604th Session January 12, 1972 9:19 p.m. Wednesday
(Notes on an abortive projection attempt; I
lay down for a nap after supper on Friday evening, Jan 14. I used
the bedroom in apartment four. We had been working long hours
on our own, and I had been putting in overtime at Artistic, so
I was quite tired. I dozed for a few moments upon laying down,
then came awake to find myself with the unmistakable feeling of
floating halfway to the ceiling of the bedroom.)
(The sensation was quite definite, and quiet
strange. For I still felt my body against the bed - I lay face
up, covered by a blanket - as though my body was pasted to the
bed. In other words, I floated in the air, bed and all, quite
pleasantly. There was no fear or panic. Instead I hoped to continue
the experience into something greater.)
(Shortly after I became aware, Jane began to
do the dishes. The geography of our kitchen in apartment four
is such that noise can evidently seep through a closet wall in
the bedroom and so is quite easily heard. Jane made noise handling
the dishes, I heard the water run, etc. In addition she turned
on her radio. Even though she kept it on low volume, I heard it.
I told myself these things would not distract me. I lay without
moving a muscle, trying to encourage further developments without
straining. The floating free sensation continued but I wasn't
able to develop it further.)
(I nearly always use suggestions re projection
when I lay down. I believe my tiredness tonight helped the state.
Now I sent Jane messages that she would leave me undistracted,
but nothing developed. The feeling lasted for well over a minute,
I would estimate; finally it began to diminish or fade out, and
I fell asleep again. Upon writing this, I now recall that immediately
upon laying down I drifted into a rather complete, if brief, dreaming
state - but I cannot recall the dream. But I went form the dream
into the projection.)
(Peculiarly, I had no feeling of being detached
from my physical body - that is, I didn't feel I was bodiless,
hovering above it; I had taken the bed up with me, you see. I
felt the bed and I were several feet above the floor. I wanted
to try turning over astrally, and I wanted to try reaching up
toward the ceiling astrally, to see if I could touch it. I didn't
move at all, though, because of the noise form the kitchen. I
managed to hold the state while considering the kitchen interference,
but was concerned lest any attempt at movement on my part would
break the spell entirely.)
(The session this evening, Wednesday, developed
rather spontaneously out of several factors that combined almost
effortlessly. The recent Sumari developments involving both of
us played a part. So did my studying of photos of Baalbek, the
first century AD Roman ruins in Lebanon. The enormity of the stones
in these buildings left me amazed; I didn't see how blocks weighing
1200 tons could be moved without machinery, let alone fitted into
place over twenty feet up on foundations, etc. The pictures were
truly awe-inspiring. I came across them in one of the books on
ancient history that Shirley Bickford, one of Jane's students,
brought for us to consult on the very ancient civilization, Sumeria,
in Mesopotamia, from 4000 to 2000 BC, I believe without consulting
(Jane and I hadn't believed there was any connection
between Jane's Sumarian development, and Sumer, since the Sumari,
as explained in recent sessions, had never been physical in our
terms. Tonight's session went into this, to our surprise.)
(Shortly after supper this evening, Tom Milligan,
a former student of Jane's brought us a copy of Saga Magazine
for Dec. 71. It contained an article by our friend Otto Binder,
entitled "UFO's Own Earth and All Mankind!" This article
touched upon many ideas we are interested in, and quoted astrophysicist
Fred Hoyle, among others, re the ownership of the race idea. We
spend some time discussing it. We had no opinion particularly,
beyond remembering that according to Seth the whole question of
the race of man and its origins, and doubts concerning theories
of evolution, was vastly more complicated than was generally believed.
Seth's ideas of time give us quite a different approach to these
(In the NY Times tonight I read an article,
with pictures, of the Mars probe currently underway by our Mariner
spacecraft. Dr. Carl Sagan of Cornell University was quoted in
the article. Dr. Sagan was also quoted in Otto's article, regarding
the ancient Sumerian - Akkadian legends and UFO's, too our surprise.
