“Seth material” search engine (Jane Roberts)

[...] The production manager has the script with him in Albany, New York.

The impulse allowed Framework 2 to operate, pulling in new probabilities. [...]

Now… Within three years there will be entirely new openings for John, and also many changes of attitude. [...]

[...] It is a new experience for him. [...]

In your terms, I am very ancient, and yet what I am is always new. [...]

[...] (Pause.) This is new for me also. [...]

[...] Ruburt is trying to paint a new physical picture of his body from himself. [...]

[...] A change of attitude, a new association, or any of innumerable other actions will automatically set up new electromagnetic connections and break others.

[...] Instead it has been taught new abilities. [...]

As Seth delivered the material you have just read, I had a series of continuing experiences that were new to me. [...]

[...] of Dee Masters as director, a new director is trying out for the job; the situation is thus unsettled, and Jane is not in favor of some of her new duties and is thinking seriously of leaving the job. [...]

This, plus the new director’s implied sense of superiority, adds to the difficulty. [...]

The new director does indeed have a fussy, almost womanish love of detail for detail’s sake, and this sort of mind is one with which Ruburt finds it difficult to attune when closely involved. [...]

(Seth’s mention of Ed Robbins, who now lives in New Paltz, NY, struck me as rather strange. [...] Then for some time we did not see Ed; the last time was during an overnight stopover in New Paltz, when Jane and I were on our way to York Beach, Maine, on vacation. [...]

[...] She is basically satisfied now, realizing from direct experience of her own that death involves a transformation, and if there is an ending in your terms, then there is also a new beginning.

I did want to make one comment of a light nature, concerning Ruburt’s unbounded joy with the new clothing which he has recently acquired. [...]

You sensed certain characteristics in Ruburt when first you met, and you knew intuitively that certain probabilities could bring the two of you together, both using your individual abilities in ways at that time unknown to you, but that those individual abilities, joined, could together produce a new kind of threshold—an overview through which that sensed excellence could at least be glimpsed, contained in essence at least, and communicated.

[...] You also initially, before this life, wanted to achieve some kind of overview that would unite the arts, and that would introduce a new kind of psychological art. [...]

(Long pause.) The two of you mixed and matched your characteristics, and put them together in such a fashion that they would jointly form a completely new kind of creation, in terms of art and psychology, and this was bound to produce expansions of your consciousnesses, and stresses and strains, when you came across portions of your ideas that had not grown along with the rest of you. [...]

(“Also the letters D O L, followed perhaps by another L,” Here is another instance of Seth trying something new in the way of association, as he did with the D E L for delivery data in the last envelope experiment. [...]

(Jane said this method is new and she is not used to taking advantage of it. [...]

I gave him a visual image of the letters, and this is fairly new for him. [...]

[...] In Chapter 8 of Dreams, when I asked Seth what he was going to do for the rest of the evening (in our terms), he replied: ‘I am going to refresh myself by diving into some new concepts, for there are new concepts for me also, of course, and I dive into them from many positions all the time as well.’ (See the conclusion of Session 916 for May 14, 1980.) Think of the questions one could ask him relative to just this one statement! [...]

[...] The title of the new book would be automatic: The Magical Approach to Reality: A Seth Book.

[...] On August 25, for example, on the day she delivered the sixth session for Seth on his new theme, Jane wrote the following untitled poem. [...]

[...] We instinctively know that disasters mimic the birth and death of cells within our bodies—we instinctively know that all life survives death, that death is the bursting of life into new forms, hence our fascination with accidents and fires. [...]

It is difficult to explain this to you, since old concepts must be used in a new way. [...]

There is, again, depth which is a depth of intensity; and yet within this depth of intensity there exists distances in terms of action, which is a fairly new idea in these sessions.

Christ’s thesis was inserted into a Jewish tradition dealing deeply with guilt, and the new thesis was meant to temper that tradition, and to spread beyond it. [...]

[...] Seth hasn’t mentioned India before in connection with any of the three, so that information would be new. [...]

New sentence: Because your mind in life is connected with the brain and the physical organism, it is automatically attuned to corporeal reality, and to some extent of course it ignores some nonphysical data that lies within any given field of perception. [...]

[...] That material was new to us, and included information on the Egyptians’ use of “inaudible” sound to help build the Pyramids; according to Seth the Romans also employed such sound in erecting the enormous, truly awesome city of Heliopolis at Baalbek, in what is now the Middle Eastern country of Lebanon. [...]

(On Thursday night, April 8, Jane and I were visited by three women from Rochester, New York. [...]

[...] On the Sunday following this session, a leading New York City newspaper reported that astronomers have observed two components of a quasar flying apart at, apparently, ten times the speed of light. [...]

[...] They come from intuitional creativity, when suddenly a new kind of significance is seen that was not “earlier” predictable. [...] Yet underneath it all you are significance-making creatures, pattern-formers, immersed in time but basically apart from it, and so new insights come into your awareness and literally change the quality of any given reality at any given time.

You both know again what love and hate are, but as I told you before try to think in new ways. [...]

[...] I believe these thoughts came to me so easily because I had been making some conscious efforts to think in new ways, and they were triggered by my working on this particular drawing.

[...] All of these changes were an excellent demonstration of the way Seth has said her eyes are behaving as they move up to a new plateau of improved vision.

[...] There is even an acceleration of thought and inspiration, much like that experienced in the adolescent years, that suddenly brings a new understanding to the aged individual, and provides an impetus that should help the person to achieve greater comprehension — a comprehension that should quell all fears of death.

(A note: This is “Day 6” of Jane’s new campaign to change her thinking.

[...] Then she hooked Jane up to a new bag of Gentamicin 40 mg., the antibiotic. [...]