The "Reading Guide" and "Key Points" for this chapter were summarized by an AI editor based on the main text below; they are not things Mike said during the lecture. The main text comes from Mike's commentary, and the blockquotes are Seth's original words (the portions Mike read aloud).
Introduction
This session starts from the "focus of consciousness," explaining that the world is the product of consciousness focused on specific frequencies, and that objectivity comes from the projection of the psyche. Using radio receivers and television programs as analogies, Seth points out that all realities exist simultaneously within the psyche, interrelated and mutually influencing one another; by adjusting the focus of consciousness, one can perceive other realities. He also uses his communication with Ruburt as an example to illustrate communication between personalities/stations and the formation of bridge personalities, and explains the mythological projections of the name Seth in different eras.
Key Points of This Chapter
- The physical world is the result of consciousness adopting a particular focus; objectivity comes from the psyche projecting experience into an inner dimension of its own creation.
- Tuning in to other realities requires a change in the focus of consciousness; everyday consciousness is aimed only at the "Earth" channel and filters out other frequencies.
- All realities are like radio stations or programs existing simultaneously within the psyche, and they interact with and influence one another.
- Seth and Ruburt are two different stations/personalities; Ruburt adjusts his frequency to receive and relay the Seth material, forming a bridge personality.
- The fictional or legendary characters with which humanity identifies are idealized projections of the psyche's inner countenance; foreign personalities may appear in the guise of such characters.
Main Text
Adjusting to Other Realities: The Programming of the Earth Program, and the Inner Literature of the Mind
This is Session 711 of Volume 2 of The "Unknown" Reality, which began on Wednesday, October 9, 1974, at 9:17 p.m.1
Before the session, Rob said that last night's ESP class had been really intense, with 32 people crammed into the living room2, enjoying a rich, fiery, complex, and even vulgar conversation with each other, with Jane, and with Seth. One girl screamed "Go to hell, Seth" -- which in English is a curse word -- but that did not faze Seth at all. The class members rarely fully agreed with Seth or with anyone else, and even Seth did not fully agree. As usual, Jane found herself learning along with her students. She also spent quite some time singing Sumari very delicately, in stark contrast to Seth's forceful delivery -- Sumari was more graceful and more calming.
Of course, everything was recorded. The class went from seven-thirty all the way until midnight, and by the time it ended, every participant was either exhausted or had certainly gotten enough emotional exercise. Seth said that in next week's session, he would receive a transcript of that night's Seth material, and he placed that transcript in "Appendix 16." If anyone wanted to see what happened that night, they could go look at "Appendix 16."
Then Seth began to speak about the core content of this session. He said that today he would by no means be as dramatic as our rowdy ESP class, because this was the content of a formal session. He started right off by making his point clear:
Your world is the result of a certain focus of consciousness.
Without that focus, the world cannot be perceived.
This world of ours is actually a focus of the consciousness of what we may call All That Is. But All That Is is only a name we have given it; whatever that thing really is, it has no name, so we just give it a name for the time being. So what Seth is saying here is that a certain focus of consciousness generates our physical world.
The range of consciousness involved is obviously physically oriented.
The orientation of consciousness in this world leans toward the physical, yet within it there is a tremendous variety of consciousness. Each consciousness has a private angle from which to experience that seemingly objective world. For example, an animal, a fish, a person, or a stone all perceive the physical environment in different ways -- the physical environment is real, and yet different parts of that environment are also relatively unreal to each of those forms. This is very important. Every consciousness in the physical world contains a vast multitude of consciousnesses, and when each consciousness observes this seemingly objective world from its own angle, different parts of that world are both real and unreal -- from one angle it is real, and from another angle it is unreal. This is also very important, so from the Buddhist perspective, it is neither real nor unreal.
Seth then used the example of an extraterrestrial:
If an inhabitant of another reality entirely outside of your earth system were to visit the earth, and if his intelligence was roughly the same as your own, he would still have to learn to focus his consciousness in much the same way that you do in order to perceive your world.
If an extraterrestrial being with roughly the same intelligence as us humans were to visit the earth, he would have to focus his consciousness on our physical plane in order to perceive our physical world. He would have to change his original focus of consciousness and turn that focus in a direction that is very unfamiliar to him. In this way, he could receive our radio stations, receive this physically oriented frequency of ours.
He might not have the same kind of innate physical receptors that you yourselves have -- for example, he might not have eyes or ears -- he might not have these outer senses for receiving this kind of interpretation of the physical world. Without these receiving organs, he could only perceive through his consciousness, so he would have to adjust his consciousness to a certain frequency, adjusting it to a state close to the physical frequency of our earth. But what he could perceive would be somewhat different from what we humans perceive with our innate physical receptors, our physical sensors.
Your visitor would then be forced to translate that data as best he could through his own native structure. He would have to translate it if that data were to make any sense to him in his ordinarily oriented consciousness.
If the data of the earth were to have any effect on his own consciousness, he would have to convert that data into something that his own sensory system could perceive.
So all realities are the result of consciousness taking a particular focus.
He said all this, but what he really wanted to tell you is this: just like the extraterrestrial, we humans are the same. When we humans explore those unknown realities, it is just like this extraterrestrial coming to visit our earth -- the principle is the same: you have to use your consciousness to focus on the reality of the place you want to visit, and then convert the experiences and perceptions you gain after focusing your consciousness into something that we ourselves can sense, understand, and feel.
From this perspective, this universe and this world have no outside. Everything you call "everything" is determined by the focus of consciousness, by consciousness taking a particular focus.
The effect of objectivity is caused as the psyche projects its experience into an inner dimension of its own creation.
But why do you feel that this world is objective and real? It is because you take your own psyche, its projections, its experiences, and project them into an inner world of its own creation, and that produces such a result. You then feel that this world is so real and objective.
If you tune in to any other channel, you would have a similar feeling.
Within that inner reality, the frameworks are constantly expanding, so that at least in your terms, it would seem to involve greater and greater distances.
That inner world is also constantly expanding, so you feel as though our universe is expanding -- he uses this as a correspondence.
Travel to any other physical reality location must involve an alteration of consciousness.
If you want to go to other physical realities, to other three-dimensional practices, to other parallel space-times, your consciousness must change; without change, you cannot go.
Although all of your own thoughts and feelings are materialized somewhere.
Your thoughts and your feelings have already been materialized, concretized, in some places. But in our terms, only some of them have become physical, and some have not become physical -- it is impossible for every one of our thoughts to become physical, and that is perfectly normal.
They are then accepted as physical matter, and they provide the basis for the objective events, objects, and phenomena upon which you all agree.