The question that has always bothered me is brought up - why does
our history only go back five or 6000 years ago, when Homo Sapiens
appeared some 50 000 years ago as an established species?)
(In addition, I have always doubted the block
and tackle idea used in constructing such massive, enormous wonders
as Baalbek. With this goes my questions concerning the ability
of sculptors to do the marvelously intricate carving adorning
all of these buildings, on such an enormous scale. I have always
wondered just how it was possible, with the few tools then available,
according to our history, to do this work. It seems beyond the
tools scope. I would delight in seeing it duplicated today, using
identical stone, tools, etc., with time trials.)
(Thus, all of these points came together tonight
and resulted in the session. In the beginning Jane's pace was
rather slow, her eyes closed often. The session was held in her
study in apartment four.)
Seth: "Now good evening."
Rob: "Good evening, Seth.""
Seth: "The message for tonight is: you
are not owned.
"Now, your human stock did not all originate
solely from your planet. I never told you that it did. In that
respect your ancestry is indeed varied. Some of the information
given in my own book, by inference, should have made that clean."
(By coincidence - Seth's book has just come
back to us from Prentice Hall for us to go over the copy editor's
suggestions before it is set in galleys, which we will see in
April. But we haven't had time to reread the manuscript.)
Seth: "Evolution, as it is thought of,
had many different aspects in those terms. There were three or
four beginning points. Do you follow me?"
Seth: "There were then visits from others
in other planetary systems. In that regard this is quite natural.
Your own relative isolation is far from the average. The legends,
many of them, therefore, were of course chronicles of quite legitimate
physical events, describing phenomena for example for which natives
had no adequate vocabulary. They were forced to describe what
they saw by making comparisons with objects and events already
familiar to them."
(Jane's pace, as Seth, was now quite a bit
faster.) "Some such visitors, in your terms, were more evolved
than others. All, however, would appear as superhuman in contrast
to those civilizations that encountered them. There were some
deliberate experiments, that were in fact far more dangerous to
the experimenters, always in which the experimenters tried, in
one way or another, tired to advance man's knowledge.
(9:29) "It is not nearly as simple as
that, however. There is not a one-line development. By the time
that feasible inter-system space travel is practical, the psychic
abilities are developed to a very high degree. One is necessary
for the other. Therefore, it became much more feasible to approach
earthmen during their dream state, when their natural fear reactions
were somewhat minimized, and where the danger to the visitors
was far less."
(It was so hot in the room that I asked Seth
to wait while I turned the heat off. I also opened a kitchen window.
Jane sat quietly in trance.)
Seth: "Out of body encounters were used
as a matter of course. The visitor could appear and disappear
then without fear of pursuit. Civilizations were often warned
in advance of natural disasters that were apparent to the visitors
with their greater viewpoint.
"Such warnings were either given in the
dream state of the earthmen, for the reasons given or often in
some secluded place, for often the visitors would be attacked.
During these eras, in your terms, the speakers often acted as
go-betweens. Often warnings of disaster were not followed. Some
warnings were misunderstood, then, as punishment by the gods of
(9:36) "The whole moral code idea was
originally tailored for the current scene as it was encountered,
told in terms that the natives could understand.
"The pyramids, the huge boulders etched
out (I think Seth refers here to Baalbek; I didn't interrupt to
ask.) All of this was done in one way or another through the use
of, a knowledge of, both coordination points in space (described
by Seth in his own book) and the use of sound. (Also described
to some degree.) There were instruments that released sound, and
directed it in the same way, say, that a laser beam does with
"Drawings of some of these exist in primitive
Sumerian cave renditions, but the drawings are misinterpreted,
the instrument is taken for another. No one knows how to use the
instruments. There are a few in existence, in your terms."
(The Sumerians were a pre-Semitic race inhabiting
the lower Euphrates valley; their empire dated from about the
4th millennium BC. They were probably the Biblical Shinar. Their
country was called Sumer, etc.)
