“Seth material” search engine (Jane Roberts)

Root assumptions represent the basic premises upon which a given existence-system is formed. These are the ground rules, so to speak. Your physical mechanisms are equipped to function in such a way that reality is perceived through the lens of particular root assumptions, then. Using the physical senses, it is almost impossible for you to perceive reality in any other way.

The root assumptions upon which physical reality is formed represent secure ground to the ego. We always operate with the ego’s consent. It interprets the inner knowledge gained in its own way, true, but it is immeasurably enriched by so doing.

As a rule, you see, there is little communication within the uncamouflaged areas. They act as boundaries, even while they represent the basic stuff of which all camouflage is composed. (Without the camouflage, you would perceive nothing with the physical senses.)

The tangerine, then, would be compared to a group of many systems, yet it would represent in itself but one portion of an unperceived whole. The tangerine would be but one segment of a larger system. You can see, then, why some projections would lead you in a far different direction from your linear sort of travel and why time as you know it would be meaningless.

One point: There are other systems all about and within your own. The undifferentiated areas move out like spirals, through all reality. Little resistence is encountered within them. They represent inner roads that connect systems, as well as divide them. The traveler must leave his own camouflage paraphernalia behind him, however, or he will get nowhere.

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.