These thoughts and feelings that have partially become physical provide a physical foundation for the development of our entire human race. Without this foundation, the great drama of our humanity could not be staged. This jointly built stage is something all of us humans collectively recognize and collectively acknowledge. In other words, a glass cup in your hand is a glass cup, and in the hands of an indigenous person it is also a glass cup -- although he may not know what it is called, his recognition of its outward texture is the same. But if you hand him a chip, an integrated circuit board, you know it is a chip, a wafer, but they do not know what it is. If you hand him a cell phone, he also does not know what it is, but from his perception of the phone's outward texture and appearance, he can tell that it is something like a mirror, but he does not know what is inside it.
This world has an acceptable stability. Where does this stability come from? It comes from our earliest, most primitive cognition of this world from long ago. From mud, sand, and the natural world, step by step, generation after generation of human cognition. For example, your ancestors certainly knew what sand was -- one day when they were making a fire on the beach, they discovered that after sand melted it became something like glass, and they knew that something glass-like could be made from it. From that time on, humans knew about glass-like things. And then all humans in every generation after that knew what this thing was. Because when you were little, your parents taught you what this thing was; when you were a child learning to read with pictures and learning to draw, what were all those things for? You were learning to cognize this world. Your parents and your teachers, from the time you were small, used pictures, photographs, and food to show you, step by step, the things of this world, and in this way you were passed down from generation to generation.
We need this stability in order for our daily lives to function well, in order to have a sense of certainty. If everything were uncertain, if everything were possibility, then we would not know what to do. So a predictability is needed here, so that the three-dimensional world can operate. For example, when you pour water into a cup, you know that the cup will definitely be filled -- if the cup could never be filled, if the more water you poured in the more it disappeared, then that predictability would not exist for you, and you would not know how to operate in this three-dimensional world.
Your Home Base and Adjusting Frequencies
At that point, you are precisely tuned in to one of your own home bases.
At this point, we are tuned in to our own home base—that is, a base oriented toward the physical. This is our most fundamental, what you could call our basic frequency, or core frequency, as human beings.
You ignore those ghost images, symbols, or sounds. You filter out all that noise and tune your consciousness only to this one station. So what is the TV program playing on this station? It is every day on Earth. What you watch day after day is the content broadcast from this frequency, and you are immersed in this world. Are there other programs? You do not watch them. Are there other noisy signals? You do not watch those either, because you are firmly locked onto this channel.
Possible actions also occur there. Within that noise, within those ghost images, there are also possible actions, but they are muted within the clear sound of the reality you accept.
You cannot see them, because your frequency is so stable and so clear that those stray waves do not even appear. There is not even any static—you cannot see a trace of it. Your world is always clear and transparent, like watching an 8K television, so sharp that every detail shows.
When you begin to leave your home base and travel, you become more aware of the other frequencies that are buried within it. When you begin to learn to explore those unknown realities, you may begin to discover that other frequencies actually exist. But to do this, you must alter your own consciousness—if you want to receive other frequencies, you must change your consciousness.
He can see probable realities connected with your own system, as captives of a period.
Probable realities—probable realities that are connected with our system. It is like the suburbs surrounding a major city. Seth used an analogy: if you take Beijing as your home base, then your other realities of consciousness are like the cities around Beijing—like Miyun, Shunyi, Daxing, Fangshan. You can think of different realities as different cities. Do not think of them as another world; just think of them as different cities within this one world.
When you leave your own metropolis, you pass through the suburbs—you first pass through those probable realities, then enter the countryside, and after a while you enter the probable suburbs of other realities, until you reach another metropolis. By analogy, suppose this space-time of yours is Beijing and another space-time is Shanghai. The realities surrounding Beijing are the suburban counties around Beijing, and around Shanghai there are also Shanghai's probable realities. When you go from one reality to another, you do not go directly; in between you pass through their suburbs.
Here each metropolis represents a grouping of consciousness, at one of the clearest focal points, where an overall general frequency operates, a high point of psychic communication, and is exquisitely focused within that kind of reality.
To put it simply, each reality has its own main frequency band, its own frequency. For example: Beijing might operate under a frequency of 2.5 GHz, and Shanghai might operate under 2.8 GHz. These two bandwidths are different. Within them there are also many sub-frequencies—under 2.4G there is 2.41378, and each small frequency may correspond to a probable reality, but it belongs to such a large frequency, a grouping of consciousness. A grouping of consciousness has one main frequency, and it represents a reality.
You can understand this main frequency as a kind of encryption system—its signal is very stable and strong, and other frequencies cannot interfere with it. There is also some crosstalk among the sub-frequencies under this frequency, but on the whole it is still very clear. When you want to understand Beijing, you can only tune your signal to Beijing's frequency. If you do not tune to it, you cannot receive it. For example, suppose you want to listen to Beijing's HitFM while you are in Shanghai. If you tune to Beijing's channel, can you receive it? No, because the distance is too great. But in consciousness there is no problem of distance. Consciousness is right there; if you find the frequency and tune it correctly, you can directly receive its signal. We can think of this frequency as a kind of shortwave radio station, capable of crossing thousands upon thousands of kilometers—many people who work with radios use this kind of shortwave radio, which can use ionospheric reflection to send radio waves to every part of the entire globe.
Conversely, you may perceive what seems like noise or meaningless static interference. If you have not adjusted your frequency, then all you can receive is noise, like the "hiss and crackle" of a radio or a screen full of snow on a television. Seth said he had experienced jigsaw-like images, or received things that were all jumbled together—many overlapping afterimages, many television programs' images overlapping one another. You may only grasp that there is some activity there, but you cannot pinpoint it precisely.
The Active Nature of Consciousness and Wandering in Dreams
All consciousness, including your own, is highly active.
When you focus your main attention on your world, certain portions of your consciousness will always slip away—remember, always slip away. When you place your primary focus of consciousness on the physical world, some of your consciousness slips off to do other things, because it is too active. When you sleep, your consciousness slips away even more. Once you are asleep, your primary consciousness is no longer needed, so the consciousness all runs off. Usually it is a kind of wandering—not cell phone roaming, just drifting around here and there, without aligning itself to any precise frequency.
So in many dreams that seem chaotic, there are often valid experiences. It is like a person at night holding a radio and tuning through channels, like a radio hobbyist, listening here for a while, listening to that channel for a while. There can be all kinds of programs and content in this, and some things may be useful to you, while others may not be.
