“Seth material” search engine (Jane Roberts)

[...] The memories and realities within that portrait are yours to learn from and to use as a model for other such living portraits in time and space.

[...] The Shakespearean plays are an excellent case in point, even when they concern even older heritages, so the creative artist in any field has certain creative traditions that become classic models for his art and that of the world. [...]

Ruburt’s creative abilities still had those classical models, yet because of his mind’s originality and his natural intuitive nature; those creative abilities were also fueled by unofficial information: he was always to some extent in strong connection with the knowledge possessed by his natural person—and that knowledge kept seeking expression. [...]

[...] You should go into your own ideas about the people you paint, and why, being fascinated with portraits, you often do not use models.

Now: Modern medical science largely considers the human body to be a kind of mechanical model, a sort of vehicle like a car that needs to be checked by a garage every so often.

The play itself was concerned with the actualization of intuitive truth into what you would call artistic form, with a creativity of such vast and sweeping results that it would serve to awaken latent abilities within each actor and to serve as a model of behavior.

[...] They serve as models.

If you have thought that the universe followed a mechanistic model, then you would have to say that each portion of this “cosmic machine” created itself, knowing its position in the entire “future construction.” [...]

“I’d say that both the creation and evolution models suffer from logical and emotional sloppiness, and that neither one presents a reasonable view of man’s origins. [...]

The imaginary framework that I set up for you is an excellent one, a particularly good model for the actuality. And even such a model as I carefully described could not be constructed physically within your particular system, since it contains degrees of mobility that your system has no room for.

To some extent they serve as physical models. [...]

(Long pause at 11:01.) Members of this (Zuli) family can often serve as models for the artist or the writer, but generally speaking they themselves transmit their energy through physical “arts” and performance. [...]

[...] For if Seth is only a psychological model filled out by my unconscious trance material, then he certainly puts our usual concepts of personality to shame, and by implication shows that we ourselves have a long way to go if we are to use our full potential.

[...] I think that Seth is a model of ourselves as we know we can be; that he speaks for the part of ourselves that never for a minute believed all that nonsense about flawed selves.

Many who unexpectedly commit great crimes, sudden murders, even bringing about mass death, have a history of docility and conventional attitudes, and were considered models, in fact, of deportment. [...]

[...] Some such individuals, model sons, for example, who seldom even spoke back to their parents, were suddenly sent to war and given carte blanche to release all such feelings in combat; and I am referring particularly to the last two wars (the war in Korea, 1950–53, and the war in Vietnam, 1964–73), not the Second World War.

[...] It is the desired and sought-after model against which you psychically measure your present self.

[...] I hope of course that our “model” avoids many of those pitfalls. [...]

Using “real objects” now, you learn to manipulate energy with the models before you, so to speak, gaining confidence so that “later” you can trust yourselves in the use of energy without needing the physical appearance of, say, an object before you. [...]

The earlier vision experiences were unsuccessful preliminary attempts on an unconscious level to pick up images of models for your paintings. In the blurred dark portion, the models would have appeared. [...]

Those seeds form the physical races, which are all variations on a theme, or as Ruburt would say, eccentricities² of an everchanging model. [...]

2. See Chapter 3 (among others) of Jane’s Politics: “Models and Beloved Eccentrics,” as well as Note 11 for the 721st session in this Volume 2.

[...] Even given their undeniable accomplishments, why didn’t the Eastern countries create ages ago the immortal societies that could have served as models for those of the West to emulate — cultures and/or nations in which all the mundane human vicissitudes (in those terms) had been long understood and abolished: war, crime, poverty, ignorance, and disease?

[...] It is not your ego that you fight, although you have a model of an ego. [...]

[...] We think this a good reference to the fact that my begonia at the office, which modeled for the object, is a descendant of the plant here at home. [...]

[...] As I sit at my drawing board at the office, perhaps a foot or eighteen inches from the begonia plant which served as a model for the envelope object, I am given my paycheck each Friday afternoon.

(For what it is worth, earlier in the afternoon I had been wishing I had a model handy, for I felt like doing some quick sketches as a relief from the constant oil painting. It is difficult for me to get models when I have the time to use them. [...]

However, it is quite possible for him to tune in to James’s complete book if he desires to, for that work is indeed a psychic reality, a plan or a model existing in the inward order of activity (as Jane had explained to me in similar terms this afternoon).

[...] The plans, as models, were picked up by inventors, scientists, and the like, and altered to their own specific directions, so that they emerged in your world not as copies but as something new. [...]

[...] Many artists do the same thing, translating inner “models” into paint, lines, and form.