“Seth material” search engine (Jane Roberts)

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.

(10:35. Jane’s trance had been good, her pace mostly fast. She said she had felt Seth trying to get some “new concepts” across—trying very hard to make it clear to us. I said it was clear enough, but that I was so busy writing that eventually I lost all sense of the meaning of the words. Jane also had images, but Seth never vocalized what they meant. She knew they applied to cordellas and paintings.

(We talked it over. Jane had visualized a painting of houses and trees. She said Seth had considered that an artist could do, say, five paintings; each with different symbols but all with the same basic meaning. Resume in the same manner at 10:55.)

It builds up from feelings that are by their nature denied clear expression through the specific but therefore limiting alphabet systems. (Pause at 11:06.) It allows the perceiver to face experience much more closely, and once having done this to some extent he is free in other areas also. If you were an accomplished artist in many fields, you could translate a given feeling into a painting. A poem, a musical masterpiece, a sculpture, a novel, an opera, into a great piece of architecture. You would be able to perceive and feel the experience with greater dimension, for your expression would not be limited to translating it automatically, without choice, into any one specific area. Its dimensions would be greater to you then. So a cordella as opposed to an alphabet opens up greater varieties of experience and expression.