“Seth material” search engine (Jane Roberts)

Now. They form, their nature is behind, what is commonly known as air, and they use this to move through. The air in other words (pause) can be said to be formed by the animations of these units.

I will try to clear this later, but the air is the result of these units’ existence, formed by the interrelationship of the units in their positions and relative distance one from the other, and in what you could call the relative velocity of their motion. Air is what happens when these units are in motion (pause), and it is in terms of weather that their electromagnetic effects appear most clearly to scientists, for example.

These units—let us discuss them as they are related, for example, to a rock. The rock is composed of atoms and molecules each with their own consciousness. This forms a gestalt-rock-consciousness.

(I asked about which painting was involved because I wanted to be clear about the two most recent I’ve been working on. Seth verified that the little still life of fruit is the one concerned. The October 9 date would be, I believe, either the day I began this painting, or shortly after I started it. The data is very good, and is presented in a way in which Jane does not consciously—at least—think. I was concerned about form in this painting, and this concern, linked up with composition, gave me quite a little tussle in this painting. Form and composition usually are easy for me.

(This time I had to work hard before resolving the problem after a couple of days. The painting is almost done now and appears to be successful. It is something of a new departure for me, and embodies a lot of the things I’ve learned doing my portraits for the past year or so. I hadn’t said anything to Jane about my concern with this painting; in fact, everyone who saw it in progress, even at the beginning, seemed to like it, remarking especially upon the form and composition.

You will know at a later time. You could perhaps at some time paint a portrait of a man who would like to sit within that landscape. You have painted a mind or a spirit as it appears in landscape form. Give us a moment.

(This above data is excellent on Seth’s part, full of evocative ideas and intuitive good sense. I have at various times entertained related ideas, but never put them in as concrete form. Because of this I know I haven’t discussed them with Jane, as such. The idea of thinking of a person’s face as a landscape is very good. I am already thinking of ways to put the suggestions to work on a conscious basis.)