Session 713
It might help here if you imagine
the psyche again as some multidimensional living television set. In what seems to be the small space of the
screen many programs are going on, though you can tune in to only one at a
time.
In a manner of speaking, however,
all of the other programs are “latent” in the one you are watching. There are coordinates that unite them
all. There is a give-and-take quite invisible
to you between one program and another, and action within one, again, affects
the action within each of the others.
Like the imaginary
multidimensional television, the psyche contains within it other programs than
the one in which you are acting – other plots, environments, and world situations. Theoretically you can indeed momentarily
“walk out of” your program into another as easily, when you know how, as you
now move from one room to another. You
must know that the other programs exist or the possibility of such action will
not occur to you. In larger terms all of
the programs are but portions of one: The various sets are real,
however, and the characters quite alive.
Actors playing parts are
obviously alive, as actors, but in a fictional play, for example, the
characters portrayed by the actors are not alive, in your terms, in the same
fashion that the actors are. In the
psyche, however, and in its greater reality, the characters have their own
lives – quite as real as those of the actors.
Thinking again of the psyche in
the manner mentioned, taking it for granted that the program now on the screen
is a fully dimensioned reality, and that hidden somehow in its very elements
are all of the other programs not showing.
These are not line up in space behind the “front” program, but in a completely
different way contained within it. The
point of any image at any given time in the picture showing might represent,
for example, a top hat on a table.
Everyone acting in that scene would view the hat and the table, and
react accordingly with their own individual characteristics.
The hat on the table, while
possessing all of the necessary paraphernalia of reality for that scene, might
also, however, serve as a different kind of reference point for one of the
other programs simultaneously occurring.
In that reality, say program two, the entire configuration of hat and
table may be meaningless, while still being interpreted in an entirely
different way from a quite different perspective. There in program two the table might be a
flat natural plain, and the hat an oddly shaped structure upon it – a natural
rather than a manufactured one. Objects
in your reality have an entirely different aspect in another. Any of the objects shown in the program you
are watching, then, may be used as a different kind of reference point in
another reality, in which those objects appear as something else.
We are trying to make an analogy
here on two levels, so please bear with me.
In terms of your psyche, each of your own thoughts and actions exist not
only in the manner with which you are familiar with them, but also in many
other forms that you do not perceive: forms that may appear as natural events
in a different dimension than your own, as dream images, and even as
self-propelling energy. No energy is
ever lost. The energy within your own
thoughts, then, does not dissipate even when you yourself have finished with
them. Their energy has reality in other
worlds.
Now imagine that the picture on
the television screen shows your own universe.
Your idea of space travel would be to send a ship from one planet,
earth, outward into the rest of space that you perceive on that “flat”
screen. Even with your projected
technology, this would involve great elements of time. Imagine here, now, that the screen’s picture
is off-center to begin with, so that everything is distorted to some extent,
and going out into space seems to be going backward into time.
If the picture were magically
centered, then all “time” would be seen to flow out from the instant moment of
perception, the private now; and in many ways the mass now, or mass perception,
represents the overall now-point of your planet. From that now, “time” goes out in all
probable directions. Actually it goes inward
in all probable directions.
The simple picture of the
universe that you see on our screen, therefore, represents a view from your own
now perspective – but each star, planet, galaxy or whatever is made up of other
reference points in which, to put it simply, the same patterns have different
kinds of reality. True space travel
would of course be time-space travel, in which you learned how to use points in
your own universe as “dimensional clues” that would serve as entry points into
other worlds. Otherwise you are simply
flying like an insect around the outside of the television set, trying to light
on the fruit, say, that is shown upon the screen – and wondering, like a poor
bemused fly, why you cannot. You use one
main focus in your reality. In the
outside world this means that you have a “clear picture”. (Humorously:) There is no snow!
That physical program is the one you are acting in, alive in, and it is
the one shown on the screen. The screen
is the part of your psyche upon which you are concentrating. You not only tune in the picture but also create
the props, the entire history of the life and times – but in living
three-dimensional terms, and “you” are within that picture.
The kind of reality thus created
by that portion of your consciousness forms a given kind of experience. It is valid and real. When you want to travel, you do so within the
dimensions of the reality thus created.
If you drive or fly from one city to another, you do not consider the
journey imaginary. You are exploring the
dimensions given.
Now: If you alter that picture a little so that
the images are somewhat scrambled – and you do this by altering the focus of
your consciousness – then the familiar coordination is gone. Objects may appear blurred, ordinary sounds
distorted. It seems as if you are on the
outskirts of your own reality. In such a
state, however, it is easy to see that your usual orientation may be but one of
many frames of reference. If you did
change the focus of your consciousness still further, you might then “bring in”
another picture entirely. On the outside
this would give you another reality. In
it your “old” reality might still be somewhat perceivable as a ghost image, if
you knew what to look for and remembered your former coordinates. On the inside, however, you would be
traveling not around or about, but through one portion of the psyche
with its reality, into another portion of the psyche with its
reality. That kind of journey would not
be any more imaginary than a trip from one city to another.
