“Seth material” search engine (Jane Roberts)

(9:21.) These outposts were situated in many scattered areas, but there were a fairly large number of them in what is now Spain and the Pyrenees. There were several reasons for this, one having to do with the existence of rather giant-sized men in the mountain areas. Because of the timid nature of these [Lumanian] people, they did not enjoy outpost existence, and only the bravest and most confident of them were given such an assignment, which was temporary to begin with.

(9:29.) This is difficult to explain, but they could mentally pitch a thought along certain frequencies — a highly distinguished art — and then translate the thought at a given destination in any of a number of ways, into form or color, for example, or even into a certain type of image. Their language was extremely discriminating in ways that you could not understand, simply because gradations in pitch, frequency, and spacing were so precise and complicated.

(9:34.) For these reasons, those individuals who ran the outposts felt themselves to be in a very uncomfortable situation. They were limited in numbers and largely cut off from the main areas of their own civilization. They developed, therefore, an even greater telepathic activity, and a rapport with the earth above their head, so that the slightest tremor or footstep and the most minute movements above that were not usual, were instantly noted.

(10:07.) Distances between lines were translated as sound pauses, and sometimes also as distances in time. Color was used in terms of language in communication, in drawings and paintings; representing somewhat as your own color does, emotional gradations. The color however, its value of intensity, served to further refine and define — for example, either by reinforcing the message already given by the objective value of the lines, angles, and curves, and by the invisible word messages already explained; or by modifying these in any given number of ways. Do you follow me here?