“Seth material” search engine (Jane Roberts)

[...] Start to make sounds and let yourselves go along with the sounds. Look each other in the eye, let your feelings rise and then express them in the sounds that come to you. [...]

[...] Follow along with the feelings of the sounds for that is what is important. [...]

[...] It’s about health and sound, inside sound and outside sound.” [...]

[...] “I’m getting that thrilling sound through my stomach as I hear the cars turn the corner. And those firecrackers sound like ‘wrinkles’ in the air, going out in all directions…. [...]

[...] The sounds of the firecrackers are the same sounds that events inside the body make. [...]

[...] “But I had a hell of a time getting into the session,” she said, “because I was having such a ball with those sounds. [...] “Right now, even, my voice sounds just great to me, and my hands feel real liquidy, almost like water….”

[...] In the same manner the ears hear sounds that are distant from the body. In fact, and this is a rather important point, the ears ordinarily hear sounds outside the body more readily than sounds inside the body itself. Since the ears are in the body more or less, and of it, it would be logical for an open-minded observer to suppose that the ears would be well attuned to the inner sounds to a high degree. [...]

[...] The ears can be trained to some degree by neurotic individuals into a sound awareness pertaining to the body itself. [...] But as a rule the ears neither listen to nor hear the inner sounds of the body.

As the outer senses of sight, sound and smell appear to reach outward, bringing data to the physical body from an outside observable camouflage pattern, so the inside senses seem to extend far inward, bringing important inner reality data to the physical body. [...]

[...] First we try to bring interior knowledge outward into some kind of physical materialization where you can deal with it in terms of sound or vision, and then we try to get you to go inward and dispense with sound and vision, so you are always working in two directions at once. [...] This is not the case, of course, but while you think you need the bridges they are provided, and the Sumari are voices that call to you though they do not have sound. [...]

[...] And you would throw them away for you would think the air cannot speak and space makes no noise, and in the silence there is no voice and no meaning and so voice and sound and language are given you. But let you remember that the language and the sound and the noise are packages that have been parceled for you, but for you personally, tailored for you exactly according to your own purposes and needs. [...]

[...] Did it ever occur to you that there are languages that have never been verbalized, that beneath the words that you know and speak there are other sounds and other meanings that you do not approximate with the language that you know? [...]

[...] Seth has called it the feeling of sound.

(I hoped the feeling would develop, into sound or images or whatnot, but nothing more came. [...]

[...] In the same manner, the ears hear sounds that are distant from the body. In fact, the ears ordinarily hear sounds from outside the body more readily than sounds inside the body itself. Since the ears are connected to the body and part of it, it would be logical for an open-minded observer to suppose that the ears would be well attuned to the inner sounds to a high degree. [...]

The ears can be trained to some degree into a sound-awareness pertaining to the body itself. [...] But, as a rule, the ears neither listen to nor hear the inner sounds of the body.

[...] “She sounded well-meaning, but not too bright. [...]

[...] He hears sounds from the physical environment, but also sounds within the available range of reality that you do not accept. When the infant is born, he still hears these sounds and voices, but again, they do not answer his physical needs, nor bring milk when he cries, and gradually he discards them.

[...] I wanted to build up a massive sound-impetus that I would use as a propellant, although I didn’t know how this was supposed to work. The strange thing is, I enjoyed both the feeling of lying just above my physical body, and my ability to use the latter to produce sound. [...]

[...] I was amazed at the loudness of the sounds that came from my physical head, just beneath “me.” [...]

[...] Then I had an idea: I would use the sound of my snoring as an impetus to send myself soaring off into other dimensions, leaving my body far behind me on the bed.

The first question is, “How relevant is life?” And the second question is, “How relevant do you think you are?” And I do not expect beautiful sounding generalizations. [...]

[...] You were thinking in terms of themes and compositions and all of your answers did, indeed, sound fine, spiritual, highly edifying, but very few of you felt. [...]