Seth: "The Sumarians (spelled) left the
memory of their existence in the Sumerian culture (spelled. This
is the connection Jane and I hadn't believed existed.) They initiated
it, though they did not direct all of its activities, nor were
they responsible for the distortions of their teachings that often
resulted. There is a difference then between Sumarian and the
culture in the books. Your Sumarian were behind the culture -
they initiated that particular civilization.
"I will be clear. Your Sumarian showed
earth people at that time how to communicate, how to initiate
crafts, gave them all the fundamentals upon which a civilization
then could be based. The Sumarians, your Sumarians however, were
not of human stock at that time.
"Now. Your Sumarians have become human
stock in those terms at other times. It is not a point of them
trying to invade a native stock. They simply understood the nature
of individual existences. Therefore, they are able to choose from
various physical systems those in which they would like to have
"They maintain their inner knowledge and
integrity, and are born within any given system. They always use
their native abilities and talents to help the system, working
very strongly in psychic or creative endeavors.
"I do not necessarily mean that they are
consciously aware of their affiliation. This is an individual
matter. They are often inventors, always then involved with the
initiation of new ideas or discoveries. All of this follows inner
patterns that are specifically human in your terms. Humanity therefore
has its own characteristics, and no 'outside influence' can go
counter to these, but must work with them.
(9:50) "When it seems that great discoveries
come, and then are lost through the ages, perhaps to be rediscovered,
it simply means that man's own nature was not in harmony with
them, could not use them properly. Whenever aggressiveness became
too misguided it automatically caused the loss of powers or discoveries
that could be used to destroy the planet.
"This is a natural aspect, the self-protective
principle that operates within earth life as you know it. On occasion
discoveries were given before their time, and promptly lost, only
to be rediscovered ages later.
"The problem comes when you try to categorize
consciousness or being. The out of body state, in greater terms,
is a far more natural state than in the body. You adopt and make
a body. You do this now without even knowing that you do so, but
a body can be made from the camouflage of any system, constructed
easily when you know how to do it.
"Space suits are, therefore, and inadequate,
clumsy memory of an inner ability to clothe the inner self with
whatever camouflage is at hand, to merge with the elements of
an environment in such a way that you become a living part of
"The Sumarians - Your Sumerians (spelled)
did this when they initiated the culture spoken about in your
books. Their sense of time is completely different, as however
your own is innately. It is difficult to explain this, but keeping
in touch with a civilization for several thousand years of your
earth time, would entail perhaps the same amount of time and effort
a man might take in his profession over a period of five to ten
years, so the relativity of time is important in that context.
"You may take your break."
(10:01 - Jane's pace had been good, her trance
good also. I had trouble in some instances deciding in the copy
which spelling to use - Sumerian or Sumarian; in some instances
my quick decisions were in error, I came to believe as I typed
up this copy, so as can be seen I made changes. Jane read them
over, and agrees that this copy is now as Seth meant it to be.)
(I told Jane at break that I needed a capsule
definition of Sumari and she said that last night in ESP class
Seth had commented that the Sumari was a "federation of consciousness."
We get the duplicated transcript of each ESP class the following
week, so we do not have the record for last night's ESP class
session, for 1/11, yet.)
(During break I referred again to the photos
of the massive ruins of Baalbek in one of the books Shirley Bickford
lent us. I explained to Jane my feeling that the amazingly intricate
stone carving, particularly the bas-relief work, seemed beyond
the abilities of the hammer and chisel. Jane broke in to tell
me that this carving was done by small instruments that used inaudible
sound waves: these radiations softened the stone, she said, so
the work could be performed. She didn't know where this data came
from. If from Seth it wasn't obvious to her.)
(Resume at 10:20)
Seth: "Now - Are you ready for me?
Seth: "Basically - in your terms now -
there is no such thing as an isolated, independent earth stock,
in that consciousness did not suddenly erupt from the physical
behavior or characteristics of your planet, or in any other.
"As you know, consciousness comes first,
and then forms the physical materializations of it. Those consciousnesses
who picked physical materialization choose to operate under certain
conditions that then appear as the natural characteristics of
a species to you.
