“Seth material” search engine (Jane Roberts)

(Jane also experienced the now familiar cone or pyramid effect when the new personality chose to speak. [...]

(Jane again had the cone or pyramid effect after break.

[...] But in these terms such tremendous power resides in such primary pyramid gestalts that even their dreams are endowed with vitality and reality. [...]

This then is the dilemma of any primary pyramid gestalt. [...]

It is true that the pyramid gestalts of which I have spoken can be said to merge into what you may refer to as a unitary and even sublime being, but this is grossly simplified.

We shall have a session dealing almost entirely with the nature of energy gestalts, and you will see that while these pyramid energy gestalts do, on the one hand, achieve a unitary character and sublime intelligence, on the other hand they form only an approximation of humanity’s concept of a God. [...]

A miscellany of objects arranged in pyramid form.

[...] She said she didn’t get the cone or pyramid effect after the one time noted before the session began.

[...] In one way Ruburt’s pyramid image is quite legitimate, for you and he are at the base, with Seth in the middle and myself at the top. [...]

[...] There are pyramid gestalts of being impossible to describe, whose awareness includes knowledge and experience of what would seem to be to you a vast number of other realities. [...]

[...] It seems to him then that his consciousness goes out of his body through an invisible pyramid whose open top stretches far up into space.

[...] The pyramid gestalts can do this, and we help the pyramid gestalts perform this feat. [...]

[...] She said it was like a cone or pyramid suspended above her head, and that as she went into trance she was to “align” herself directly beneath this cone, which is inverted. [...]

Now the pyramid or cone structure Ruburt senses is his symbolic way of feeling, in your terms, the approach of certain coordinates. [...]

The same kind of sound built the Pyramids, and it was not sound that you would hear with your physical ears. [...]

[...] 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. [...]

During our next session we will go more deeply into those pyramid gestalts of which we have spoken in the past, and perhaps consider from another viewpoint entirely the scope and nature that make up the idea of gods. Within certain frameworks these pyramid gestalts do have an electrical reality, but their existence goes beyond not the range but the nature of electrical reality. [...]

[...] “I vaguely have the pyramid effect,” Jane said at 9:10. [...]

[...] You do not consciously know how you manipulate a staggering pyramid of symbols, picking from them precisely those you need to express a given thought. [...]

(At one moment I thought I glimpsed, far ahead on the horizon on the right, a group of pyramids, in some kind of cool brilliant color, blues or greens. I could not see the bases of these structures and am not positive they were even pyramids. [...]

[...] You see but portions of these pyramids of intelligences... [...]

(See the following sessions for material on the God concept, psychic and pyramid gestalts, and related questions: 51, 81, 95, 97, 115, 135, 146-9, 151, 177, among others, in Volumes 2, 3, and 4.)

(Jane said she never sensed him above her—that would lead to the pyramid effect, she said. [...]

(I was looking through our notes for a question I had down on how the Pyramids were built when Jane received the answer within:)

[...] Jane kept getting the pyramid effect. [...]

[...] This contrasts with the overhead channel or pyramid effect she feels subjectively when Seth’s larger entity speaks.

The definite magnification, and outward from each number in pyramid form, the angle, unformulated functions. [...]

[...] The pyramids, for example, are a case in point.

[...] It showed a life-size, full-face figure of Bill Gallagher wearing a long dark coat, as he stood against a somewhat stylized outdoor background of pyramid shapes in bright colors—either tempera or acrylics.