“Seth material” search engine (Jane Roberts)

Consider again, for the sake of analogy, the Sumari language as compared to impressionism. At its best (underlined) impressionism achieved a certain focus unknown to Western art up to that time, in your terms, offering a breakthrough from cohesive objective form into the moving vitality that gives objects, say, their durability and shapes their images.

Using the art form, the artist in a strange way broke through line, destroyed what would seem to be the literal continuity of the objective shape. At the same time a few lines were used to hint at a variety of unseen, apparently unstructured objects, so that in that regard the line became in the hands of a master a strong symbol, hinting at other realities that lay within the seemingly distorted portrayal of objects.

At its poorest, communication between the viewer and the painting was lost, for a poor artist could not work that magic with lines or colors. A thorough knowledge of form was needed so that it could be represented by line or color. At its best, impressionistic art by its very lack of indelible, delineated form, suggested all form and the vitality that gave it force.

(11:11.) As basic creativeness is behind all art forms, so cordellas are behind and within alphabets. Cordellas represent the ever-changing unfinished relationships that can never be fully expressed, and that constantly seek expression.