“Seth material” search engine (Jane Roberts)

(10:00.) Consider, for example, something very simple — say a drawing of an animal. You would perceive it simply as a visual object, but these people were great synthesizers. A line was not simply a visual line, but according to an almost infinite variety of distinctions and divisions, it would also represent certain sounds that would be automatically translated.

An observer could automatically translate the sounds before he bothered with the visual image, if he wanted to. In what would appear to be a drawing of an animal, then, the entire history or background of the animal might also be given. Curves, angles, lines all represented, beside their obvious objective function in a drawing, a highly complicated series of variations in pitch, tone and value; or if you prefer, invisible words.

(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?