"They accept certain characteristics,
and while experiencing existence within them must follow along
the roads they've chosen. Hence earlier I spoke of the natural
bent of humanity, of all those, then, who choose existence within
you particular planetary existence.
"Consciousness is not local, and it never
"You have always been Sumari. This simply
means that your consciousness has certain bents of its own, interests
and abilities and specializations. The word Sumari characterizes
a certain kind of consciousness simply for means of identification
in your terms.
"I told you once that there are clumps
of consciousness. This does not mean that consciousness is not
individual and separate, but that it also has a great ability
to congregate, to reach out in affiliation, to share knowledge
and experience, and to combine itself in ever-changing patterns
while still retaining its basic identity and integrity.
(10:29) "To have explained this to you
when we began our sessions would not have been possible. (Pause.)
Now give us a moment. (Long pause.)
"Space and time are constructions of ideas.
They do not appear physically, as say a table or a chair, yet
they seem to define both a table and a chair, in that you cannot
easily conceive of a piece of furniture, for example, existing
except in the medium of space and time.
"The ideas of space and time are constructed
in different ways in various systems. In some they appear as natural
phenomena, for example as various classifications of objects,
in some as variations of sound or light. You find it exceedingly
difficult to consider existence at all without space and time,
yet basically consciousness is independent of both.
"The ideas of space and time emerge only
when consciousness adopts camouflage, only when it becomes wedded,
in other words, with a physical type existence. Time and space
are both creations of consciousness, in other words, and vehicles
of its expression.
"Matter is a classification. As explained
in my book, various levels of concentration can be used as platforms
leading you out of focus, into other time schemes. Time is like
color. You are merely focusing upon one hue. (10:39)
"Your present civilization and the 'old'
Sumerian (spelled) civilization, exist at once, then simultaneously,
but to speak to you about these I must use a time sequence you
understand. If it were understood that these civilizations exist
at once, then you would not be so surprised that they 'were' able
to build structures that you cannot build in your now.
"Your now and their now exists now.
"In the present physical area in which
it seems to you that a physical civilization once existed, that
civilization still exists. You cannot meet it though you stand
at the same spot, because of the ideas of time that separate you.
The civilization in flower, and the ruins, coexist. The living
ancient Sumerians pass the modern tourists without seeing them,
even as the tourists walk in the middle of the old Sumerian marked
places and see only ruins.
"Much of this could be explained in mathematical
equations that presently escape you. Your own consciousness is
contemporary with the ancient Sumerians (spelled) as well as with
your current selves in your terms.
(10:46) "Think of countries existing simultaneously
now on your planet. There are differences in language and culture,
and it takes a certain amount of earth time to travel through
space to visit them. In the same way all times exist at once,
with their peculiar customs, and in your terms within the same
space that you know.
"You have learned how to make roads through
space, but not through time on a conscious level. There are intersections
n time and space, however, that you have not recognized. I am
speaking in your terms, hopefully to make this simpler. (Pause.)
Times exist then as surely as places. You think of time as moving
toward something, and of space as relatively stable.
"It does not occur to you then that you
can get to times, as you can get to places. (Pause at 10:53.)
All of this is highly difficult to explain. I do not mean for
example that time, each moment, is a finished and done thing to
be visited. While time is not moving in a particular direction,
in your terms, each moment explodes outwards, or expands outward
in all directions.
"Space and time as you understand them
ripple through each other. They do not behave as you think they
do, however. Presently you understand your existence only as it
intrudes into three dimensions. Its own activity is in many other
"The Sumari, therefore, appear in or intrude
into the three dimensional system from other dimensions.
"Now you may take a break or end the session
as you prefer."
Rob: "We'll take the break."
(10:58. Jane's trance had again been very good.
Now she talked more about what she had said at last break, concerning
the carving done on stone that had been softened by instruments
employing sound. Only a very sophisticated instrument was used,
she said, to soften the top layer of the stone so that it was
"like frosting which could then be easily carved. The instrument
might have done both the softening and the carving.")
