“Seth material” search engine (Jane Roberts)

Each brushstroke of a painting represents concentrated experience and compressed perceptions. In a good painting, these almost explode when perceived by the lively consciousness of another. The observer is washed over by intensities. The excellent work of art recreates for the observer inner experience of his own, also, of which he has never been aware. As you know, paintings have motion, yet the painting itself does not move. This idea should help you understand experience in terms of intensities and projections or the movement of consciousness without necessarily motion through space.

True motion has nothing to do with space. The only real motion is that of the traveling consciousness.

Astonished, I thrust my hand out the window, and the motion set ripples out, making fairly deep “cracks” near my fingers and more shallow ones farther away. The tree, I saw, was not only held up and supported by its roots deep in the earth, but by the air itself. Why had I ever thought that branches stayed up simply because this was how branches acted? The air itself helped hold them!

What would happen to objects falling? I wondered. From everything I saw, I judged that they would glide to earth or drop slowly through that textured air. The effect was far from inert, though. The sky and air moved constantly, perhaps like very heavy jellied water, with the trees stuck in like huge seaweed. I felt as if I could almost walk on the air, but from the motion of my hand through it, I knew it was not normally heavy enough to support me.