“Seth material” search engine (Jane Roberts)

Say for example that our individual “A” wanted to transmit this thought to “B”. The thought is as much a reality as the landscape. It is as much a part of individual “A” as the landscape is part of the physical earth. Our imaginary artist could not rip the landscape out of the earth, or bring it to his studio. He could not create an identical landscape because he did not have at his command the perspectives or materials necessary.

A very simple analogy will arise as an artist attempts faithfully to reproduce a landscape. The attempt is obviously doomed to failure, since the necessary actual perspectives in which the landscape exists are denied to him as working materials. He cannot create an actual reproduction of a living landscape.

Such a landscape would have to be composed of the actual elements that compose the original landscape. The artist would have to assemble mountains of rocks, an infinity, that is infinity of molecules, all equally impossible. The best he can do is create a distortion of the original landscape—a creation of an approximation that can comfortably exist within the limited perspectives with which he can work, and using the materials that are at his own command.

[...] If a particular person’s face was a landscape, what kind of a landscape would it be, for example? [...] But beyond this in deeper terms, how would that face be translated if it were not a face but a landscape? [...] What kind (underlined) of landscape, desert or mountainous, and so forth?

[...] You could perhaps at some time paint a portrait of a man who would like to sit within that landscape. You have painted a mind or a spirit as it appears in landscape form. [...]

[...] You can paint landscapes as if they were portraits, and portraits as if they were landscapes. [...]

THE DREAM LANDSCAPE, THE PHYSICAL WORLD, PROBABILITIES, AND YOUR DAILY EXPERIENCE

Now: Give us a moment… (Whispering:) Chapter Twenty: “The Dream Landscape, the Physical World, Probabilities, and Your Daily Experience.”

[...] There are other important reasons for dreaming, but here we will confine ourselves to this particular issue and to the dream landscape itself, period.

You can request that the thought content of your mind be translated into an intense image, symbolically representing individual thoughts and the overall mental landscape, then take out what you do not like and replace it with more positive images. This does not mean that this inner landscape must always be completely sunny, but it does mean that it should be well balanced.

A dark and largely brooding inner landscape should alert you, so that you begin immediately to change it. [...] If so, however, by examining the inner landscape of thoughts, you would find the source here that initially brought about the physical ailment. [...]

[...] Thoughts, for example, may appear as stationary structures, as flowers or trees, houses or landscapes. [...]

[...] Since the paper samples I requested were for watercolor paper, I can see where many colors and “a landscape of a landscape” can enter in, since I wanted to test the paper by doing some small landscapes at our landlord’s farm. [...]

[...] (Pause.) Having to do with a familiar place, a tent, and a landscape of a landscape.

(I regard the test as quite good at this stage, especially the reference to me via initials, and the note, something two times, and a landscape of a landscape. [...]

When you, a dream tourist, wander about the inner landscape with your mental camera, however, it may take a while before you are able to tell the difference between dream events and their shadows or hallucinations. [...]

[...] You must remember that you are wandering through a mental or psychic landscape. [...]

[...] Far greater leeway exists, however, as a thought or feeling in the dream world casts its greater shadow out upon the landscape of the mind.

The inner landscape is no less real because you do not generally perceive it. In Framework 2 that inner landscape is the reality, and it is from that world that your physical events emerge.

They are quite as real in the emotional landscape of man’s psyche, as the elements of the skyscape are above his planet. [...]

[...] It seldom occurs to you as a people that inner landscapes are as real, or that there are, say, psychological structures, usually unperceived, that are quite as real as any physical one. [...]

Disconnected from their usual daily attraction to physical events, your emotions will often form their own landscapes, utilizing dreams as their creative medium. [...] (See Chapter Eighteen.) In somewhat the same way, you have a part to play individually in the creation of the dream landscape. [...]

[...] And so the landscape, not one but many landscapes in one, for while it is unique in a given moment, still it is a composite in your terms of the pasts that have formed it, and the futures that act upon it even now.

In that respect the landscape has its center. [...]

[...] As we move toward door shadows, almost same, I see one woman carrying Rob’s landscape (the one in our bedroom) pushing it ahead of her. [...]

So do not be surprised, for you may see a person, an animal, an insect, or a landscape — but trust whatever image you do receive. [...]

If the image of a landscape appears instead, then ask for a series of such images, that will again somehow point the way toward recovery, or toward the resolution of the problem. [...]

[...] It is easier to feel yourself as the artist, also a part of the landscape that you paint; to sense the merging of your own energy into the scene before you, and to realize that you are a part of it also. [...]

You as artist, symbolically speaking, should not step backward to see the landscape more clearly, but step into it so that you can feel it more clearly. [...]

[...] It is also to imagine the power of the energy that causes that flower to grow; and yet in a landscape you will have perhaps many flowers. [...]

[...] When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. [...]

A good relationship between you frees repressed emotion on both of your parts, which then pours over into your work and illuminates all of your interior and exterior landscapes both symbolically and literally.

(Pause.) Briefly, remember analogies I have made in the past, comparing the landscape of physical experience to the painter’s landscape — which may be dark, gloomy, filled with portents of disaster, and yet still be a work of art. [...]

[...] Men could wander as they wished about the landscape. [...]

[...] Only inner experimentation will let us discover this interior landscape. [...]

The painting also, innately now, involves going outdoors, though you seldom paint from nature out in the landscape. [...]

You know that a star may light a dark universe, a dark landscape, and help a wayfarer on his way. [...]

[...] It is blind to the landscape that it brightens. [...]

[...] I’d even found myself exploring the town dump of Elmira — only the landscape looked volcanic, beautiful in its own way, heaped with gray fine ash like the surface of the moon, almost.)