“Seth material” search engine (Jane Roberts)

They would have color if you were able to perceive them physically.

They constantly emanate out from the rock and return to it, in a motion so swift it would seem simultaneous. The units meet with, and to some extent merge with, other units sent out, say, from foliage and all other objects. There is a constant blending, and also attraction and repulsion.

I would appreciate it, dear friend, if you let me continue for now, though I understand why you want to know. This is not a rebuke. (Smiling.) I simply did not want to be interrupted. Give us a moment. (Pause.) I do not know the specific painting, although a round object was involved. It was I believe one of the pieces of fruit. The idea flitted through your mind and you did not grab hold of it, but it worried you.

(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.

Also, there was someone at the top of the ladder, indicating both the source and the potential of your abilities, also their uplifting tendencies. Had no one been there, you would have been in trouble. You were also making your own way up the ladder, this indicating your knowledge that your own efforts are involved.

Had it been an elevator, this would have signaled quicker success, but there were no obstacles in the way either, and the rungs, regularly placed, showed a steady progression. You did not backtrack or make false starts.

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.

I do not mean a big issue, but a very unique contribution. If a particular person’s face was a landscape, what kind of a landscape would it be, for example? Even the planes of the face themselves can suggest mountains or valleys. But beyond this in deeper terms, how would that face be translated if it were not a face but a landscape? What time of day would it suggest? What kind (underlined) of landscape, desert or mountainous, and so forth?