“Seth material” search engine (Jane Roberts)

That center is like a road that you can follow inward. Remembered faces of those you have known, and remembered scenes from other existences, form the nucleus of your experience; the forms that you bring, seemingly out of nothing, into actuality. Although you are not consciously aware of the past familiarity, nevertheless you use the knowledge to your conscious advantage.

In one way you are the steps leading up to yourself, or the spirals leading in to yourself. The painting spirals outward from your inner reality, and it brings forth energy and previous connections and interpretations. You form these anew, however, adding to them the knowledge and vitality of your present self.

A too-rigid rendition can frighten the subject by imprisoning him within the moment, from which it seems he cannot escape. Obviously the technique can be as realistic as you like, however. It is that the lines, seeming so realistic, also symbolically suggest what the viewer himself cannot see in his own face, but knows is there. And so the landscape, not one but many landscapes in one, for while it is unique in a given moment, still it is a composite in your terms of the pasts that have formed it, and the futures that act upon it even now.

In the case of projection, this trance forms a safe channel through which the consciousness may travel and return. It is associated with the pyramid effect, usually going outward from the center of consciousness.