In this process, your consciousness is exposed to another reality. When you go to tune in to someone else's station, your consciousness frequency adjusts to that station. When you tune in to the content of that reality, your consciousness is also exposed to that reality. Because your frequencies are the same, you can sense the other, and the other can also sense you—this is a very interesting matter. But you have not aligned to it with the necessary precision that would allow clear perception. You can be exposed within another reality, but you have no way to clearly align to that reality through perception, with accuracy.
So when your consciousness turns back to your own home base, that data cannot be filtered or effectively utilized, because you did not truly calibrate to it. And you had no necessity of perception, no specific purpose in understanding the content of that knowledge. You were just like a child running around with a radio, tuning randomly. When you ask a child, "You listened to the radio all night, what did you learn?" he probably cannot say much—he may have been very focused when he heard a certain thing, but the moment he turns around he forgets it, because he had no purpose, he did not know why he was listening to that, so he will not remember it.
And the dream images that get converted come through in this way. So it is very difficult to obtain any kind of clear picture from these other realities; they are all chaotic, blurry, and the memory is not so clear.
Certain specific focuses bring in different worlds, but unless your consciousness is aligned with great precision, you cannot perceive clearly.
Conversely, at most you will receive some ghost images—in English they are called ghost images, meaning unclear. Or you may receive some probabilities, or some data about you personally, or some official structures of events from primary realities that are not officially recognized—what you receive is not the most primary, not very clear, just some things related to you personally.
But basically consciousness is unfettered. So such realities always exist, and they will always be discovered by you. Within your own heart, within your own psyche, outside your own home base, these probable realities and those other realities always exist. And certain portions of your own consciousness are always involved in them, because your consciousness is always unfettered, running around everywhere. One could say there are leakages that exist in the form of unofficial perception, or seemingly inexplicable, impossible events often occur—this is all because a portion of your consciousness has gone into other realities.
The Psyche as a Supernatural Radio
Seth paused here for a moment, then said:
For now, think of your own psyche—a consciousized entity—as a kind of supernatural radio.
All the stations exist simultaneously within the psyche. These stations do not only broadcast sound, but also transmit the living equipment of all worlds. Think of your own psyche as a kind of supernatural radio; all realities are within your psyche. It is not an ordinary radio.
The you that you recognize is merely one signal within such a station. Remember his analogy—you are not the radio; you are one signal among the programs within the radio station. When you tune into a certain frequency, you experience the overall reality of that station from your own viewpoint. We humans tune into the materially oriented frequency, and then experience the overall reality of that station from such a viewpoint. Each station is a universe, a world. If you want to understand the overall reality of this station, your viewpoint is unique and one of a kind, yet it contributes to the life of the entire station.
But even the supernatural radio of your entire psyche includes countless such stations, and you are only one signal within one of them. This cosmic radio, however, contains innumerable such stations, all broadcasting simultaneously.
However, experiencing or hearing all these stations at the same time would be extremely confusing. So different portions of the psyche tune into different stations, focus upon them, and filter out the others for practical, immediate purposes.
These stations all operate within the same psyche, or supernatural radio—every person has such a radio within them, and every person has within them an inner world containing infinite universes. So the overall quality of the programs will have a great deal to do with the nature of the psyche itself. This station is in your heart, within your psyche, so the material of your psyche, the attributes of your psyche, the structure of your psyche, determine the quality of this station's programs.
The title of this session is "Planning Earth's Programming"—he uses the radio as an analogy, as if there were a station called "A Day on Earth." In the seventies, radios were fitted with wires and included transformers and transistors; the overall reception depended on the radio's circuitry and its inner workings, and those devices were separate from the stations they were used to receive. A radio is a radio; there is no relationship between the hardware inside the radio and the station programs your radio receives. Your psyche is that hardware, that is, your consciousness; it is a device capable of receiving programs, not the program itself. We humans have such a consciousness, capable of tuning into the various programs of the cosmic stations, yet right now we are tuned into only one channel called "Earth," listening only to this one channel, and we choose to block out the other channels. But this radio of yours does have the ability to tune into many channels.
In the same way, the supernatural psyche is also separate from the stations of consciousness it contains. Within our psyche there is a station containing consciousness, but this station of consciousness is not the psyche itself. What he wants to say is this: our psyche, our consciousness, and the reality that our consciousness perceives have no relationship to one another; they are separate.
In this case, the psyche itself indeed manufactured the radio, and it is constantly adding new connections, adding new stations—your psyche built a radio, and then within this radio new stations are continually being added, that is, it is able to receive content from different realities. But you must understand that the programs within this station, a consciousness within your psyche, and the things that consciousness feels—the reality it feels—are not equivalent to one another.
The Willie Jones Analogy: Interactions Between Realities
Seth uses another analogy here. He says, suppose you have a radio, and you can use it to clearly receive a dozen stations. First imagine that in the daily programming, there are three soap operas, four news programs, several excellent dramas, some operas, some popular music, several religious sermons, and some sports programs. Each of these has its own advertisements or messages, which may or may not have any relevance to the program being broadcast.
First of all, while you are going about your own business, it is almost impossible to efficiently sample all of these programs at the same time. You can listen to one, but you cannot listen to all of them simultaneously. Furthermore, to complicate matters, these programs do not only involve sound; each one also has its own dimensional reality -- it is a three-dimensional, living, solid world. In addition, there are also interactions among the programs; they influence one another.
He gives an example. Say there is a person named "Willie Jones," who is a character in one of the soap operas. This Willie is acting out his own drama -- say he runs a grocery store in a hospital in Iowa, he has a mistress he cannot afford to keep, and a wife he has to support. Seth himself finds this amusing, and he starts making up the story.
This poor besieged man is also aware of all the programs being carried on by the other stations -- this man with the mistress he cannot afford and the wife he must support is aware that other stations are broadcasting other programs. And all the other characters are also aware of our grocery store owner.
Among the assorted programs throughout the day, there is a constant creative interaction. For example, when our Willie dramatically pleads to his mistress, "I'm afraid my wife will find out about us," the symphony playing on another station might suddenly become farcical -- abruptly chaotic, agitated, restless; and a football hero in the sports program might drop a pass.
Yet each character has their own free will. For instance, the football player unconsciously picks up the grocery store owner's problem, perhaps takes it as a challenge and says, "The ball -- I will not drop that ball." And the crowd begins to cheer. And our grocery store owner, in his soap opera, might smile and say, "But everything will work out in the end."
In other words, inwardly, there is constant interaction among all the stations, with wonderful, truly infinite creativity. In your terms, all the performances on one station affect all the other performances on all the other stations. What Seth wants to say is this: what happens in one reality has an effect on another reality.
