“Seth material” search engine (Jane Roberts)

First of all, this evening’s small chat: it was a beginning. You should freely encourage each other however to express feelings. Those mentioned tonight on Ruburt’s part were “negative” ones precisely because they were so strongly inhibited. He tossed them out cautiously, watching for their effect upon you.

You reacted cautiously. It was like the beginning of a dance. When Ruburt got a real touch of inhibited feeling he automatically translated it to the leg, and only by a strong exertion of will managed to get the feeling behind the words out at all. Nor did you freely encourage him to do so.

(I told her in turn, and believe she agreed, that all phases of our lives were changing, that it was vital that they do so, since the way of life we had worked out was doing so poorly. This included my painting, my job at Artistic, my attitudes about money, classes—in short everything I could think of, I guess. I’m not so sure Jane would lump all of her activities together in the same way, though – she may not feel the need. I strongly suspected my days at Artistic were numbered; especially so since we now planned a long trip early next year, after taking care of checking the copyreading Prentice-Hall is now doing on Seth Speaks; we are due to get the script back in January.

This is but one method. (Pause.) In following this particular line of development, Ruburt for example will be taught to free inner cognition from the recognized verbal patterns enough so that any future work with speakers manuscripts will not be stereotyped out of all proportion. A recognizable verbal pattern must of course result, but use of the language itself will break up these personal associative processes that cling to recognized language symbols.

(“Wait—can you help me with that spelling? No. I’ve got it,” I said, writing it out. Phonetically I spelled it out in my notes as den-i-ad. As it turned out, I wasn’t quite correct after all. Reading these notes over, Jane told me I had spelled the word incorrectly, that it should be dyniad. This is the way she wrote it out herself. She saw the y, she said.

As you know, there is constant interaction going on within all portions of the montella, these possible because of the defining boundary (in quotes) “barrier.”

Think in terms of impressionism and its values, then switch to the idea of a Sumari language and see the connection, and the purposes that can be served. The language is fluid. All of the words need not be defined, though key ones will be. It will be used as a method of expanding your concepts, not of teaching you to translate experience into just another but different stereotyped form that happens to be more exclusive.

If new ambrya—think of embryo now—(in parentheses now:) data were to be inserted into a painting, a completed painting, from the inside, then all the relationships within the painting would change. If new ambrya is inserted into a physical montella then all the relationships within it must change. (Pause.)