“Seth material” search engine (Jane Roberts)

[...] Each of the selves experiences time in its own manner according to the nature of its perceptions. [...] Their various realities merge in the overall perceptions of the whole self.

[...] According to the information we have so far, some of them have methods of perception different from ours.

The initial perceptions were picked up by the inner senses. [...]

I will explain more clearly the differences in perception that are involved in various trance procedures. [...]

[...] We think this a close-enough description of the object, in that the briefness of the poem could resemble a note to Seth’s method of perception.

[...] This applies not only to your own species but in many cases between species, and there are basic units in all living matter capable of forming animal or vegetable life, capable of developing the perceptive mechanisms inherent in any of these.

[...] They belong in a book given more specifically to interior methods of perception.

[...] Although the body appears permanent and in existence from one moment to the next, basically it constantly rises out of the bed of probabilities, hovering at your now-point of perception and experience, and its apparent stability is dependent upon the knowledge of “future” probabilities as well as “past” ones.

Your present is the result of your own poised consciousness, choosing its perception and the nature of its life from a field that is at all predictable only because of the greater area of organization available to it.

These conditions, however, only exist at the conscious level of your perception. [...]

[...] Physical events are actually formed now, in your terms, because of the interactions between past and future, which are not separate in actuality, but only in your perception.

Consciousness by its very characteristics carries a burden and the burden is perception. [...] Now this is the kind of consciousness of which you are used to thinking, for you cannot imagine consciousness without perception, in your terms, and yet consciousness can be vital and alive without perception as you think of it. [...]

[...] Perception of its characteristics would be impossible. [...]

[...] This is not to say that such planes or fields of actuality cannot in some manner be perceived, but they will escape physical perception or exploration. [...]

[...] This will lead up to the basic communication used by human personalities as you understand them, and point out these inner communications as existing independently of the physical senses (pause), which are merely physical extensions of inner perception.

While my communications will come exclusively through Ruburt at all times, to protect the integrity of the material, I will invite the reader to become aware of me as a personality, so that he may then realize that communication from other realities is possible, and that he himself is therefore open to perception that is not physical.

A core belief is invisible only when you think of it as a fact of life, and not as a belief about life; only when you identify with it so completely that you automatically focus your perceptions along that specific line.

[...] You structure your perception, therefore, in terms of the lapses that seem to happen between events. [...]

[...] The pulses mentioned earlier are so short in duration that your consciousness skips over them merrily, yet your physical perception cannot seem to bridge the gap when the longer rhythm of pulsation occurs. [...]

[...] Those of you who do not have such faith may gain it in a different way, by following through in the exercises I will give you later in this book; for these will enable you to extend your perceptions to these other layers of reality if you are persistent, expectant, and determined.

I am fairly certain that I achieved excellent emotional contact with the students I addressed; for the projection was not only of Ruburt’s perceptive mechanisms, there was a strong psychic projection on my part.

[...] You can, of course, feel the invisible wind against your cheek, but touch involves an immediacy different from the distant perceptions of sight and smell. [...]

[...] There is no lapse of time in perception, since there is no time.

[...] It involves immediate perception of a direct nature, whose intensity varies according to what is being sensed. [...]

[...] Your friend Larry (Herschaft) was quite perceptive, and your Dialogue sketches and the rock (face) show on your part a growth qualitatively of artistic understanding, and technique used to the service of inner realities.

[...] You are to use your own perceptions. [...]

[...] Consciousnesses actually produces these emanations, and they are the basis for any kind of perception, both sensory in usual terms and extrasensory.

Released tension in the head area can also change both Ruburt’s depth perception and head pressure, as it lessens. [...]

[...] The assumptions are that time is a series of moments one after another; that an objective world exists quite independently of your own creation and perception of it; that you are bound within the physical bodies that you have donned; and that you are limited by time and space.

(9:35.) Other assumptions accepted for the same reason include the idea that all perception comes through your physical senses; in other words, that all information comes from without, and that no information can come from within. [...]

[...] It has already begun to direct perception — though perception has begun whether or not it is so directed — and it will experience the shock of birth in immediate, direct terms.

[...] As a rule, it is still physically oriented, in that the abilities are usually directed toward the inner perception and manipulation of matter or physical environment. [...]

[...] In this case it will lead you not into a deeper examination and perception of the present moment, but instead into an awareness and recognition of what I will call alternate present moments.

Perception of beauty through the senses is the trigger on your plane for subsequent inner perceptions. [...]

[...] First you have the action of the lines, form and content and so forth, caught and solidified, then as an observer looks at a painting feeling is again motion moving out from the painting into the beholder’s perception.

[...] Once you exist on a particular plane you must necessarily be attuned to it while blocking out many other perceptions. [...]