“Seth material” search engine (Jane Roberts)

(With many pauses to start:) Dictation. Your established fields of knowledge do not grant any subjective reality to c-e-l-l-s (spelled).

In highly complicated cellular structures like yourselves (pause), with your unique mental properties, you end up with a vital inborn sense of shape and form. The ability to draw is a natural outgrowth of this sensing of shape, this curiosity of form. On a quite unconscious level you possess a biological self-image that is quite different from the self that you see in a mirror. It is a knowledge of bodily form from the inside out, so to speak, composed of cellular shapes and organizations, operating at the maximum. The simple cell, again, has a curiosity about its environment, and on your much more advanced cellular level your own curiosity is unbounded. It is primarily felt as a curiosity about shapes: the urge to touch, to explore, to feel edges and smooth places.

When children draw objects they are successfully, then, turning the shapes of the exterior world into their personal mental experiences—possessing them mentally, so to speak, through physically rendering the forms. (Long pause.) The art of drawing or painting to one extent or another always involves those two processes. An astute understanding of inner energy and outer energy is required, and for great art an intensification and magnification of both elements.

(Pause.) Science has until recently provided you with a unified belief system that is only now eroding—and if you will forgive me (smile), your space voyages have simply been physical attempts to probe into that same unknown that other peoples in other times have tried to explore through other means. Technology has been responsible for the fact that so many people have been able to see the great paintings of the world, either directly or through reproductions—and more people are familiar with the works of the great masters than ever were in their lifetimes.

(10:05.) Give us a moment…. Man always does best, or his best, when he sees himself in heroic terms. While the Roman Catholic Church gave him a powerful, cohesive belief system (pause), for many reasons those beliefs shifted so that the division between man and God became too great. (Pause.) Man the sinner took over from man the child of God. As a result, one you see in art particularly, man became a heroic figure, then a natural one. (Pause.) The curiosity that had been directed toward divinity became directed toward nature. Man’s sense of inquiry led him, then, to begin to paint more natural portraits and images. He turned to landscapes also. This was an inevitable process. As it occurred, however, [man] began to make great distinctions between the world of the imagination and the world of nature, until finally he became convinced that the physical world was real and the imaginative world was not. So his paintings became more and more realistic.

(Long pause at 10:19.) End of dictation. Do you have a question?

(Pause.) In a fashion the house itself yearned toward a flexibility, more openness with the elements, and the woman was attracted to it for that reason. You have not reacted to any negative influences in that regard, but in a fashion through your creativity helped reconcile what were conflicting elements.