He reminds Jane to ask about something from Session 710, which Seth had promised to explain soon -- the rumbling sound Jane heard in her sleep last Saturday. He says, still using the same analogy -- one night, when our Willie the store owner was sleeping, he might suddenly hear in his head an entire passage of the symphony, or conversely, he might suddenly catch a glimpse of the football player; or, on the other hand, a musician in the symphony might suddenly find himself thinking "how troublesome it would be to have a lover and a wife at the same time."
From the perceiver's standpoint, these would be unofficial -- they have nothing to do with his life, no connection at all. Yet they can serve as an important clue to the nature of reality. If you are perceptive enough, you can discover the inner connections among them.
The separate programs exist simultaneously, each with its own schedule. And from your reality, you cannot receive them all at once. To you, it seems as though you are outside the psyche, so you assume there is someone like yourself, in an external position, tuning this radio. From your perspective, you feel as though this radio is being operated by an outsider, as though there is someone outside you adjusting this psychic radio -- but in fact there is not; it is all you yourself doing the tuning.
For example, if you do not change the station, you cannot receive both the grocery store owner's drama and the symphony. If both are broadcast at eight o'clock in the evening, you will have to choose which program you want to watch -- whether to choose the symphony or the soap opera.
Of course, we can easily expand this analogy -- we can go from a radio to a television set. In this example, the projections on the screen would be fully multidimensional.
Multidimensional Television: A Metaphor After Ascending Dimensions
Seth asks us to take a radio and raise it by one dimension, turning it from something auditory into something visual. He asks us to imagine that the picture on this television is not flat, but completely multidimensional, multi-layered. What does completely multidimensional mean? It is not three-dimensional and solid; it is four-dimensional or five-dimensional. The biggest difference is this: the people in that television program can walk into your life, and you can walk into theirs.
This upgraded higher-dimensional television has one special feature: every family is watching the characters in this drama, and the characters in the drama can watch the members of every family. The characters in this drama can interact with every viewer in every living room. Once the viewers interact with the people in the program, the program itself changes too — although the station broadcasts one single program, by the time each viewer sees it, it has already completely changed, and every program is different.
It does not stop there. The people on the screen also understand you as the viewer. For example, they can understand your relationship with other viewers in the same city. Because they are all in the same drama, their backstage is connected. He can look at the wife in Zhang San's house, and then in another living room the Li Si family is watching the same program, and then there is a woman in this drama who is very gossipy — we often see middle-aged women who are very gossipy — and she can not only see these people, she can understand these people. The most amazing thing is that she also knows what the Li Si family is thinking, and she can discover that Li Si and Zhang San's wife are actually having an affair.
Imagine this kind of higher-dimensional television, one that crosses time and space. Zhang San sits in his own living room watching such a drama, and he keeps feeling that the lines spoken by that woman in the drama seem to be making veiled accusations — always telling her to eat more spinach, always telling her to wear green clothes, to wear a green hat — he keeps feeling something strange: why is it always aimed at me? Zhang San is puzzled. Zhang San's wife is terrified: "Oh my God, why does this television keep hinting at this kind of information?" While she watches Zhang San's expression slowly darken, she secretly fumes — "What kind of television is this? Let's change the channel." Zhang San says: "No changing the channel, I'm watching the game." This is just my own dramatization of the effect of this multidimensional television.
Behind the screen of this television, there are not only performers — and in all the programs, the performers know one another, and the characters they play also know one another. The key point is that everyone watching the programs, from time to time, slips into one another's dramas. If you were to film the scene of Zhang San watching television as another drama, can you imagine what the result would be? Just the scene I described — suppose another drama director says, "I'll take your scene and make another drama out of it" — good heavens, you can imagine what kind of nested relationship lies behind this. This is what he means by "from time to time slips into one another's dramas."
And on those levels beyond the viewers' understanding, on those levels that we as viewers of television programs cannot understand, all dramas and programs are related. At their foundation, they may all come from one group of scriptwriters. No matter how this group of scriptwriters writes, no matter what different programs and different dramas they create, they are all internally connected — so in different dramas you may see many characters who are very similar. For example, in our war dramas we often see people tearing Japanese soldiers apart with their bare hands, in fantasy dramas we see time travel, in urban romance dramas every single one features a domineering CEO — either a domineering female CEO falling in love with a poor nobody, or a domineering male CEO falling in love with a Cinderella. Why? Because their scriptwriters are all the same team, so there are many similarities.
Furthermore, because your state of consciousness is one particular state, you always feel that you are outside these programs. You always feel that you are watching other people, and you think the drama is about other people. When you tune the frequency of your consciousness to these programs, if at the same time there is more than one performance you prefer, then you have to make a choice — because at any one time you can only tune to one frequency.
But from a broader perspective, you are part of this television. Why? Did we not just say it? The programs on the television all interact with the viewers, and you have already become a character in the television program. And on another level, someone sees you as a character in a living room turning on a television — just in the example I gave, if a director filmed the scene I just described as another drama, in that drama Zhang San happens to turn on a television, and on the television happens to be playing the program I just described — in that program, Zhang San is the character who turns on the television.
Generally speaking, you think you are watching television, and that the television has nothing to do with you, and the program has nothing to do with you either. But he says that on a higher level, you are also a member of this television program. Do not think that watching other people's programs has nothing to do with you — in fact it may have something to do with you, and you are also a character in it, only you do not realize it.
The psyche — the private psyche — innately contains all such programs and realities.
Your psyche contains all these programs, all these worlds. But in certain parts it chooses to adopt different focuses, so as to bring them into those layers more clearly. You have all the programs, all the program listings, all the television stations, but you only choose to listen to or watch one of them, and you are not interested in the others.
To some extent, all other station signals are forever in the background of any given program.
The signal of any one television station exists against the background of all the other signals. Any one world is a background for other worlds, and any one reality is a seedbed of possibility from which other realities leap forth. And by temporarily changing the direction of your attention, you can learn how to bring other stations into focus — because they are all in our background, we simply have not chosen them, we are focused on our present program, but those other programs are all there in the background.
Psychically and psychologically, those stations you do not focus upon form the structure of the psyche as you understand it.
Whether psychically or psychologically, those stations you have not watched form the structure of the psyche as you understand it — they are the main body of your psychic structure. You think that the station you are watching, the station you are listening to, emerges from those stations and programs you have not listened to or watched. Without those television programs as the foundation, without those friendly cameo appearances, without those people who are both viewers and actors making cameo appearances scene by scene in other television programs, you would not have the life you have now, so vivid and lifelike. You simply have not discovered it.
Your worldly experience leaps into focus from it.
