“Seth material” search engine (Jane Roberts)

[...] In a large sense he begins to train himself to focus only upon what you would call physical reality, though he still partially perceives other fields that you do not accept.

[...] Nor did you have any certainty that any self-imposed period of training and learning would succeed in leading you to your goals. [...]

[...] In his enthusiastic feeling for the book, the best he could do with his lack of training was to think of it in terms of the best in the occult market.

You have trained your consciousness to follow certain patterns that are not necessarily natural for it, and these patterns increase the sense of alienation between the waking and dreaming self. [...]

[...] Such training would add immeasurably to the dimensions of your life. [...]

[...] She’s had no musical training.

Such individuals are trained to consider any alterations of consciousness, any seemingly “passive” endeavor as dangerous to one degree or another. [...]

[...] I now and then enjoy sitting at a comfortable table with you, with his eyes open, and it is good training for Ruburt.

Training and disciplined experimentation in the manipulation of this body will be of great benefit, for you will be facing some of the conditions that you will have to face when the physical body is discarded. [...]

[...] The same applies to an artist, so for simplicity’s sake we will start with a single creative event—the idea the writer or artist has already geared himself, through training and practice, through intent and expectation, to receive to begin with. [...]

[...] Now his own background, with its self-denial and early religious esthetic training, also played its part, you see.

[...] Because they were trained so well, the messages retained their authenticity. [...]

[...] I wanted to know more about the Speakers’ training, by whom it was conducted, and their intuitions and dream experiences.

[...] So it takes some training on my part to pinpoint you in the time and space with which you are acquainted.

[...] All of this presupposes of course the kind of technical training and background, and knowledge of the art necessary. [...]

You should find this a valuable training. [...]

[...] You utilize ships, automobiles, trains, airplanes, because you want to go to another place, and certain vehicles work best under certain conditions.

There are jet travelers and those who have never seen a train, so your own system of reality contains vast contrasts. [...]

[...] Indeed, I often saw the former with a clearer vision, but my early training and work as a commercial artist, beginning in New York City in 1939, conditioned me to believe that the artist was supposed to deal only with what he could “see” objectively.

[...] This is of course a training period, and he may become momentarily uneasy, but never frightened. [...]

Ruburt and you are both in training, so to speak. [...]