“Seth material” search engine (Jane Roberts)

[...] I had used Jane as a model, and in the painting she stood by a river, beneath trees; across the river could be glimpsed a village.)

[...] Your tendency toward feeling safe in noncontact situations means that you do not want models in your studio, yet you are highly intrigued by personality. [...]

Science, however, seeing the body as a mechanism, has promoted the idea that consciousness is trapped within a mechanical model, that man’s suffering is mechanically caused in that regard: You simply give the machine some better parts and all will be well (amused). Science also operates as magic, of course, so on some occasions the belief in science itself will seemingly work miracles: The new heart will give a man new heart, for example.

The species uses those conditions, however, so that the paintings of the great masters can serve as models and impetuses, not simply for the extraordinary artwork involved, but to rearouse within man those emotions that brought the paintings into being.

[...] I thought that perhaps it was a ship model. [...]

[...] The idea “came” to me one day and I painted the portrait without a model. [...]

[...] This gray-brown leaf had been taped to the shade on my lamp at work for well over a year; originally I had used it as a model in doing some artwork for a Christmas card. [...]

[...] Jane said she remembered little of the delivery, except that Josef was modeled after a life of mine. [...]

(In Chapter Eight, Seth had said this was my way of trying to see models for my paintings. [...]

[...] Just before coming awake I had a brief impression of a man and a boy at a table or bench, upon which were some model trains. [...]

[...] She also related Joe’s limited model of his nature to some of her own ideas about disciplining her “writing self.”

(Here Seth refers to a portrait I am working on without a model, of a bald man with rather young features. [...]

These mental enzymes, to go back to them, are solidified feeling, but not in the terms that you usually use … I have said that our imaginary wires that seem to permeate our model universe are alive; and now if you bear with me, I will say that they are mental enzymes or solidified feelings, always in motion, and yet permanent enough to form a more or less consistent framework. [...]

So-called objective science gives you a picture, a model, that has served well enough in its own fashion, enabling you to travel to the moon, for example, and to advance in a technology that for a time you set your hearts upon. [...]

[...] (Pause.) It is using many of your own expectations as a model, and many of its father’s.

(The portrait is one of my “people” that I had painted without a model, which is my favorite way of doing people. [...]

[...] I think that his exacting mechanical abilities are reflected in Linden’s very realistic models, and are transmuted in the methods I use to solidly “construct” my paintings and to keep the records for the Seth material.

[...] It exists both in your past and future, a probable world that some of you will choose from a model placed in the past of your future — partially based upon fact, in your terms, but with its greatest validity lying in its possibilities.”

[...] So your one brother with his [model] trains, and the other brother with his golf. [...]

[...] At one “time” a god interpreted in those terms served as a model for the egotistical behavior of one self toward another self.