The experience of our daily life leaps forth from those programs you have not focused on.
Studying yourself and the nature of your own consciousness will automatically give you some understanding of the unknown reality.
The unknown reality is made up of those parts of your own psyche that have been blocked out — the so-called unknown is what has been blocked out by your psyche — and of the corresponding experiential structures they form. What you call experience is all composed of those unknown realities. Although they are blocked out by your psyche, although your frequency is not tuned to them, although you cannot see those programs performing behind the scenes and you cannot hear what they are performing, they are indeed the structure behind the program you are now listening to.
For the sake of analogy, you can imagine your normal consciousness as your connection to your home earth — our ordinary waking consciousness is the consciousness that maintains contact with this earth, and it is always tuned to one channel. That channel is always playing a program called "A Day on Earth," and you are always watching this program.
When you project your consciousness away from it, then you will encounter various different atmospheric conditions. Once you understand what these are, and what effects you can predict, such journeys can be consciously undertaken. What are atmospheric conditions? Just like the viewpoint in his previous session — you can regard those probable worlds, those probable things, or the parts projected by your psyche, as a kind of atmospheric condition, a kind of climatic state. Once you can understand what these are — these are your psychological projections — you can anticipate what reactions there will be, and what reactions you can expect. At that point this journey can be consciously undertaken.
When you focus on this drama, and then when you project your consciousness onto it, you will discover that you can predict the plot. When you have this ability, you will discover that these journeys can be consciously undertaken — that is, the drama can be performed by you from behind the scenes. At that point you will understand that you are not outside this drama; you are inside it.
Using the conscious mind as you know it as the astronaut, for example, and other portions of your consciousness as the spacecraft, such travel leads into quite legitimate realities.
Seth says, suppose you use your conscious mind to play the role of an astronaut, and use other parts of your consciousness to play the spacecraft, then you can carry out the exercise. But just as an astronaut must understand the best landing conditions, so you must learn how to enter at the most favorable time and under the best conditions. An astronaut coming from outer space into the earth must know at what time, at what proper angle, and at what speed to enter — if it is too fast or too slow, if the time and angle are wrong, it will burn up in the atmosphere, and the spacecraft will also be destroyed. So when you want to enter other realities to explore them, you must also grasp the timing and grasp the conditions, and only then can you enter that program.
Such travel takes you through the nature of the psyche itself, and also to other realities that are the result of the psyche's concentration upon that particular frequency.
This travel itself will take you through the nature of the psyche — if you do not pass through the nature of the psyche, how can you begin this journey? At the same time, it will also take you to the result produced when your psyche tunes to a particular frequency and brings forth the reality of that particular frequency.
Projecting your consciousness outside of your body, then, provides at once an inner exploration of consciousness itself, and experience with its concrete materialization.
Projecting your consciousness outside your body, and then letting your consciousness separate from your body — this process itself provides an inner exploration of consciousness itself. When consciousness leaves your body, you understand what the essence of consciousness really is.
There would then be inner lands of the mind, and other worlds of your own, equally valid.
Just as your mind has an inner world — he uses the word "lands" to describe it as a materialized state, only it is inner. You have a world of your own, and there are other worlds as well. But they are closely connected with the mental states that are materialized along with them — when you travel within consciousness, your mental state determines what you can explore.
You have an inner world, which is your original self, your source, your psychic home base. Setting out from this old home of the psyche, you can explore other unknown realities, and those unknown realities are other worlds. When you explore them, how do they concretely materialize? It is connected with your mental state. In other words, different mental states will take you to different reality worlds — whatever frequency your mental state is on, it takes you to the reality world of the corresponding frequency.
And therefore, your own thought processes are very much involved. Your every arising thought, your every idea, will take you into different reality worlds, and it switches you in very quickly, instantly, immediately.
Seth and Ruburt: Communication Between Stations
Seth rested here for a moment, then continued: First of all, I have always spoken of the psyche as if it were a finished thing, with definite boundaries. But in fact each person's psyche is forever creative, always creative, always expansive, and truly has no beginning and no end. Your own experience draws the boundaries that seem to you to define yourself.
In a manner of speaking, I am a personality, and also a program or a station.
Seth shifted to another angle for his analogy: from one perspective, he is a personality, and also a program or a station, while Ruburt is another program and another personality. They learned to perceive each other -- see Appendix Eighteen. This Appendix Eighteen is especially long, probably dozens of pages. What it covers is how Ruburt and Seth came together and how this material came to be transmitted. Rob put together an overall summary, from when they first met and first made contact, all the way up to the state of things at the time this book was being written -- a span of about eleven or twelve years, which Rob summarized. Because it is too long, two or three times longer than the main text itself, it would be impossible to go through it all, so everyone can go and read it on their own.
Communicating between stations, influencing each other's programs, and changing each other's worlds.
Ruburt is a station, and Seth is also a station; the two of them communicated between stations, influencing each other's programs and changing each other's worlds. For example, right now I am inviting Teacher Xiyu to interpret this material, and Teacher Xiyu has his own channel, Helen has her own channel, and I have my own channel -- so this one interpretation links three channels together. Another example: after New Year's this year, around the Spring Festival, I did a joint broadcast with Little Flying Insect, and that connected Little Flying Insect and me, two different stations, together.
Seth said that, for instance, he is not only speaking to Ruburt and Joseph; he is a station -- his words reach the world as you know it. Although in that room, during the process of transmission, he was speaking to those two people, he was speaking to your entire world.
Still within your framework, Ruburt tuned in to another station, transferred it, and broadcast that material.
In order to do this, Ruburt had to alter his own consciousness, temporarily stepping down from the official station. Ruburt has his own official station -- the Ruburt station writes poetry, novels, and so on -- but if he wanted to receive the Seth material, he had to first stop his own official station, tune his frequency to Seth's station, and then rebroadcast it through his own station.
Why couldn't Seth broadcast it himself? Seth originally had a station of his own called the "Seth station," but ordinary people like us cannot hear the Seth station; only Ruburt could hear it. So Ruburt tuned his own channel to that Seth station, and then broadcast the sound through Ruburt's channel -- it is as if Seth came on as a guest for a program interview on Ruburt's station, with Ruburt acting as the host, responsible for transmitting Seth's voice. You could understand it that way: the two of them co-hosted the program.
When he did this, it meant tuning in to other portions of the psyche, to another kind of reality.
Nevertheless, the final transfer of my material had to come through his body, for otherwise the material would have been meaningless to you.