(But first of all," she added as we continued
to talk, "either that instrument or another one was used
to isolate the top layer of the stone from the rest of it so that
it wasn't weakened." We had been discussing the very intricate
and extensive bas-relief carving pictured on the door frames and
lintels of the ruins at Baalbek in this instance - not, say the
in-the-round carving shown on columns, etc.)
(Ack-a-sond-a. This is my phonetic interpretation
of a word Jane got regarding the instrument in question, whether
from Seth or not she didn't know, as at last break. The sound
wasn't audible to human ears. The instrument "sort of looked
like - I can't really do it - the shape I'm getting is of a very
rough pistol shape...All you had to do was aim it. That was just
for the small stuff.")
(Resume at 11:15)
Seth: "Now. Matter was manipulated through
sound. Some remnants of spaceships became temples. Some visitors
were seen to die, and later seen again recovered, hence the Egyptians'
sureness that the individual survived death.
"Because of space travel a visitor might
come as a young man, and return some 40 earth years later still
appearing as a young man, leading to the idea of immortality and
eternal youth of the gods."
(Such effects would grow out of the operation
of Einstein's relativity postulates, etc.)
Seth: "The Olympic gods were perhaps the
most amusing of man's attempt to deify space travelers. Mixed
in here strongly were the ideas of gods mating with earth women.
"In some respects the over enthusiastic
use of the sound was responsible for the flood mentioned in the
Bible, and other literature. It was for this reason that many
attempts were made to warn against the impending disaster. The
use of sound was important at various times in irrigating dry
areas, quite literally by pulling water from a distance.
(11:22) "There were several characteristics
that proved difficult, however. Literally, the sound traveled
further often than was intended, causing consequences not planned
upon. Great finesse was important. Sound was also used after irrigation
to speed up the flowering of plants, and to facilitate transplantation
to other areas. it was also utilized for medicinal purposes in
operations, particularly in bone and brain operations.
"Verbal sounds were often stereotyped
simply because the effect of sound was understood in its effects
upon the body. Many ideas that are considered superstitious had
a quite legitimate basis, therefore. Sound was used to locate
one also, and to break someone down. It was also used to locate
"This is a difficult subject. For the
movement of heavy tons of rock for example different techniques,
using sound and precise mathematical calculations were necessary.
Many civilizations grew and flourished in fertile areas simply
because the people knew how to make them fertile and to keep them
"Now you had better end the session. My
heartiest regards to you both."
Rob: "Thank you very much, Seth. It's
been extremely interesting. Good night."
(11:32. Both of us were quite tired. There
was much more data available, we knew, but we were to weary to
I read the 604th Session to ESP class on Tuesday,
January 7, 1975. After I'd read some pages, George Rhodes held
up a drawing he'd made of the ankh and asked Seth - who had come
through - - if the sound instrument was the ankh, or at least
shaped like it. Like a pistol if held sideways. The "barrel"
would emit the sound ray and the mechanisms and controls would
be in the short arms.
Seth told George he was quite right. The passage
will be included in the class transcript for 1/7/75 that we'll
get next Tuesday, and I'll try to remember to attach a copy of
it to this session.
ankh (angk), n. (Egypt. ankh life, prosperity.)
A T-shaped cross surmounted by a loop, used as a sacred emblem,
symbolizing life; - called also crux ansata.
I have no scanner, but what follows is a drawing
of a perfect, sideways T with a sort of loop after the top part
of a T that is standing up. That is, draw a T, go to the middle
where both lines meet, and draw a loop from that point upward
to meet back at the starting, and then lie the T on its side.
The arms of this instrument were the top part of the T, before
the loop (where Christ's arms were...sorry) and the barrel was
the bottom part of the T.
605th Session January 17, 1972 9:24pm, Monday
(At 9:20 p.m. Jane said she "felt Seth
around. I get a word or two in my head, so I know he's here."
