“Seth material” search engine (Jane Roberts)

[...] The interpretation is his own, colored by subconscious prejudice, and largely a matter of vocabulary. [...]

[...] It is he who adds any other coloration here, and then reacts to those. [...]

[...] Now to distort these by coloring them with lesser ideas, ideas incidentally that he did not have when we began our sessions, is unfortunate.

Because Ruburt is at times so literal, he then did become bothered by thoughts of setting himself up, or thoughts of misrepresentation; and all of this because of the interpretation of the word spirit, or spiritual, and highly colored interpretations at that. [...]

[...] One note of interest; technically speaking the oil colors I use contain no color named sepia, specifically, though, of course, a range of earth reds and browns are included. [...]

[...] I was sure of the color but was not positive as to whether you were using it too heavily or not heavily enough. [...]

[...] Brown was one of the colors used, and could have contributed to the undesirable purplish undertone in the flesh. [...]

(“The color white background”, might be taken as a reference to the white paper the envelope object was drawn on, but Jane said that once again this referred to the tracing-paper drawing I made. Tracing-paper is a pale translucent gray or off-white color, but not really white as this typing paper is white.

[...] The color red, large flowery first letters, open sentences or paragraphs.

[...] That is, long lines that are straight, perhaps two of these, and of dark color I believe, or dark red. [...]

[...] The color white background, and a paper item, folded like a card, the center being a rectangular shape.

[...] The space between either the covers of the book or the covers of the box being colored, and patterned. (Long pause.) The patterns resembling imperfect circles—shapes—perhaps red, orange or yellow, but more than one color.

(The receipt is rectangular in shape; in connection with this shape, Jane said she had an image within, of a whitish color. [...] Remember also that she gave white in connection with the object’s color, in answer to my second question. [...]

[...] As stated on page 36, Jane had a mental image of a rectangular object that was whitish in color, with lines upon it. Hence the persistent references to a white object instead of the actual green color. [...]

(“Do you want to say something about the color of the object, if any?”)

[...] She’s really attracted by strong, bright color. [...]

[...] I am taking it for granted that you understand that I am referring to the ‘mental attitude’ of animals and of the body consciousness, for they do possess their own mental attributes—psychological colorations—and above all, emotional ‘states.’”

[...] The symbol is of more than one color, however, and fairly dark against the white. I am seeing it in the evening, so the color of the symbol is not very clear. [...]

[...] A color green. [...]

[...] The color blue. [...]

[...] The same applies to “A color green.” [...]

[...] I remember that it resembled a beetle, was about half an inch long, was a beautiful light red-brown color, and lay helplessly on its back with its legs thrashing. [...]

[...] In our last session, during a break, Philip mentioned the television set as being one physical object, about which he believed you could all agree in any discussion of size, material, color and dimension.

[...] Your constructions of the television set are further aided by other hidden unconscious data, such as the material best suited for the constructions, the general size, shape and color with which you have previously been familiar. [...]

[...] Your construction of the set, Joseph, will involve the use of energy formed into various combinations of atoms and molecules; and these themselves give off vibrations that are received subconsciously, and also serve therefore to give indications of approximate location, bulk, and even particular material and color, to the subconscious mind of any observer, so-called; although he does not see your construction but forms his own, more or less in faithful replica, to what he has subconsciously perceived telepathically from you and any other constructor, from generalized notions of the idea behind the construction, and from vibrations and even impacts received from the atoms and molecules that compose other constructions of the so-called single object.

[...] Because this was like a mental doodle, the colors were not complete, the picture was not filled in.

The entire conversation was an attempt to make the event seem reasonable, an attempt to color in the picture.

[...] However the color and the initial— the initials particularly, were quite specific. [...]

This sort of thing, you see, in dark color, the X-shape mark in dark color, as something canceled.

[...] This sort of thing, you see, in dark color, the X-shape mark in dark color, as something canceled.” [...]

[...] Coherence, the illusion of permanency, placement in space, color and mass, all these are arrived at and agreed upon, in ways that I have clearly explained.

[...] The first time I had asked Seth for data on a category not mentioned, namely color. [...]

[...] The unconscious, the color black, and death all have strongly negative connotations in which the inner self is feared; the dream state is mistrusted and often suggests thoughts of both death and/or evil. [...]

[...] Within a nation they can be directed against those of a particular race, creed or color.

[...] The color black assumes stronger tendencies in its connection with evil — something to be avoided. [...]

[...] Simply for example, a belief in the color red does not negate belief in the color green.

As you walk, become sensuously involved with the trees, landscape in general and colors, and if possible lose yourself in their fragrance and vitality. [...]

(The photo in question, in color, is not dated, but was taken in 1973. [...]

(It happened in daylight, and in color. [...]

[...] I saved it because of its interesting color and shape, and the fact that its points were as sharp as ever. [...]

[...] These are the colors of the envelope object; the holly leaf is very dry and brittle, and faded out to a gray-brown.

The color was correct, and the miscellaneous shapes, as you see. [...]

[...] However the color and the initials—the initials particularly—were quite specific.

(“The color red.” Jane wore plaid shorts of a predominantly red color. [...]

The color red. [...]

I think there is a red color, and rather large lettering, perhaps four or five lines. [...]

(“I think there is a red color, and rather large lettering, perhaps four or five lines.” [...]

In color as usual: Another return-to-Sayre dream. [...]

[...] You would not take on that physical coloration. In a way however you are working through the same problems artistically, and Ruburt would never accept that coloration, so he has learned from you there.

[...] It is silly in painting to say “Why did I at first choose that color, which did not work, instead of the final completed hue?” You have in art underpainting. [...]

9) color yellow.

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 physical without which, for example, color could not exist. I use color here as an example because it is perhaps easier to understand how this could be a mental enzyme than it is to perceive the same thing about chlorophyll. Chlorophyll is green in more than color, incidentally.