The physical sound that I make, the energy that you sense now is, indeed, a part of the energy that sings within the vitality of any atom and molecule. [...]

[...] Now you need the sounds to remind you. In time—in your time—you will dispense even with the sounds. [...]

[...] Therefore, to some extent, we will crumble the words up, crumble the words up and distort them until it seems that in the language that we use you perceive certain familiar sounds. [...]

(Long pause at 9:28.) There are phases of relatedness, rhythms and harmonies of consciousness from whose infinite swells the molecular “music” of your universe is sounded. [...] It is as if an infinite number of orchestras were playing simultaneously (long pause), and each note sounded was also played in all of its probable positions with each other note possible, and in combination with all of the probable versions of the entire piece being played.

Between the notes sounded there would be intervals, and those unsounded intervals would also be part of a massive unstated rhythm upon which the development of the entire sounded production was dependent. [...]

[...] Yet when Seth came through his material certainly sounded like book work to me.)

“I fear that as a man’s voice, Jane will sound rather unmelodious. I do not have the voice of an angel by any means, but neither do I sound like an asexual eunuch, which is all I’ve been able to make her sound like tonight … and Ruburt, if you want a cigarette, get one. [...]

Running into the session’s second hour, my voice had sounded progressively more hoarse, and it was the first time in sessions that it had ever shown signs of strain. [...]

[...] And if Ruburt’s voice sounds rather dreary in this transitional phase, I myself am in a very playful, you might say, frisky mood. [...]

How do you think the atoms and molecules in the room are being changed and charged as a result of the sounds? How do you think the EE units are being changed and charged as a result of the sounds? How do you think, biologically and psychologically, you are changed by the sounds? And again the sounds come from you as well as from their seeming source. [...]

[...] Now I want you simply to follow along, to listen to the sounds, to let whatever images come into your mind come. [...]

[...] On those occasions when Ruburt has heard me more or less directly in his psychological time experiments, there has always been on his part a sound quite independent of himself, from outside of himself, of static. [...]

This was the result of my attempt to give the voice an independence, to form sound within your physical system without working through Ruburt’s vocal cords, but to impress your physical system kinetically.

[...] In other words the actual sound effects, had you been listening, might have appeared as a loud whisper.

After she’d grappled with her reception of some long-sound material last night, Jane spoke a few words for Seth. It was then that we began to glimpse what we could call a “source” of the long material — for Jane told class that from our physical viewpoint “Seth’s true reality had sounded like a mountain” to her. [...] By making a strong effort she’d speeded up her reception of him so that he came through sounding like the familiar Seth. [...]

[...] As we’d expected, her long-sound experiences hadn’t recorded well at all. [...] While Jane had been straining to compress a long syllable into something recognizable, the tape picked up little except distracting background noises: class people coughing, or moving about or shuffling papers; the sounds of traffic … But Jane and I take class events as they come. [...]

(In ESP class yesterday evening Jane engaged in one of her periodic and unusual “long-sound experiences,” as we call them. [...]

[...] I want you then to translate the sound of the voice into intensities of different kinds of perception. [...] Let the sound of the voice, therefore, bring out in yourselves the power of your own identity and independence, the integrity of your own being. [...]

[...] Now I have always referred to myself as a personality energy essence because it was true and also because it sounded very safe to Ruburt. [...]

The quality called light on this plane could just as well appear as sound in another; and for that matter, even on this plane, light can be changed into sound, and sound into light. [...]

That is why it is possible for some human beings to experience sound as color or to see color as sound. [...] Light would never be heard, for example, and sound would never be seen.

[...] For another, I refuse to sound like a hoarse horse. [...]

(Long pause at 9:35.) You know what sound is, yet as Ruburt knows, what you consider sound is only one of sound’s many spectrums. Beside translating inner images into paintings, for example, you may unknowingly be translating sensually invisible sounds into images. [...]

[...] It is natural that Ruburt was startled when he heard the way he sounds when he allows me to speak.

I regret that when the voice has a loud volume it does indeed sound quite harsh. [...]