We had just finished a snack. Jane had read the last session while
she ate. Her pace was quite slow to begin.)
Seth: "Good evening."
Rob: "Good evening, Seth."
Seth: "Now. There are bleedthroughs, however,
in space and time as you think of them. Remember, all times are
"Ideas are not dependent upon preexisting
ideas. It is not true to say that man cannot conceive of something
that is not already presented to his experience in one way or
another. Ideas are free of space and time. Only your determined
focus upon your time conceptions closes you off from many ideas
that otherwise are available.
"In your terms the bleedthrough can occur
in both past and present, and idea from today bleeding into the
past or the other way around. The ideas will be actualized or
put into a practical structure according to your attitude toward
"Some of the most sophisticated art is
from the past. Bleedthroughs result in its being picked up in
your present. Theoretically all of the information of so -called
lost civilizations is quite available to you, as yours is to them.
A closed mind will perceive none of this.
"In terms of experience humanity is working
out its problems and challenges in 20th century terms and in the
old Sumerian (spelled) civilization. You simply choose various
kinds of organizational structures and different root assumptions
- all however within the general root assumptions used for physical
(Pause at 9:35 one of many.) "The old
Sumerians (spelled) are singing their chants now at the same time
that Ruburt is trying to translate them now in your terms. I wish
I could impress upon you this great transparency of time so that
you could experience its dimensions. In one way of speaking you
have "not yet" developed the proficiency with sound
that would now allow for the building of structures such as those
we described in the last session.
(Those at Baalbek; the Pyramids, etc.) "Yet
those structures exist even in your now, bleedthrough to make
you think and, in other terms, to make you remember. Many physical
structures have existed in your terms in the same space now occupied
by your apartment house. Because of your root assumptions, however,
it is not possible for you to perceive these, nor those that will
come 'after.' Yet those structures exist as validly as the apartment
"They share certain coordinates. Knowing
those coordinates would, of course, be very important., but the
other realities would still remain nonrealities to you unless
you changed your primary focus. When you do that there is no need
to know what the coordinates are. The inner self is quite aware
of all of this. It picks and chooses the information and data
that is important to you, and makes it available according to
(9:42) "If you are greatly interested
for example in history, then the inner self brings you the information
you need from all of its sources. Under certain conditions you
maybe propelled through the coordinates and find yourself in the
era in which you are interested.
"The conscious intent, however, directs
the kind of material you receive. If you have no interest in such
things, no phenomena will occur strong enough to impress you in
the waking state. If is very possible then to be building a civilization
that, in your terms, you are now studying, to be interpreting
ancient records that you yourself may have written, to be digging
up roads that you yourself built.
(9:47) "This applies to your own historical
time as well as to others. At other layers, of course, your civilization
is already in the past, as in others your civilization does not
yet exist. The bleedthroughs, however, mean that each people according
to their characteristics, interests and activities, attract certain
ideas both from the future and the past, and there is constant
interaction. Because of this even the past as you think of it,
as I told you, is never done and completed, but constantly changed
by your present and future.
(Long pause from 9:49 to 9:50) "Nabene,
then, is changed by your present actions, even as you are by his
seemingly past ones. Your friend, Sue, said that there is free
action across the board in such cases, and that is an apt description.
"The pyramids exist as other than physical
matter, but it is only as physical matter that you perceive them.
There are several important issues connected with the pyramids
that are not as yet understood. The symbols upon them often were
meant to be sounded. The sound setting up reverberations. Some
of these would automatically open up many doors, leading to as
yet undiscovered secrets - but only for those who understood the
use of sound.
"The Egyptians then were also helped,
and told how to construct the pyramids.
"Now you may take your break."
(9:52 Jane's pace had been slow for the most
part, and she said she knew it. Usually she isn't aware of her
pace, the passage of time, etc.)
(Nabene is the name for a personality of mine
that presumably lived as a male in the first century AD in Jerusalem.
