“Seth material” search engine (Jane Roberts)

You know where physical reality is, then, on the dial of your multidimensional television set. While focused within that living scene you can learn to travel through it, leaving the “surface” picture intact and whole. In a way you program yourself, going about your daily duties as conscientiously and effectively as usual — but at the same time you discover an additional portion of your own reality. This does not diminish the physical self. Instead, in fact, it enriches it. You discover that the psyche has many aspects. While fully enjoying the physical aspect you find that there is some part of you left over, so to speak; and that part can travel into other realities. It can also then return, bringing the physically oriented self “snapshots” of its journeys. These snapshots are usually interpreted in terms of your home program. Otherwise, they might make no sense to the physical self.

Throughout the ages people have taken such journeys. The snapshots⁵ are developed in the “darkroom” that exists between your world and those visited. The people who have journeyed into the unknown reality have always been adventurous. Yet many had already seen the snapshots sent to your world by others, and so they began to clothe their own original visions of their journeys in the guise of those other pictures. A group of handy ideas, concepts, and images then formed. The clear vision of such explorers became lost. Those travelers no longer tried to make their own original snapshots of the strange environments and realities through which they passed. It was easier to interpret their experiences through the psychic penny postcards.

(Long pause.) Once individual travelers took those snapshots, and they represented original interpretations of other realities. They stood for individual versions of certain travelers taking brief glimpses of strange worlds, and interpreting their experiences to the best of their abilities. As such they were very valid. (Louder:) They were as valid as any snapshot that you might take of your backyard in the morning. That picture, however, would vary considerably from one taken by an inhabitant of your planet in a different part of the world, and in a different environment.

Look at the image in your mind as it exists in the snapshot, and see it as being aware only of those other objects that surround it. [...] Now in your mind see that image walking out of the snapshot, onto the desk or table. [...]

[...] If you are working mentally with a particular snapshot, then note the other items in the picture. [...]

[...] Many of your best snapshots of other realities are taken in your dreams.⁵ They may be over-or-underdeveloped, and the focus may be blurred, but your dreams present you with far more information about the unknown reality than you suppose. [...]

[...] To that extent the dream that you remember is a snapshot of a larger event, taken by your conscious mind. [...]

[...] To a certain extent, therefore, the dreams are blueprints for your later snapshots.

[...] I’ve had the question in mind ever since Seth discussed separate, childhood snapshots of Jane and me in the same terms during the first session for “Unknown” Reality. [...]

[...] Its validity is dependent upon the other invisible snapshots not taken, even as the given notes that make up a symphony are important because of the implied notes not actually used.

[...] The picture can be from the past or the present, but try to see it as a snapshot of a self poised in perfect focus, emerging from an underneath dimension in which other probable pictures could have been taken. [...]

[...] If you had a snapshot of a month ago to compare his present performance with, you would see the difference. [...]

[...] Then I thought of asking Rob to take a snapshot of the table area, so that I could paint it later. [...] Now he told me he had one exposure left, and he wanted to take a snapshot of me to use it up.

[...] No yesterday or tomorrow will suddenly appear in the snapshots of the present. [...]

[...] This should be easy to grasp, for if you tried to understand physical life having only a group of snapshots taken at different places and in different times, then it would be rather difficult to form a clear idea of the nature of the physical world.

[...] This is like taking snapshots of a strange land. [...]

[...] If you are alert you may even take snapshots — only as far as inner tours are concerned, the snapshots consist of clear pictures of the environment taken at the time, developed in the unconscious, and then presented to the waking mind.

You will simply be learning to focus in a new dimension of awareness, taking quick snapshots, as it were, in a strange environment. [...]

[...] There, from another viewpoint, you can see it even more clearly, holding it like a photograph in your hands; at the same time you can see from that broader perspective that you do indeed also stand outside of the dream context, but in a “within” that cannot show in the snapshot because of its limitations.

[...] That picture is composed of millions of ever-changing smaller snapshots, as it were — or moving pictures is better — determining so many conditions, positions and relationships that they could never be described. [...]

[...] In the snapshot it’s a sunlit day in August, 1941. [...]

[...] Jane had begun delivering the Seth material late in 1963, and soon afterwards Seth started developing his ideas on probabilities.¹ Many times while looking at the snapshots since then I’d found myself speculating about the probable realities surrounding their two young subjects. [...]

[...] (Long pause.) The chart of events at the time of your “birth” is like one small snapshot of someone’s backyard in the afternoon. [...]

[...] The snapshot was taken on the beach perhaps 200 yards from the Driftwood. [...]

(A one-minute pause at 11:48.) These are like psychic snapshots rather than physical ones, involving instances that are a part of your heritage — yours but not yours. [...]

[...] Half in and out of the envelope was an old snapshot of Rob and me.

[...] He thought of asking you to take a snapshot of the table with your camera, showing the partially-opened front door, so that later he could paint the scene. [...]

[...] And Laurel Lee Davies, the young lady who’s now helping me carry on my publishing activities, at once intuitively picked out from my files the one right photograph of Jane to us for Seth, Dreams … Jane’s father, Delmer Roberts, took the snapshot when she was on vacation with him in Baja, California in 1951. [...]

[...] Her images led me to search out the collection of battered black-and-white snapshots of her that somehow, some way, she’d managed to save from her early childhood. [...]