“Seth material” search engine (Jane Roberts)

In a projection, the problems will be of a different sort. The form of a man, for example, may be a thought-form, or a fragment sent quite unconsciously by another individual whom it resembles. It may be another projectionist, like yourself. It may be a potential form like any potential object… a record of a form played over and over again.

The organization however is, biologically speaking, artificial and learned. It is no less rigid for that reason. This organizational structure of perception can be broken up, as recent LSD experiments certainly show. This can be dangerous, however. The fact that this does occur shows that the systems of perception are not a part of over-all structure biologically, but learned secondary responses. It is disturbing to the whole organism, however, to break up the strong pattern of usual perception. Inner stability of response is suddenly swept away. Changes that are not yet known occur within the nervous system under these circumstances, both electromagnetic and chemical.

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.