“Seth material” search engine (Jane Roberts)

(Pause.) All in all, however, we are speaking of a constant creation, even though I must explain it in serial terms. We are discussing a model of the universe in which creation is continuous, spontaneously occurring everywhere, and everywhere simultaneously, in a kind of spacious present, from which all experiences with time emerge. In this model there is always new energy, and all systems are open, even though they may seem to operate separately. Once again, also, we are considering a model that is based upon the active cooperation of each of its parts, which in one way or another also participate in the experience of the whole.

In this model, changes of form are the result of creative syntheses. This model is seen to have its origin (long pause, eyes closed) within a vast, infinite, divine subjectivity—a subjectivity that is within each unit of consciousness, whatever its degree. A subjective divinity, then, that is within creation itself, a multidimensional creativity of such proportions that it is itself the creator and its creations at the same time.

[...] I quote in part: “There are ever-changing models for physical reality, transforming themselves constantly in line with new equations instantly set up with each new stabilization…. We tune in to these models, and our intersections with them alter them at any given point, causing new dimensions of actuality that then reach out from that new focus.”²

[...] I could look at each person and sense his or her ‘model’ and all the variations, and see how the model was here and now in the person. [...]

[...] Neither of us realized it at the time, but she was to soon embark upon one of the key episodes³ of her psychic life: “My later experiences that day were a practical lesson in how models work” she wrote after it was all over.

[...] Each person who passes the car is more than three-dimensional, super-real in this time, but part of a ‘model’ of a greater self … and each person’s reality is obviously and clearly more than three-dimensional. [...]

(9:19.) You have schizophrenic models, in other words, and the particular model chosen in any case, at any given time—for the models change—gives indications quite clearly of the person’s basic problems and dilemmas. Such cultural models are present in society to begin with, because in one way or another they express in an exaggerated form certain portions of man’s psychological reality that he does not as yet understand. This applies to the “good” schizophrenic models and to the “bad” ones—that is, to the gods as well as to the demons.

She began to refer to the eccentricities of consciousness in October 1974, following her first conscious experience with her “psychic library,” and a subsequent transcendental experience in which she suddenly began to see, with an astonishing clear vision, the great “model” of each portion of the world about her—each person, each building, each blade of grass, each bird, for example; our ordinary world suddenly appeared quite shabby by contrast. Jane wrote that “everyone was a classic model, yet each was also a fantastic eccentric…. I saw that each of us is a beloved eccentric not only because we have inner models of the self, but also the freedom to deviate from them, all of which makes the model living and creative in our time.” [...]

[...] (I could also see correlations here between Seth’s ideas about the primary nature of All That Is and the inflationary model of the universe. [...]

[...] (On Sunday, when I bought an album to keep them in.) You have the idea of how the book can appear, a model that exists in your mind. Use the model, but let it be a flexible one, in which your ideals work with the material at hand, molding it. [...]

[...] One of them is the “inflationary model,” which may become much better known. [...] One of the big differences between the two is that in the big-bang theory all of the matter in the universe was already present, though existing in an extremely dense state which then began to expand; the inflationary model suggests that the universe was created out of nothing, or out of just about nothing—meaning that through unforeseeable rhythms subatomic particles spontaneously came into being, with sufficient energy behind them to enable them to persist as matter. [...]

[...] Science currently postulates this theory as its “standard model” for the creation of the universe.³

[...] Jane has heard of this standard model, of course, but knows little about its supposed details.

From my reading of Seth’s ideas of “in the beginning,” however, I’m sure he couldn’t agree with either the big-bang or inflationary models of the creation of the universe, even though his material may be evocative of portions of both theories. [...]

[...] The Platonic, idealized inner world would ultimately result in a dead one, for in it the models for all exteriorizations were seen as already completed — finished and perfect.

(Long pause, eyes closed.) To some extent great artists not only capture a physical picture of Inner Idea, capitalized, but they also have a hand in creating that idea or inner model to begin with.

Ideals that before seemed beyond the reach of individuals or of the species will change their character, and become working models that can be used effectively and joyfully.

[...] I thought it might be a reference to the fact that my brother Loren, who wrote the test letter, is a model railroad fan. The magazine Model Railroader was, I thought, published in Wisconsin. [...] A trip to the newsstand to check verified my idea; Model Railroader has editorial offices in Milwaukee, Wisconsin. [...]

[...] This is speculation: Loren’s model railroad layout is built at waist-high level in the cellar of his home in Tunkhannock, PA. Thus while standing before it one looks down upon the small models of trains, etc.

[...] More speculation: many of the symbols of the various railroads are designed in a flag shape, and Loren has made drawings of some of these symbols for publication, I believe, in Model Railroader.

Seth’s material largely opposes science’s mechanistic model of the body wearing down within certain age limits, abetted as that model is by the power of the beliefs that say it will. [...]

[...] He made them out of wood, I think, and they served as molds or models that ended up cast in metal. [...] But using these models gave the alphabets some kind of standardization.⁵

Something to do with block formations now, not buildings at all, perhaps models of buildings.

[...] Excellence (pause) in any given area—emotional, physical, intellectual, intuitional, scientific—is reflected in other areas, and by its mere existence serves as a model for achievement. [...] There are different historical periods, in your terms, where the species has showed what it can do—and what is possible in certain specific directions when the genetic and reincarnational triggers are touched and opened full blast, so that certain characteristics appear in their clearest, most spectacular light, to serve as individual models and as models for the species as a whole.

[...] Let him use those days as models, the focus of attention being upon them rather than upon the poor days. [...] He should not overanalyze, but generally speaking keep such days in mind as models to follow.

[...] The impetus of your own growing psychic experience will more and more provide you with the inner models for drawings and paintings (louder).

(Seth’s statements about my receiving telepathic images interested me greatly, since I have been aware for some years now that I would much rather do a portrait without a model. [...] I have found that for me working from a model is rather boring and somehow limiting. [...] In fact, Jane has often mentioned the fact that I have seldom used even her as a model. [...] The situation is about to be remedied however, since as my work continues to expand I now discover that I want to use models also, and have several paintings planned in which she will appear.

[...] Plato conceived [of] it as the world of ideals, seeing within it the perfect model behind each imperfect physical phenomenon.

[...] Plato then saw Framework 2 as a splendid, absolute model in which all the works of man had their initial source. [...]

[...] He tries, therefore, to construct a model of the universe with only a handful of available clues.

The pieces to the puzzle are at mankind’s fingertips, but he has put together an awkward, ill-fitting miniature model universe of a puzzle with which he is afraid to part. [...]

[...] With defects built in, mind you (with some humor), and better models coming every geological season.

[...] The inflationary model can explain both the appearance of flatness and homogeneity—but, like all theories, it poses other problems that have yet to be resolved.

The arm, by its sudden freedom, also serves as a model to Ruburt consciously, and also for the rest of the body to follow. [...] He did not have this before, and so it is highly important symbolically and literally that improvements will continue and be used as a model.

[...] Also on the page 11 side of the object can be seen portions of two female figures—a foot, and the hemline and knees of another model. On the full page 11 are the figures of five women, modeling new styles of fall coats. [...]

[...] This, Jane said, is a reference to the faces of the five models shown on the full page 11, with the lower portions of two of them visible on the object itself. [...]

[...] Five female models wear coats, and many buttons are visible on the coats. [...]