“Seth material” search engine (Jane Roberts)

Now during some projections you may be aware of nothing as far as surroundings are concerned. There will be only the mobility of your own consciousness. If this ever occurs you will be traveling through such an uncamouflaged area. You could then expect to encounter next a more differentiated environment, that seemed to become more clear as you progressed toward the heart of another system.

Projections that deal with your own system will of course involve you in some kind of camouflage. If none is present you know you are out of the system. The dream universe is obviously then strongly connected with your own, since pseudoimages are present. Already you are free to some extent from the space-time reality of your system. Therefore within the dream state you are in the outward areas of your physically-oriented universe, you see.

The traveler must leave his own camouflage paraphernalia completely behind however, or he will go nowhere. It is possible, theoretically, to travel to any system in this manner, and bypass others you see. Such a traveler would not age physically. His physical body would be in a suspended state. The traveling consciousness would lose all physical conception of time however. A very few individuals have traveled in this manner to any extensive degree. Most of the knowledge gained escapes the physical organism however, for the experiences could not be translated by the physical brain.

Now, each brush stroke 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. Again, experience that has nothing to do with physical time. The same can be said for a successful poem, though here I speak of Ruburt’s knowledge of poetry, rather than of any of my own.

The excellent work of art recreates for the observer inner experience of his own also, of which he has perhaps never been aware. As you know, paintings have motion, yet the painting itself does not move. This idea perhaps will help you to understand experience in terms of intensity, and projections, or the movement of consciousness, without necessarily any involvement with space.

True motion has absolutely nothing to do with space. The only real motion is that of the traveling consciousness. (Long pause, eyes closed; one minute.) Spatially, a painting is flat. Its reality leaps out from its physical dimensions, and completely escapes them. (Long pause.) The depths within the painting do not physically exist, yet they are perceived.

This is coded, shielded, even from his own ego. Each painting that is successful forces the consciousness to travel into it, in ways that I will more thoroughly explain.