“Seth material” search engine (Jane Roberts)

[...] Now colors may be significant, particularly to you, and so the colors used in the imaginary painting may be symbolic. [...]

[...] For you, again, the vividness of a color may also denote position in time. [...]

[...] If you saw a dull, gray-or-black-colored envelope, large and in the foreground, this would represent an unfortunate reply, fairly immediate. [...]

If you saw anything of a rich and bright color it would have good meaning, regardless of its placement in the imaginary picture. [...]

[...] Jane and I bought this colored paper to use in an experiment whereby, blindfolded, we tried to determine the various colors by touch alone. [...]

[...] I cut out ten small pieces of colored construction paper, put them between the usual two pieces of Bristol board and sealed them in the usual double envelope. [...]

[...] Light in color (pause), mainly vertical in form; that is, taller than it is wide. [...]

[...] The first reference, to a filing cabinet, is a good one; the colored paper I used in the test is kept in my cabinet, and has been so for perhaps two years. [...]

[...] It is of dull silver color, of necklace length perhaps. [...] One, a fairly oval object, of an inserted brown background, and a raised cream-colored area.

(“Do you want to give me some colors on the object?”)

The four areas could be different in color, and fairly bright—perhaps also a pale blue. [...]

[...] Jane then remembered that the parent begonia here at the house had its pot, until recently, wrapped in an orange-colored burlap type of fabric. [...]

[...] Either the inscription or the insignia is of red color. The object itself of a metal color.

(“Either the inscription or the insignia is of red color.” [...] The color of the porous paper or board is a typical light beige or tan, not resembling metal, and certainly not heavy in weight for its size. [...]

(“A connection with round colored objects,”. [...] They were translucent, of different colors, tiny horses that were not round as a marble is round, but with rounded simple lines. [...]

[...] A connection with round colored objects, and a person who was not familiar to you personally.

(“Ruburt’s impression of a table...and rounded objects and colored.” [...] Rounded objects and colored I thought another reference to “something circular.” [...]

[...] We are managing now in such a way that our material survives without undue coloration from the subconscious. [...]

[...] A dark-colored wooden bed with high posts. [...]

[...] Also Ruburt’s impression, rounded objects and colored.)

Purple, the color. [...] Four separate blocks, or divisions of color. [...]

[...] The floor covered with a light-colored, textured rug. [...]

This room, the office, has a large light-colored wooden desk, set out from a window—that is, not in the center of the floor—the chair between the window and the desk.

I pick up also some connection with flag shapes and colors, and with a connection with Wisconsin.

[...] Rise up the importance of yellows or colors signifying light. [...]

[...] Then imagine the colors as appearing from within, not applied from without but shining through. [...]

Imagine the colors as waves of light, not as applied (with gestures) or added onto, but as growing out of, filling the preliminary sketch as blood fills the body.

(The idea of letting the painting fill itself with color “as blood fills the body” is excellent.

[...] Color was used in terms of language in communication, in drawings and paintings; representing somewhat as your own color does, emotional gradations. The color however, its value of intensity, served to further refine and define — for example, either by reinforcing the message already given by the objective value of the lines, angles, and curves, and by the invisible word messages already explained; or by modifying these in any given number of ways. [...]

(9:29.) This is difficult to explain, but they could mentally pitch a thought along certain frequencies — a highly distinguished art — and then translate the thought at a given destination in any of a number of ways, into form or color, for example, or even into a certain type of image. [...]

Now: You equate the color white with brilliant consciousness, good, and youth, and the color black with the unconscious, old age and death.

It may not seem that there is any connection between that situation and your beliefs involving color, and yet the two are intimately associated.

Applied to old age, the color black denotes a returning to those unconscious forces. [...]

(“Some connections with a child here, and the color purple.” We made no connections with the color purple. [...]

(She explained her drawing to me, and I have translated it into three colors. [...]

[...] (In parentheses: Ruburt thinks of old-fashioned Shredded Wheat cereal cards, that were gray-blue in color.) Connection with four columns. [...]

[...] Some connection with a child here, and the color purple.

The colors, strangely enough, considering the color of the ribbon, were predominately violets and yellows, with some blues.

[...] The woman wearing a light-colored hat and dress; either this or the dress and hat are in strong sunlight. [...]

[...] A connection with the color red. [...]

(“A connection with the color red.” [...]

In a sense any color or quality of that nature could be considered a mental enzyme. There is an exchange of sorts between the mental and the physical without which, for example, color would not exist. Now I use color as an example first because it is easier perhaps to understand how this could be a mental enzyme, than it is to understand the same thing about chlorophyll. Chlorophyll is green but more than color. [...]

(“And a connection with, I believe, the same number of large colored squares or rectangles. [...] The color red among others, and yellow.” [...] Some of my recent work has been in the abstract vein, also, and incorporates squares, angles, etc., some of them in brilliant primary colors. [...]

[...] And a connection with, I believe, the same number of large colored squares or rectangles. [...] The color red among others, and yellow.

[...] (Long pause.) In human beings the genetic structure largely determines physical characteristics such as height, color of eyes, color of hair, color of skin—and, of course, more importantly, the number of fingers and toes, and the other specific physical attributes of your specieshood. [...]

[...] They have an esthetic appreciation of their own colors—a different kind, of course, than your perception of color. [...]

[...] (I had never seen an aura.) It also changed color. [...]

[...] Instead, I felt a strange feeling of extension above my head and before I could comment on it, Rose and someone else —Sally?—called out that my aura had changed color and was now purple. [...]

[...] She said that she definitely saw something green, like a green line, going up and down in front of me; also another color, I forget; and that this continued while the hand bit did. [...]

[...] Seth here referred to two rather brief but vivid and colorful dreams I had written down just before tonight’s session began. [...]

The colors have to do with quickening intensity of an inner nature. [...]

(Dream # 1; Monday night, October 18: In color. [...]

(Dream # 2; Tuesday night, October 19: In very bright and vivid color. [...]

(“Colors green and yellow.” [...] This particular roll of Polaroid color film had been exposed to heat; Don took the chance that it would still give legible pictures. As it was the color print used as object has a dull, overall brownish cast, yet the local colors are still visible, to a reduced degree.

[...] The object was a faded color Polaroid photograph. [...]

[...] Colors green and yellow. [...]

(The grass immediately in back of the cat is light yellow brown in color, shading off to a darker greenish brown around the edges of the photo. [...]

[...] Jane wondered if the flower extract had anything to do with the little finger acting up; its color was mildly dark compared to the middle finger’s original dark blue appearance. [...]

[...] Jane said she felt the same muscular activity in her back, hands, arms and legs that she had when the middle finger began turning color. [...]

[...] They are natural ever-changing states of feeling, each leading into another in a free flow of energy and activity — colorful, rich, glowing tints that bring variety to the quality of consciousness. Such states of personality can be compared to colors alone, bright and dark, the strong patterns of energy that always represent motion, life and variety.

A complete change of color is strongly recommended. A gay contrasting color. [...]

I still tell you to paint your own room, though the same color is fine. [...]