Understanding simultaneous time


Man that’s a good example!


The CONCEPT of time has been a hard one for all of us I’m sure. After 30 + years ,of reading. Even Seth himself many times. would us the term (time) as a reference point, with no other course to are understanding. So I understand and describe time as this, INTENSITY : Time flys, time drags,long time , short time. The coolest thing about time is that it can be bent and it is CAN BE CHANGED because it does not exist, it is a mere concept~


Hello All -
Here is a visceral experience that I related to simultaneous time. Go to a drive thru car wash. Chose the kind where the car is stationary and the brushes and sprays move past you. Stare through the windshield also being aware of the motion in your peripheral vision. Now think about the simultaneous NOW moment of creation…I don’t know it made something ‘click’ for me, but I am a visual person. It is fun anyway, and I have a very clean car!

  • In the spirit of play -


Hi Liza !

  • playing with time - Not a bad concept at all ! Obviously we re all doing it (when thinking it all over again).
    Thank you very much, as I am looking though as many of the “old” emails as possible nowadays…
    You are all very good with the questions & answers indeed and I am appreciating all of it !


I like this and have used it as well; a few very simple but powerful ways to build on and open up this approach:

Imagine that all the frames of the 35mm film have been laid out on a surface together, like a mosaic. Now, instead of seeing one frame at a time, you can walk up and pick and choose move back and forth; be sure to imaging that some of the frames are future (such as from an un-released film), not just present and past. Don’t assume that the past ones are all top left and the future bottom right; its a mosaic, they can be arranged in any way.

Now imagine that instead of looking for the typical, “what happens in the story, or cause and effect”, imagine instead that you want to look through the frames to pick out certain scenes from other points of view, such as emotional or imaginative associations. For example, you want to look for just all the love scenes, or all the adventure scenes. Then, even doing that, imagine you are looking not for love scenes in the sequence they appeared in the movie, but rather in the order of intensity, which ones were the most intense or passionate.

Now imagine you have made a larger mosaic, but not from just one movie, but from many movies that several of the same actors have made together. Then imagine the associations such in the previous paragraph again, but this time, for example, with an eye towards how the character and flavor of the scenes, such as the love scenes or adventure scenes, change as the actors assume different roles.

Another technique I have been using lately:

In my mind I have been building a massive park, composed of all the parks I have ever been to in my life. This is particularly powerful for me because I have moved around a lot, and also had dogs for over twenty years, so have visited a lot of parks. The key, though, is that again I don’t arrange the parks sequentially, as though strolling on a path a park I knew 20 years ago would come before one I visited 10 years ago. I imaging them merging in a more mixed way, so I might round a hill of a park I know now, and just around the bend is a childhood schoolyard, and after that is another park from many years later; I try also to imagine some future parks I have never been to.

I also build on and imagine this together with Seth’s psy-time ‘stage’ technique. When trying to relax and let my mind drift to psychological time, I imagine that as I close my eyes, the current activities of my day were like scenes from a play or movie. The film has ended and now I am in a quiet, dark theater; however, I imagine that the theater is in a tent, and that outside is my massive park of all parks, and in the park there happens to be going on a huge film festival, so that there are other such theater tents as you stroll all across the park. The films in the other tents can be scenes from not only different times of my life, but also other lives, past present and future. I can easily stroll across the park to any, in any order. Now imagine seeming random images, thoughts, emotions, or impulses that may pop into your head as information from the playbill or park map, guiding you to where across the park you might want to stroll to next.


Fantastic ideas to try. I have never tried to used such constructions to create a sensation of simultaneous time, rather I have simply blended past experiences with my present time. However the future has always been a problem; it holds no reality for me. I will play with some of your marvelous and well explained ideas. Just wonderful! Thank you.


Hi All,

Seth: “Understand the individuals themselves between lives choose the time of their own birth, adopting ahead of time those characteristics that they feel will best aid their development, and challenge their abilities.”
(TES’s - Book 9, Session 471) and…

“There is no time schedule, and yet it is very unusual for an individual to wait for anything over three centuries between lives…”
(SS, Session 541)

A question that keeps popping up in my mind is: How can there be “in between lives” stages if all lives are simultaneous, …? What I mean is, if all lives occur simultaneously, then technically there couldn’t be “room” for in between stages, nor would there be a necessity for such stages.

On the other hand I do see the necessity in terms of recovering after a a difficult life, and based on the previous life choosing a new life. There needs to be room to evaluate and choose in between two lives, but where stays the simultaneous element?
Does anyone have an explanation, because I am not able to picture this in my mind

Best regards,