“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.

(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.