There are space-time coordinates
that operate from your viewpoint – and space travel from the standpoint of your
time, made along the axis of your space, will be a relatively sterile
procedure. (Some reported instances of UFO’s happened in the past as far as the
visitors were concerned, but appeared as images or realities in your
present. This involves craft sightings
only.)
When you change your ordinary
television set from one station to another you may encounter snow or
distortion. If something is wrong with the
set you may simply tune in patterns that seem meaningless and carry no
particular program. You may have sound
without a picture, and sometimes even a picture but sound from another
program. So when you begin to experiment
with states of altered consciousness you often run into the same kind of
phenomena, when nothing seems to make sense.
Currently, physicists have made
some important breakthroughs, but they do not recognize their
significance. The universe that you know
is full of microscopic black holes and white holes, for example. Since your scientists have themselves given
these labels, then using those terms I will say (with much gentle humor) that there are red, green, orange and
purple holes – that is, the so-called black holes and white holes only
represent what physicists have so far deduced about the deeper properties of your
universe, and the way that certain coordinate points in one world operate, as
providing feed-through into another.
Nothing exists outside the
psyche, however, that does not exist within it, and there is no unknown world
that does not have its psychological or psychic counterpart. Man learned to fly as he tried to exteriorize
inner experience, for in out-of-body states in dreams he had long been familiar
with flight. All excursions into outer
reality come as the psyche attempts to reproduce in any given “exterior” world
the inner freedom of its being.
Men have also visited other
worlds through the ages. Others have
visited your world. In dreams, and in
altered states through history as you accept it, men have been taken upon such
journeys. On their return they almost
always interpreted their experiences in terms of their home programs,
intertwining what happened into what ended up as great myths and stories – real
but not real.
While all of this may sound quite
esoteric, it is highly practical, and we are dealing with the nature of
creativity itself.
Your thoughts, for example, and
your intents, have their own validity and force. You set them into motion, but then they
follow their own laws and realities. All
creativity comes from the psyche. I
[recently] suggested a project to Ruburt’s class – one that will ultimately
illuminate many of the points I am making in “Unknown” Reality. I suggested
that Ruburt’s students create a “city” at another level of reality. This is not to be a pie-in-the sky sort of
thing, or some “heaven” hanging suspended above, but a very valid meeting place
between worlds. A psychic marketplace,
for example, where ideas are exchanged, a place of psychic commerce, a pleasant
environment with quite definite coordinates, established as an “orbiting
satellite” on the outskirts of your world.
Initially, all worlds are created
in just that fashion.
In certain terms, then, this
involves in a very small way the creation and colonization of a different kind
of reality – consciously accepted, however, from your perspective. On an unconscious level, the world as you
know it expands in just such a fashion.
Several students have had dreams involving their participation in such a
project. Ruburt found himself in an
out-of-body state, looking at a jacket.
It had four rectangular pockets.
It was giant-sized. As he looked
at it the front flap was open. In the
dream he flew through this flap literally into another dimension, where the
point of the flap was a hill upon which he landed. From that second perspective, the pockets of
the jacket in the first perspective became the windows of a building that
existed in a still-further, third dimension beyond the hill. Standing on the hill, he knew that in
Perspective One the windows of the building in Perspective Three were jacket
pockets, but he could no longer perceive them as such. Looking out from the hill in Perspective Two,
Perspective One was invisibly behind him, and Perspective Three was still “ahead”
of him, separated from him by a gulf he did not understand.
He knew, however, that if the
shades were pulled in the windows in Perspective Three, then the jacket-pocket
flaps would appear to be closed in Perspective One. He also realized he had been directing the
erection of the building in Perspective Three by making the jacket [in
Perspective One].
When he approached the hill in
Perspective Two, he spoke to the contractor who was there before him. Ruburt said that he wanted to change the
design. The contractor agreed, and
shouted orders to people who were working in Perspective Three, where the building
stood.
Now: Ruburt was validly involved in the
erection of that building, and he did indeed travel through various dimensions
in which the objects in one represented something entirely different in
another. He used the particular symbols,
however, simply to bring the theory home to him, but it represented the fact
that any given object in one dimension has its own reality in another. You cannot move through time and space
without altering the focus of your psyche.
When you so alter that focus, however, you also change the
exterior reality that you then experience.
… Later you will realize the
startling nature of what has been given this evening.
Session Notes
3. The 453rd session,
for December 4, 1968, is printed in its entirety in the Appendix of The Seth Material. In that session, I think, Seth came through
with one of his most evocative conceptions:
“You do not understand the dimensions into which your own thoughts drop,
for they continue their own existences, and others look up to them and view
them like stars. I am telling you that
your own dreams and thoughts and mental actions appear to the inhabitants of
other systems like the stars and planets within our own; and those
inhabitants do not perceive what lies within and behind the stars in their own
heavens.”
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