“Seth material” search engine (Jane Roberts)

If a different picture entirely presents itself then by all means note it. In your case (underlined) the relative position of objects within the imaginary painting may possibly be important also, objects in the foreground perhaps being more immediate. Again in your case you may find a road symbol. That is you will quite possibly use perspective in these things, relating to time. The length of a road in such a painting, with you, may be connected to the period of time between you and the event you seek information about.

Now these symbols I believe will crop up specifically for you on various occasions. For you, again, the vividness of a color may also denote position in time. It may have other connotations also. For example, say you request information concerning a letter. You see, as a painting perhaps, a bright red, yellow or even electric blue, envelope. This could denote a favorable and fairly immediate reply, particularly if the letter was seen in the foreground.

If it were small and in the background the favorable elements still apply, but put off some 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. Further in the background a less immediate but still probably unfortunate reply.

[...] If such thoughts do come to the foreground of attention, then you are not ready to proceed. [...]

[...] My emotional makeup comes to the foreground at times, of course. [...]

[...] The experience is valuable to Ruburt in that he sees that no invasion is involved; and that when his emotions are stilled there is still an emotional reality, as my emotions come to the foreground.

[...] Large shapes in the foreground.

The large objects in the foreground did refer to the rock ledge, or the ledge of rocks in front of the house.

[...] I took it for reference for a future painting, and consists mainly of a mass of tangled marsh grass in the foreground; in the background rise a couple of average-looking houses, a telephone pole and some wires. [...]

[...] A “framework of thin lines” is an apt description of the patterns formed by the high marsh grasses in the foreground of the photo, with the houses rising in the background as “cube formations... [...]

[...] The artist may vividly evoke the image of a disappearing road that appears to be broad in the picture’s foreground, only to turn smaller and smaller until it seems to vanish in some distant hidden point. [...]

[...] In a manner of speaking they are in the background, from which the foreground of your experience emerges. [...]

What you think of as (underlined) male ego-oriented characteristics are simply those human attributes that the species encouraged, brought into the foreground, and stressed. [...]

[...] Without it there would be an “out of focus” effect that would make physical survival impossible, so certain portions of the inner self come to the foreground of being.

[...] I hope that this book will serve to release the deeply intuitive self within each of my readers, and to bring to the foreground of consciousness whatever particular insights will serve you most.

[...] (Pause.) Dane or Norwegian, domestic scenes, 1700’s. (Pause.) Straggly grass scenes and small mounds of ground, brownish foregrounds. [...]

[...] Other times, though less seldom, I am in the foreground and Seth advises me as to what to say.

[...] Apparently the picket fence, seen in two places on the photo—to their right and in back of Del and Maxine, and their left foreground. [...]

The very experience however, with all of its triumphs and insights had to bring to the foreground personal problems of development that many people simply do not face, or come to grips with. [...]

[...] Now the order had to do with St. John, and there was a crest either belonging to the order or belonging to our friend’s family: a four-tonged fork, with a serpent above the upper portion of the handle in the foreground, and in the background either a castle or a monastery.(Bordeaux, seaport SW France.)

[...] She had the feeling that Seth was in the foreground, she was in the background. [...]

[...] Closer, I have the impression of a black and white photograph, with two faces in the foreground, and shadow-shapes in the rear, through which lighter portions show.

[...] The scene on the front of the postcard consists almost entirely of oval components in the abstract: The sea spray, the clouds, even the rocks in the foreground. [...]

[...] In back of the statue of Mother Goose is a dense, dark green pine forest, as indicated on the tracing on page 16, as well as several trees nearer the foreground. [...]

Going upon the little information at hand, given the darkness, fears come to the foreground. [...]