We know little about that life: one evening with Sue Watkins,
she also lived then, I managed to tune into that existence to
some degree via images. Seth has referred to Nabene a few times,
and my role as a record keeper and teacher. Sue was one of my
pupils. I was quite a taskmaster, I'm told. Jane and I would like
to hold a session to learn more about this life, including who
else we know was involved then, etc.)
(10:10 Jane said "I'm just sitting here
waiting. The connection doesn't seem as good tonight.")
("I was wondering if you wanted to bother
continuing," I said.)
(I do. It just doesn't seem as strong..."
We continued to wait. At 10:15: "I had the feeling at break,"
Jane said, "that Seth has gone away, rather than staying
close like he usually does - as though he'd left to gather information
or something. I'm perfectly willing to continue the session, though.")
(Then: "I did get a line just now,"
she said. "Something about how they prepared the air first,
for the construction of the pyramid...Now I'm getting the feeling
of an awful lot of people, chanting - thousands of them - this
still has to do with the pyramids.")
(It's a real funny feeling, as though the sound
could break through into the living room," Jane said. I said
I thought I understood what Seth was doing: in light of the material
we'd been getting, he was giving Jane the experience of that ancient
time and our present time, showing that both are simultaneous.
This experience would tie in nicely with the material.)
(I feel that a whole mass of people would visualize
a pyramid in their imagination," Jane said, "then through
their chanting, the use of certain vowels and pitches, they actually
changed the air where that building was going to be. They made
a boundary in the air," she said making angular gestures,
"a cohesiveness, for this imaginary structure. Then they
had certain kinds of tuning forks, then some kind of instrument.
The noise of the chant was like something that you'd use to turn
on this instrument - when the chant got to a certain pitch it
turned on this instrument, and it somehow intensified and focused
sound to what we would call an incredible energy degree - broke
it down and then focused it in certain directions.:)
("You could move very heavy objects with
it. The objects were levitated - raised up in the air, no matter
how heavy. They only needed to be guided by people to some degree.
Many men were used to guiding them but not to lift or carry them.
The sound instrument had a fantastic cohesive effect that bound
atoms and molecules together.")
(10:25 "And beside that the instruments
also set up some kind of extra charge that we don't understand
yet, around objects that were so constructed, like the pyramids,"
Jane continued. She was speaking faster now than she had in the
session. "Doors and passageways inside the pyramids will
open through the correct sound messages and signals, and were
designed only to open if those correct signals were given.")
(This sounds really weird. There are also invisible
pyramids - we just can't see them." I could tell that Jane
didn't know what to make of this data; she was even hesitant at
telling me. "These pyramids were constructed in such a way
that they reflect everything else, so that when you look at them
you don't see them as objects. Wait, I'm not getting this right...they're
perfect camouflages of wherever they are, but certain sound pitches
would make them visible.")
("There are some invisible rooms like
that inside the regular pyramids, too.")
(Pause at 10:30. "These are structures
engineered on our earth extremely cleverly. Sound patterns would
physically materialize them, but if these patterns aren't given
then the structures are just out of the range of what we'd normally
(call?) physical. They're complete, see, if this pattern is given
(Jane said, "It's as though they're frozen
- this isn't a good word - at a certain stage until these patterns
are given." (Pause.) "All objects have their own sound
patterns that help form their structure as much as the atoms and
(Break at 10:35. "I wanted to take a break,
Jane said. "I never heard of anything like that. It sounded
so crazy I didn't even want to say it, about the invisible pyramids...The
chanting was over here." She gestured to her left as she
sat in her rocker; we were holding the session in her study in
apartment four again. Jane's gestures thus indicated the large
open center area of the room, as though she was reaching over
a wall almost. "I got some of the chants, but I couldn't
quite carry it through. Seth didn't tell me anything like this
was going to happen.")
(At 10:43 "I'm just waiting to see what
happens next. This isn't terribly strong, but I have the feeling
of a barrier over there," and again Jane gestured to her
left. "that I can't get over. But all this stuff comes from
over there. Something about these instruments making atoms and
molecules denser, somehow - doing different things with them...")