If it had not come through Ruburt's body, through Ruburt's station, we would not have been able to receive the Seth material. Even if Seth broadcast day after day, month after month, year after year on his own station, we still could not receive it; all we would hear would be static and noise. Only Ruburt could tune in to his frequency, and once tuned in, he realized -- oh, he is speaking, and what he is saying is so good, better write it down quickly -- and Rob sat beside him, responsible for taking notes.
Through Ruburt, I became aware of the nature and conditions of your world, and from my viewpoint offered comments meant to help you.
Seth said that only through Ruburt could he perceive the conditions of your world, and then through his comments on the world he helped you. This sentence is very interesting -- did you catch the meaning in what he said? Is he not like the example he gave earlier, the actor in that television program, connected with his audience? The audience also became a character in his program.
Then through Ruburt, I was allowed to see the earth again, in your terms.
He exists apart from it, just as it exists apart from me -- it is the same thing. He has an independent existence apart from Ruburt, just as Ruburt, apart from him, can also exist independently; it is the same principle. We each have our own independent realities, but in the process of transmission the two of us came together.
Yet together we are both part of the same entity.
We are both part of one entity. Put that way, the concept of the psyche has already been raised to a higher dimension. What is meant here is not only that the two of them are the same entity; it means that the two of them are part of the same All That Is.
Saturday Night's Voice
Seth said that on Saturday night -- the very thing Jane mentioned at the beginning of this session, when she said she heard Seth's voice while dreaming -- Seth promised to give her an explanation. He explained that on Saturday night, while he was lying in bed, Ruburt had a rather surprising experience.
He was not dreaming -- remember, he was not dreaming, but his body was asleep. This sentence itself is an interesting point: the body was asleep, but not dreaming, yet his consciousness was wandering. He clearly heard my voice, because his consciousness was wandering and not off dreaming.
He seemed to come from out of the blue, from the room next to the room where he slept, and for a moment the power of that voice frightened him, because it sounded like a radio turned up to an incredible degree, louder than thunder.
At the time the words were clear and distinguishable, although he later forgot what was said. But for a moment, he almost took that power for anger -- Jane also said he almost felt Seth was arguing with someone, was angry. Because in your universe, when someone is shouting, he is usually angry. Understood through our three-dimensional world, when a person shouts loudly, he is indeed angry. But Seth said no, it was just that the volume was loud.
But Seth found something else was involved as well -- he did not feel Seth's presence, but only heard that thunderous voice. The voice startled him, because he was accustomed to hearing Seth's words from inside his own head. And he had never before perceived Seth's voice as existing apart from him -- he had always felt Seth's voice was inside his own head, not coming from anything external, which was also what confused him at first.
In dreams, he had heard Seth give him material. But in those instances, he was still the medium through which my voice came -- in dreams it was also Jane speaking for Seth, rather than hearing Seth's voice in the dream. He often wondered about the nature of Seth's own independence, and about the reality in which Seth existed. Jane often wondered whether Seth existed independently, and why he could only appear in my head -- why he could not manifest in some external way, so she could confirm this was not something in her own mind.
At that time he also knew that although the voice was truly thunderous, no one else would hear it. Yet although the voice came from outside himself, he did indeed seem to hear it with his physical ears -- he still heard it as if with his physical ears, but he also knew others could not hear it. It was indeed his inner voice, but it did not seem like the voice in his head; it was like hearing it with his ears.
At this point Rob quickly interjected: "Can you tell us what the voice said?" He very much wanted to know what Seth had shouted that night. Then Seth said, "Don't interrupt, let me continue" -- Seth whispered, "Let me continue, don't interrupt."
When I speak, Ruburt plays the role of receiver, because I must make certain adjustments so that my message can come through, involving, among other things, his nervous system and physical apparatus.
Seth said that to transmit this information to Jane, it had to be such that others could not hear it and could not be affected by it, so among other things, it was effective only on Ruburt's nervous system and physical apparatus. So Ruburt heard it as if with his ears, unlike the usual way he received Seth material, which came as information in his brain -- these are two completely different sensations.
So that night, through what I call the inner voice, Ruburt would become familiar with the power at my command.
Seth wanted Ruburt to understand that there was still great power behind him -- not just that he could only speak to you through your brain, but that he could even let you hear him externally. So he let him understand that he indeed basically came from beyond what he understood, from outside his personality. Such an experience allowed Ruburt to be certain that Seth truly came from outside his own personality, not a split-off of his personality, not a fantasy of his own -- that there really was such a being as Seth. Because the voice was heard with the ears, it gave him that feeling.
And in regular sessions like this one, he and I once again both made an adjustment -- that other way would not work.
He switched to another method, not the way Jane transmitted in dreams. Therefore, in the sessions, I am what I call a bridge personality -- in the process of my transmitting the Seth material, in the process of Ruburt speaking for me.
I am not myself. I am this bridge personality. I am a composite between myself and Jane's combined self, a bridge personality.
There is a combined self: Ruburt and I meet and blend, forming a personality that is neither of us, yet exists between these dimensions as a new personality. And beyond that is my true identity.
That is to say, when Seth and Ruburt come together to transmit the material, the two form a new personality in that moment -- neither Ruburt himself, nor Seth's original personality, but a blended personality. Because Seth must transmit through Ruburt, the Seth who speaks in that moment is actually a "bridge Seth" or a "blended Seth," not the true Seth entity. Only beyond that bridge is the real Seth identity.
This is precisely why Jane could not catch Seth's material in her sleep -- the voice was as loud as thunder, yet the moment Jane woke up she could not remember anything. That is to say, when Seth transmits directly with his original personality, with his inherent power, Jane cannot receive it -- just like everyone dreaming: what is heard in a dream is gone upon waking. So Seth chose such a clever method.
Ruburt is very skilled with the inner voice -- very good at directly interpreting the voice in his head. Therefore I used that method, rather than an image, to make my existence known to him.
The reason Seth did not appear in visible form, but transmitted through the inner voice, is precisely because Jane is skilled at interpreting the inner voice. This is the method he chose.
Ruburt originally called upon me at an unconscious level.
Ruburt himself did not know it, but the entire transmission of the Seth material originally stemmed from his unconscious call. He simply wanted to know the truth of this world -- he was troubled by the earth's programming. He did not understand what kind of plan the earth operated by, he wanted to know, and he felt he needed outside help.
That intent established certain signals that reached other realities, like radio signals -- and I answered.
Seth answered, but Ruburt did not remember.
When Ruburt heard me, I was not speaking to Ruburt alone -- I was speaking generally to the whole world.
