisle, sincerely wanted to see Jane’s and my work kept in print. [...]

(This I didn’t know, not having explored it with the pendulum.)

[...] Even when we are exploring other issues, we will be trying to illustrate the multidimensional aspect of this inner self. [...]

Exploring those realities lovingly will bring you into direct contact with inner dimensions of your being, providing intuitive understandings that are of greatest import.

[...] Nor is it contradictory of me even now to note that Jane’s path is quite in accord with her basically innocent, mystical nature—for her acceptance of her nature makes possible her explorations of it in her own unique ways. [...]

[...] You are naturally equipped to appreciate a far richer blend, and as I have often said, you are yourselves possessed of a need to explore the subjective ramifications of your existence.

[...] It begins to yearn for the exploration of mental lands, and it sends portions of itself out as couriers.

[...] It is even safe to explore that nature, and it is safe to allow himself to take some comfort in the source of being.

[...] A person may see himself or herself, say, as a daring explorer, an inventor, an opera star or whatever, and react against such images. [...]

[...] That kind of trust is behind all of man’s curiosity, for without a trust in the world he would never have the courage to explore it. [...]

[...] Any exploration into other realities involves an aggressive thrust on the one hand toward fulfillment, with hope of freedom you see. [...]

[...] Whatever rooms open, explore them. [...]

For unnumbered centuries, you had largely self-contained, unique “sophisticated” civilizations, intensified centers, situated in prime natural territories, but completely unknown one to the other, with thousands of miles of wild earth between, that was explored only by the most daring. [...]

(Long pause at 10:11.) “Psychic explorations” never cause such difficulties, nor do they ever compound original problems. [...]

[...] The very effort to take this camera with you makes you more of a conscious explorer, and automatically helps you to expand your own awareness while you are in the dream state. [...]

Once you free your consciousness from limited concepts of time and self, then you can begin to explore the unknown reality that is the unrecognized self.

All of this is fine theory, esoteric but hardly practical — unless you begin to question the nature of your own thoughts, and begin to explore the reality of those events that you seem to encounter.⁵

[...] Here, within the moment point, the smallest thought is brought to fruition, the slightest possibility explored, the probabilities thoroughly examined, the least or the most forceful feeling entertained. [...]

[...] That state can be explored and utilized far more fully than it is, and should be. [...]

This will not be a dry, intellectual exploration, because the intent itself will begin to trigger within your lives the emergence of hints and clues as to your own immersion in Framework 2’s creativity.

The whole area of work, time, inspiration and protection should be explored, and kept in the open, and Ruburt should write some kind of statement that expresses his understanding of the matter thus far, and states his questions. [...]

[...] Creativity is a kind of psychic play, an exploration of reality, and an individual reinterpretation of it, and of the events of Framework 1. The artist might need to know technique and certain methods, and so forth. [...]