“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.

Now the Sumari language will avoid specific, indelible, rigid pattern in much the same way. (Pause.) By changing the names of objects you automatically look at them in a new fashion, yet certainly all objects will not be given names, for this would defeat our purpose.

Instead the relationship between objects will be stressed through sound. The emphasis will be on an object’s “placement,” (in quotes) in title and space as you think of it, and on the ever-changing pattern of force that constantly alter relationships of any kind.

(9:39.) There will be words for example for feelings that you will be asked to imaginatively change into objects and back again, to project into time as you think of it, and sense the differences in the feeling’s relationship to yourself. This can be compared in quite other terms to taking an object from one table and placing it in another room, and trying it out in various locations; but we will be working instead with feelings instead of vases, and psychological locations.

The sounds used in the language have their own importance, and will be in their own way representative or suggestive of feelings that have been largely unconscious, generally speaking. The feelings however are the tail end of inner cognizance, and we will use the sounds to carry us further and further into those inner landscapes where both objects and their representatives must finally desert us.

They throw their particular light upon the reality that you perceive, as for example you name objects. Alphabets are nevertheless tools that shape and direct perception. They are groups of relationships that are then transposed upon (in quotes) “reality.” To this extent they shape your conceptions of the world that you know.