That voice was not only heard by Jane alone; it was addressed to the whole world. Although only Jane heard it, the message was also broadcast out -- received through other programs, in other people's dreams. But that was "transference" rather than "guidance"; what others heard in their dreams might not even be Seth's voice, but perhaps a thunderous voice saying something.
In real terms, the information given that night will still come through in these books.
Seth did not explain what exactly was said that night. He said once, "End of dictation," but then continued speaking -- because it was not actually over. Jane paused, partially coming out of trance, and Seth went on.
In your local programs, you have a group of familiar actors, who at different times, in your terms, play different roles.
Seth made another analogy: on the local station, there is a group of actors you are familiar with -- relatives, friends, neighbors -- performing daily family sitcoms on this station.
These characters often represent intense idealizations living in the private and mass psyche.
Everyone is manifesting their own world. What involves personal matters is the projection of your own intense idealization; what involves collective matters necessarily requires collective agreement, a collective shared image, for the world to manifest. Seth said:
Let me give you a short example, which will also let you know how well I have learned your culture.
So he brought up three famous television detectives -- Seth even watches television. He said these three detectives, each in their own way, are heroes, representing punishing evil and promoting good, upholding justice.
These characters exist more vividly in the minds of the television audience than in the minds of the actors who play them.
Why? Because the actors know they are separate from the roles they play, while the audience, when watching, completely forgets the actors and identifies only with the characters. The audience may even dream of those characters -- many people dream of television characters.
Those characters have their own kind of super-life.
The characters were originally fictional, having life only within the plot, no life beyond the plot; but this "super-life" transcends the boundaries of the plot itself, and can live in the audience's dreams and hearts. Because:
They so clearly represent certain living aspects within each psyche.
Each detective represents the ideal of "eliminating evil and promoting good" within our hearts -- we all want to do this. But this aspect was originally abstract; the characters in the TV series concretize and personify this ideal, giving it a face, behavior, and language, as if it had a life -- this is the "super-life."
In your terms, through the ages there have been many different personalities with which mankind has identified. Some had physical bodies, some did not.
Among these personalities that humanity identifies with, some have physical bodies like us, and some do not. Seth said:
Christ was one of them.
For example, the detective is one kind of personality we identify with, and Christ is another. Seth said that in certain respects, Christ is the most ideal detective -- in different realms and different eras, he saves the good and protects the world from harm.
Man has also projected outward certain concepts of demons -- and for much the same reasons.
We project good people, and we also project demons. The villains in films and TV shows are projections of the demon concepts in our hearts. Between saints and demons there are also many characters who are neither good nor bad, all vividly presented in the various parts of the psyche.
These characters become part of a new inner literature.
Suppose a resident of another reality saw one of those three detective programs, realized that people were watching it, and pretended to want to add more depth to those programs --
He might then himself appear in the guise of that heroic detective, but with an expanded portrayal of those traits, giving the program more scope. So, often when a personality from another station wants to help change the program, he will appear in the form of a personality already known in fact or fiction.
That is to say, when an extraterrestrial discovers that humans are fascinated by this detective character, and wants to help humans deepen their understanding of this character, he will appear in our physical world, in real life, modeled on that character. You will exclaim, "Wow, there really is such a person!" All personalities from other realities -- Christ, the Buddha, the saints -- appear in this way: in the form of the idealized figures that we humans have projected from our hearts.
Actually, hidden in this analogy is Seth's self-explanation. He said:
But you must understand that the personality is greater than the factual or the fictional one.
They help humanity in two ways: one is to appear in reality -- the Buddha, Laozi, Western scientists and philosophers; the other is not to appear in reality, but only in fictional novels, which can inspire us just the same. In this way, when you watch Superman or the Terminator -- coming back from the future to save humanity -- can you understand it in a different way: it seems that there really are beings in certain times and spaces who want to help the earth's humanity, and then appear before us in the form of such science-fiction characters. Thinking this way, the movies become much more interesting.
He is independent on his own level, yet he is also part of the private and mass psyche as it is thus presented.
That greater being is independent in its own real space; but on our earth, it presents itself as part of our personal and collective psychic idealization. This is Seth's explanation of his own situation --
If we follow this line of reasoning, I say, I am Seth.
Seth is an ideal in your hearts: you wished for a wise one, a sage who could patiently and methodically tell you the truth of the world, and so I came. I transmit the material through my union with Jane; but in my own reality, there is a greater personality. And in your reality, I am that idealized part within your hearts.
There are many myths connected with my name. They all represent portions of the psyche as understood in various eras of human history. Those portions were originally projected outward when the psyche first began to understand itself, personifying its abilities and characteristics -- forming one kind or another of superhero personality.
Many different gods in ancient mythology were all called Seth; those were the projections of the psyche's idealization in that era -- personifying the psyche's projected abilities and characteristics into gods. Only in this way could the human psyche establish a connection with it and gain power. Today's era is different: humanity no longer needs gods; what we need is to understand the truth of this world. So Seth changed his identity and appeared -- no longer as a god, but as a higher-dimensional energy-consciousness personality transmitting material. In ancient times, such a person would have been a channeler of gods, and Seth would have been that god.
Jane's Notes After Waking
When we had breakfast a few hours later, Jane told me she had stayed awake that night and slept poorly, thinking about many ideas related to the unknown reality. She wrote down the parts she could remember, though with some distortion — after all, the insights had come to her in that state between waking and sleeping.
The visions you see in your mind before sleep, the phantasms of the half-sleeping state, and the substitutes you see at other times — that is, if you opened your eyes, you could concretely see those images, rather than the ordinary vision you know is there — the inner visual system visualizes physical vision, and arranges the outer data into corresponding images of that kind.
This passage was addressed to Jane, but it applies to everyone: the visions seen in the half-sleeping state — even with eyes open one can see certain images, some like semi-transparent photographs, some lasting for days, some for minutes, some for seconds. This is your inner visual system projecting inner images onto the outer field of vision, much like today's augmented reality (AR), blending outer vision and inner vision together.
Every vision is surrounded by its probabilities — but this is obviously relative.
"Relative" means: each probability, relative to someone else, means other probabilities are also possible.
Our experience of the present is enriched by your memory of your perception of the past.
For example, when you eat something delicious, you call up all the delicious sensations associated with it — you not only taste the present flavor, but also taste the associated memories. In certain systems it works in reverse:
In some systems, it runs in reverse. The inhabitants perceive the future as we perceive the past, while on the other hand, their memory of the past fades almost immediately.
In some space-times, time flows backward: we clearly remember the past, while they clearly know the future; we know nothing of the future, and they know nothing of what has happened in the past. There is an American TV series called FlashForward, about a European ion collider that produced faster-than-light particles, causing time around the world to stop for 2 minutes and 17 seconds, while simultaneously letting everyone see scenes from their own future six months ahead — if you want to feel what it would be like for people to know the future, you can watch that show.
