“Seth material” search engine (Jane Roberts)

[...] In our analogy, the painting while framed within a given space, expanded. [...]

[...] The river can be seen from the back door of the Art Shop, and from the second-story workroom above where Tom makes his frames, etc. [...]

[...] Particularly if you want to make a living at your art, you fall into the frame of mind in which you think that “each minute is valuable” — but what you mean is that each minute must be a minute of production. [...]

[...] Each segment of each color was held within a very thin black frame, as on a much cruder scale the pieces of a stained-glass window can be contained by channeled lead strips. [...]

I also believe, however, that generally speaking science still views our genetic systems in mechanical, deterministic, and reductionistic terms, and will continue to do so for a long time: So that evidence is being accumulated to support that overall view that at this time science has no need to seek for other, larger, and more unsettling frames of reference encompassing consciousness, intent, and genetics. [...]

[...] They were like magnifying glasses, in a frame on her nose.

[...] It was necessary in the old frame of reference, that he believe his body could not work properly. [...]

I did mean to mention that man’s use of perspective in painting was a turning point (early in the 15th century), in that it foreshadowed the turning of art away from its imaginative colorations toward a more specific physical rendering—that is, to a large degree after that the play of the imagination would not be allowed to “distort” the physical frame of reference.

[...] This is not only waste of time, but it adversely affects your creativity, and that frame of mind will never generate solutions, but only further difficulties in any area (emphatically).

[...] A framework, or something framed. [...]

[...] A connection with this photograph, and a two-or-three-story house, a frame house with brick or stone stairs at the front.

In the old frame of reference he had to convince himself that his body could not move well, or fast. [...]

When an artist paints a painting, you can look at the painting and say, “Ah, the artist was in a certain frame of mind” or: “Look at the dull colors and the dreary landscape” or: “Look at the wild colors and the fantastic forms” or: “See, there is no form and yet there is marvelous vitality.” [...]

[...] Instead, you set it aside and frame it with its own decor, as you might in a museum that has separate rooms designating life in past centuries. [...]

[...] It was not my body surely, but must larger, with a bony frame, dark hair, a more square face, and glasses.

(Jane also said the embossed data is legitimate, and stemmed from two things on the object: the “squiggly" frame I indicated in the drawing, and the fact that the center portion of the object had added dimension or thickness because of the two pieces of paper—actually one-ply drawing paper—being pasted together.

[...] I’d like to frame some of those little pieces, for visually they present the same qualities her poetry does verbally. [...]

[...] Therefore to be proud of oneself seems a sin, and in that frame of reference true affirmation of the self is impossible. [...]

Say that the painting is a landscape, and that this transformation includes within the same amount of space the addition continually of more trees, more hills; that the hills still within the same amount of space allotted to the painting grow taller, and yet never shoot past the frame. [...]

[...] Fear, his and yours, makes him concentrate upon the body’s sensations too much, and that prevents him from the frame of mind necessary for his writing.