“Seth material” search engine (Jane Roberts)

[...] “You get what you concentrate upon.”¹ Your mental images bring about their own fulfillment. [...]

(9:35.) Men’s dreams were also different in those times, filled far more with metaphysical images, for example, more alive with saints and demons — but overall one framework of belief existed, and all experience was judged in its light. [...]

—potbellied Buddha image, nor indeed any manifestation of your conception of a ghostly spirit that drifts in out of the night. [...]

[...] In the female existence of which I am speaking, it was the aggressiveness which the personality found distasteful; and in this existence we find the dependency, which you see does not fit in with the personality self-image.

[...] I finally figured out why that mirror image confronted me with such an unreal quality: All the muscles and planes of my face were super-relaxed and smoothed out, so that the face at once looked both younger and older than its real age. [...]

To some extent the York beach images held what might have been expected of you. [...]

[...] / All around us /
the beach gathers the / precious images /
that leap up suddenly / in the dark, coming in with /
the tide that unites / the tides of the heart.

[...] We grew up without modern conveniences like portable tape recorders, of course, but even so our natural creative desires had always been to express ourselves graphically, in written and printed words and in drawn and painted images. [...]

[...] Jane said that while giving this data she had a mental image of a box shape. [...]

[...] She recalled having one image, and this was associated with the cross sign she had made.

[...] Even your remarks about a black-haired wife meant the image of a woman in her 20’s—the-younger-than-you obviously youthful, spontaneous and cute wife; not a 44-year-old woman with experience behind her, some sense, and who could stand on her own feet, but a much younger version, youthful enough to get into trouble, and to be humorously watched in that regard.

[...] As sometimes happens, memory and images connected with the material began to come back to her as we talked. [...]

(“Like the time Jane and I created those images at York Beach?”)

When it accepts an illness as a part of its own self-image, then the illness becomes an actual part of the reality that is the self. [...]

[The other director] is too much concerned with his own personal image. [...]

[...] It does not build up the image of a man, but it builds up a composite sensation which represents, say, a given individual. [...]

[...] Now I have told you that these images have a reality, beside an imaginative reality.

[...] The bug then sees a gigantic but blurred, incomplete so to speak, cat image, which is surrounded by infrared solidity, which is significant to the bug in terms quite incomprehensible to you.

[...] That is, the question as to the survival of the physical image after the point of so-called death, and the lingering about the physical plane of portions of the personality.

“The statue of the deer represents that idealistic image of the past; finding it broken in Brenner’s yard connects its real environment where Rob lived as a small boy [on Harrison Street] to Wilbur Avenue where he lived later; meaning that he’d idealized both backgrounds. [...]

(Jane meant, of course, a CT or computerized tomography scanner, a modern X-ray machine that shows the interior of the body in a series of brilliant cross-sectional images.)

[...] Too many might be tempted to jump into that image prematurely.