I again received material about Atlantis, only to forget it immediately. I had intended to tell Rob about it this morning.
There is much that could be said about Atlantis, but I will not go into it here — less than two weeks ago in Session 708, Jane already transmitted some related material, which can be seen in Note 14; later, around Session 742, Atlantis will be discussed specifically. In Note 11 of Session 702, Seth briefly discussed space travel into another probability.
On the Mythological Background of the Name Seth
Set, or Seth, was an evil god of Egypt, with the head of an animal. Its complex origins are thought to reach back into antiquity, to at least 7500 B.C.
In Judaic teachings, Seth was the third son of Adam and Eve, after Cain and Abel, mentioned in the fourth and fifth chapters of Genesis3. A reader wrote to tell us that Seth is also a Hebrew name meaning "appointed"4 — that is, the so-called "chosen one." In Spanish it carries the same meaning. However, some very early sacrificial genealogies omitted Cain and Abel, making Seth the eldest son of Adam. For example, the Sethians5 of the second century A.D. — a little-known Gnostic sect — held that Seth, the son of Adam, should be the Messiah. Seth also appears in the ancient mystical religious philosophy of the Kabbalah, where his soul was believed to have been infused into Moses6, and that he would appear again as the Messiah to save humanity once more.
Jane and Rob had never concerned themselves with any connection between the name Seth and the ancient Seths — before Seth brought it up this time, they had never imagined there was so much background behind the name. They did not believe such a relationship existed beyond some technical level of any specific individual. Although they had thought that one day they might ask Seth to comment on it himself. They had originally assumed that the name Seth came about out of practical necessity: in Chapter One of The Seth Material, in Session 4 of October 28, 19637, Jane relayed Seth's words:
You may choose whatever name you like. I call myself Seth — it suits my nature better.
By that time reincarnation had already been mentioned in Session 2, but the concept meant little to them, so they hardly considered that so many names might be involved. Seth gave this name, and that was how they began to address him. Neither Jane nor Rob had any conscious knowledge of the sources and usages connecting this name to Egypt, Hebrew, or even Christianity.
I have also placed below the content of Seth's answer to a student's question in the ESP class on April 17, 19738:
I ask you, what is your name? ... I say, my name is nameless. I have no name. I gave you the name "Seth" because it is a name, and you need names. You give yourselves names because you believe they are important. Your existence is nameless — not mute, but nameless. The names you adopt are constructs upon which you hang your images. What you are cannot be spoken, and no word or letter can encompass it. Yet now you need letters, words, names, and objects. You want to be told what magic is — you believe that unless I have a name, you cannot talk with me. So I am Seth.
From the earliest sessions, he had told Ruburt:
He may call me Seth. But I never said my name is Seth — rather, I said "I call myself Seth."
There is an essential difference here: because I am nameless. I have had too many identities to cling to one name. Existence itself has no name, but since you insist on names, then very well, call me Seth. So in today's session, what Seth wanted to point out is this: his name Seth does have origins — in different eras, it represented an ideal, a calling, in the hearts of people of those times. It was so in ancient times, and it is so today.
About the Appendices
After Session 711 there are three appendices, and there is so much content that I cannot go through them one by one. From Session 805 all the way to Session 902 -- a full hundred pages or so -- all of it is the appendix to this session.
Appendix 16 discusses how the ESP class talked about jointly constructing a city in a nonphysical, unknown world -- each person, within their own inner world, jointly constructing a city. This is quite interesting, and you might as well try thinking about it and giving it a try yourself.
Appendix 17 specifically discusses brain waves, talking from a scientific viewpoint about the four types of brain waves: alpha waves, beta waves, theta waves, and delta waves. Let me simply state one conclusion: from the human perspective, these four types of brain waves do each have their own functions and significance; but the most remarkable thing about human beings is that these four types of brain waves, in the gaps between thoughts that you are not aware of, exist simultaneously -- it is just that we can only observe a part of them, and there is still much that cannot be observed. For the specifics of how it is discussed, you can go look at this session.
Appendix 18 has the most content, taking up roughly eighty pages. It discusses Seth's own reality, his past, present, and future relationships with Jane and Rob, and the inner mechanisms of these sessions. If you want to understand the relationships among these three people, this session is a very good summary.
Why was this appendix placed here? Because the final passage talked about the relationship between Seth's name and myth, and then Seth once again emphasized "I am Seth," so from that angle it was all sorted through once more. Personally, I feel that this appendix is a bit too much, and it has a slight sense of overshadowing the main theme, already affecting the main thread. What this book really wants to discuss is: how to explore unknown reality, what knowledge should be prepared before exploring, what techniques there should be in the process and what matters need attention, how to turn unknown reality into known reality, how to use it to act upon our present life, and how to view the interconnections and influences among them -- that is the theme of this book.
Appendix: Helen and Teacher Xiyu's Reading
注释与核实
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Source: Jane Roberts, The "Unknown" Reality: Volume Two (https://www.nowdictation.com/q/book%3Aur2%2Bsession%3A711%2Bappendix/) ↩
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Source: Jane Roberts, The "Unknown" Reality, Volume Two (https://nowdictation.com/q/book%3Aur2%2Bsession%3A711%2Benjoyment/) ↩
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This claim could not be verified. ↩
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Source: NET Bible, Genesis 4:25 (https://classic.net.bible.org/passage.php?passage=Gen+4%3A25) ↩
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Source: Michael A. Williams, Sethianism, 2005 (https://gnosis.study/library/%D0%93%D0%BD%D0%BE%D0%B7%D0%B8%D1%81/%2B%20%D0%9D%D0%B5%20%D1%82%D0%BE%D0%BB%D1%8C%D0%BA%D0%BE%20%D0%BE%20%D0%B3%D0%BD%D0%BE%D0%B7%D0%B8%D1%81%D0%B5/ENG/A%20Companion%20to%20Second-Century%20Christian%20%E2%80%98Herecics%E2%80%99.pdf) ↩
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Source: Isaac Luria, Sha'ar HaGilgulim: Chapter 34, Section 1 (https://www.chabad.org/kabbalah/article_cdo/aid/1653265/jewish/Moses-our-Teacher-341.htm) ↩
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This claim could not be verified. ↩
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Source: Seth Center, Seth Audio #02 – Seth Session & Transcript (https://sethcenter.com/products/seth-mp3-2-digital-download-seth-session-transcript/) ↩