“Seth material” search engine (Jane Roberts)

(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.

We will initially be using the language so that we can finally cease using it, in other words. These will be the beginnings of somewhat more profound methods of working through the inner senses.

It is as if, then, you had alphabets that worked for the other senses, for touch, and smell. Meanings are allowed to rise and fall where, when using your established ideas of language, meanings are instead rigidly attached to given experiences so that perception must be held within certain well-defined limits.

(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.