“Seth material” search engine (Jane Roberts)

Take all the time you want to with this. Then explore your own conscious sense perceptions of the orange. Dwell on its taste, texture, odor, shape. Again, do this playfully, and take your time. Then let your own associations flow in your mind. What does the orange remind you of? When did you first see or taste one? Have you ever seen oranges grow, or orange blossoms? What does the color remind you of?

Take a very simple event like the eating of an orange. Playfully imagine how that event is interpreted by the cells of your body. How is the orange perceived? It might be directly felt by the tip of your finger, but are the cells in your feet aware of it? Do the cells in your knee know you are eating an orange?

Then pretend you are having a dream that begins with the image of an orange. Follow the dream in your mind. Next, pretend that you are waking from the dream to realize that another dream was simultaneously occurring, and ask yourself quickly what that dream was. Followed in the same sequence given, the exercise will allow you to make loops with your own consciousness, so to speak, to catch it “coming and going.” And the last question — what else were you dreaming of? — should bring an entirely new sequence of images and thoughts into your mind that were indeed happening at the same time as your daydream about the orange.

In physical waking life, you must do one thing or another, generally speaking. Obviously I am simplifying, since you can eat an orange, watch television, scratch your foot, and yell at the dog — all more or less at the same time. You cannot, however, be in Boston and San Francisco at the same time, or be 21 years of age and 11 at the same time.

In sense terms he would learn little about an orange, though he might be able to isolate its elements, predict where others might be found, theorize about its environment — but the greater “withinness” of the orange is not found any place inside of its skin either. The seeds are the physical carriers of future oranges, but the blueprints for that reality are what formed the seeds. [...]

Suppose a scientist found a first orange, and used every instrument available to examine it, but refused to feel it, taste it, smell it, or otherwise to become personally involved with it for fear of losing scientific objectivity.

(“The impression of small squares with orange, I believe, circles in the center.” [...] There is no orange on the object, or page 11/12, for instance. [...]

The impression of small squares with orange, I believe, circles in the center. [...]

[...] Orange and purple. [...]

The impression of some round shapes on it, or connected with it, of orange. [...]

(“Orange, and a blemish.” As stated, the paper the object is printed on is of an orange brownish color that is quite novel and attractive. The blemish data could be a distortion, resulting from the fact that the orange paper is printed upon with a darker brown ink.

(The memo pad slip used as the 80th envelope object is printed in a dark chocolate brown on a paper that is a rather bright orange brown of middle value. [...]

Orange, and a blemish. [...]

[...] It is printed in a dark chocolate brown on rather bright orange brown paper. [...]

Connection with an orange yellow white. [...]

[...] Orange and red.

[...] “Connection with an orange yellow white. [...]

[...] Orange and red.” [...]

[...] Or imagine an orange, each atom of it connected with each other and yet each one individual and each representing a reality. It may seem that there would be no way to get out of the reality of the orange if you were forced upon its surface, but to go round and round, and you might seem isolated. And so, in your reality, you might seem isolated, and yet that orange is in another basket of oranges, and the skin of it touches another. [...]

[...] Orange. The orange seems to be connected with black also. [...]

[...] Orange. The orange seems to be connected with black also. [...]

[...] I sense color, perhaps orange, yellow; but I get the impression of something sunny, as an orange-yellow color would be. [...]

(The orange-yellow-sunny interpretation of this photograph is particularly intriguing to us because it was taken on an extremely bright day; we remember it well because some other pictures I took on this roll, of rocks and the sea, were overexposed because of brightness and reflections. [...]

[...] They are more like the various skins of an onion, or segments of an orange, all connected through the one vitality and growing out into various realities while springing from the same source.

I am not comparing personality to an orange or an onion, but I want to emphasize that as these things grow from within outward, so does each fragment of the entire self. [...]

The plain apricot juice is best for breakfast, rather than the orange combination, which is acid. The orange apricot juice is all right with eggs and toast, but not with milk and cereal.

[...] Some orange or red appears.

[...] The impression of a round orange object, or representation.

(“Some orange or red perhaps.” [...]

(“The impression of a round orange object, or representation.” [...]

[...] In the first column Peggy Gallagher calls the painting done “In washed out shades of gray and orange.” Jane associates the gray and orange with bronze. [...]

[...] I can say the overall tone of the painting is of an orange gray, [bronze?] with other very muted colors interwoven.)

(An obvious connection I had never consciously made; since I enjoy using apples, oranges, fruits, eggs, etc., for models.

[...] Remember in your painting the relationship of one object to another, not in terms of space necessarily, the interrelationship of the vitality that forms the objects; the vibrating always changing reality within, say, the skin of the apple or the orange, the quite living consciousness within the molecules that make up what seems to be the solid surface of the fruits’ skin.

[...] Jeff Karder has her on another vitamin supplement — a pungent colorless liquid that to me smells like orange peel. [...]

[...] And the color orange and black, and an automobile perhaps.” [...] The taxi she used was orange and black.

[...] And the color orange and black, and an automobile perhaps.

(To Brad.) I have a few remarks to our friend with the sideburns over there, and the changed image in the orange shirt, and it is this. [...]

(To Brad.) Our orange shirt over there, you have progressed more than you realize that you have, and being away from class during this time has done you good. [...]

[...] White, orange, red perhaps, this being circular, and a yellow. [...] The orange, red applies to the red halftone used on the cartoon figure, as indicated on page 319.

[...] White, orange, red perhaps, this being circular, and a yellow. [...]

[...] An orange color, and perhaps with scrolls, or scroll shapes, and a banner.

[...] An orange color, and perhaps with scrolls, or scroll shapes, and a banner.” [...]

[...] The building has a flat roof, is one story high, is of red (orange?) wood that looks lighter in sunlight, and has a series of shingles or name plates hanging outside that might be called banners. [...]

[...] Now Anita Bryant with orange blossoms presents you with all of those questions. [...]

(Seth:) Now I wouldn’t drink her goddamned orange juice either!!!!

Orange Beach Park.