(Then Seth returned at 10:45:) "Now. The
information Ruburt gave is substantially correct."
"You know that sound has an effect upon
living things. It can help mend bone. It can also be used, however,
to reinforce structures. We are in the preliminary stages with
the Sumari language - hopefully leading to some understanding
of the nature of sound, though (humorously) you may not yet be
able to build a pyramid in your back yard."
Rob: "I understand."
Seth: "Now I would like you to close your
eyes, or leave them open if you prefer. Let various inner sounds,
memories of sounds, enter your consciousness, that may or may
not be familiar to you. Try to think of the sounds of images,
think specifically of pyramids and see what sounds come to you."
(10:50 While Seth was talking I kept writing,
of course, in order to get the material for future reference.
Finally I sat quietly. Jane was already doing so, her eyes shut;
I didn't know whether Seth had left again or not. My own eyes
closed and I let myself drift.)
(In a few moments I seemed to visualize a pyramid
shape that was based on pictures I remembered of the actual structures
in Egypt. This was very pleasant. I seemed to be above the building
looking down at it. This image, on a slight angle, was probably
more subjective than objective. Then I seemed to feel a deep ringing
gong-type sound, one that was rather prolonged. It was repeated
several times. After this I felt and heard a series of chants
by an unseen group, seemingly out of my field of vision to my
(The chanting was low and monotonous. It went
up and down the scale but a few notes. I had the feeling that
it would repeat itself almost effortlessly as long as I sat in
this state and listened. I enjoyed the experience, and was somewhat
surprised at the results.)
(I opened my eyes. Jane opened hers, and I
could see that Seth was present. I described what I had experienced,
not knowing if I had accomplished anything even remotely approaching
what he had in mind. "I don't know why," I added, "but
I associated the square base of the pyramid with this gong effect.
It was as though I could see this shape especially well while
listening to the gong sound, which was quite prolonged actually.
It seemed to repeat itself. Like the chants, which were pretty
monotonous, up and down a few notes on the scale. They weren't
pitched very high, either.")
Seth: "That is a very good beginning."
(I don't know why I use the word gong,"
I said. I couldn't imitate it. I think there's a funny association
there also with old movies. I could have picked up the chanting
idea from material Jane was getting earlier this evening.)
(10:56) Seth: "I want you to discover
some of these things for yourself, which is why I used this particular
format this evening. I will only tell you then that your feeling
of the sound of a gong is quite legitimate.
"I would like both of you at odd moments
to look at objects, then try to hear their sound. This will be
handy training for some other things to come. This also applies
incidentally to various organs of the body, and to the body itself.
Then let the sounds evoke whatever naturally comes from them.
There is a strange inter-relationship between sound and what you
think of as time, but a binding one.
"Time can then 'appear' as a sound. Sound
can be used to set apart certain elements from others, to isolate
them from others, and on the other hand to bind elements also.
In that regard think of sound as a line perhaps that you sketch
(11:01) "Sound's properties are not understood.
I want it specifically noted then that sound can be used as a
binder or as a separator of elements. It can be used to open up
pathways within dimensions, both microscopic and macroscopic.
"And with that I will close our session.
Think also, however, of the sound in connection with your paintings,
of sounds that will make the paintings themselves more vital and
the material last longer. And with that I will leave you."
Rob: "Thank you very much, Seth. It's
been extremely interesting. Good night."
(11:04. Jane said that while I had been getting
my effects, she had been somewhat separated from Seth after all.
She saw groups of men "like pictures you'd see of Egyptians.
I saw their dark skin - in color - against short robes. They were
in groups chanting.")
(She saw a structure like a pyramid shape.
She had the feeling that "heavier sounds were at the bottom.
These formed the base of the pyramid." She tried several
times to explain this to me. It was all important, she said, that
the heavier sounds were at the base of the structures. Like the
musical scale, she felt that the sounds used in building the pyramids
"made steps in the air that you couldn't see. Certain sounds
went up - certain sounds bound things together - they all had