“Seth material” search engine (Jane Roberts)

[...] He has projected upon the present event the picture of his fears, rather than the picture of his original intent. [...]

[...] Intent, purpose, or desire do not apply in that picture.

(3:27.) A city might be overrun by rats, for example — a fine situation for the rats if not the populace — but the entire picture would include unrest in the populace at large, a severe dissatisfaction with social conditions, feelings of dejection, and all of those conditions together would contribute to the problem. [...] Nor are insects invulnerable to such conditions, in such an hypothesized picture (long pause). Actually, all forms of life in that certain environment would be seeking for a balanced return to a more advantageous condition.

Dream 2—Don’t recall the beginning but it was in a huge amphitheater and there was a picture in great color on a giant screen to the left. [...]

[...] Don took the picture of the ceramic cat as it sat on a brick wall cutting across grass as indicated in the tracing on page 206. This particular roll of Polaroid color film had been exposed to heat; Don took the chance that it would still give legible pictures. [...]

[...] The picture was taken by Don Wilbur on April 4,1966, as noted on the back. [...]

[...] This date is the day Don took the picture and gave it to us. [...]

[...] This will give us a far vaster framework in which to understand the ways in which each individual person fits into the entire picture.

[...] Plants and insects fit into this larger picture, as do all fish and fowl.

It was an attempt to fit man within the picture of evolution, and to manufacture a creature whose very existence was somehow pitted against itself. [...]

[...] Great passion, or desire or intent — or genius — did not fit the picture.

(Pause.) All of our analogies taken together, you see, only hint at the true picture, but if I cannot describe clearly to you in your terms the interaction between Framework 1 and 2, then we will have difficulty with other later material. [...]

This is their primary level, however, for it is when they enter the picture. [...]

[...] Framework 2’s communication system is at once simpler and more complex that Framework 1’s. Just as, say, your intent to paint a picture automatically has your fingers all moving in the proper directions, and your body manipulating properly, so that the desired painting results, so in a larger fashion your clear intent is communicated to each of the people involved—at a level without static—yours or theirs. [...]

[...] Some may simply be subconscious pictures. [...]

[...] It is that the physical picture is simply one of an infinite number of ways of perceiving the various guises through which consciousness expresses itself. [...]

[...] If you paint a picture within three-dimensional existence, then the painting must be on a flat surface, merely hinting at the complete three-dimensional experience that you cannot insert into it. [...]

Now I want you, in the same way, to picture his arms straight in normal position, and follow the same procedure. [...]

[...] Ruburt can picture, mentally, your straight penis, more easily than he can his own arms. [...]

[...] If you want to experience the splendid creativity of your own being, however, then I will use methods that will arouse your greatest adventuresomeness, your boldest faith in yourself, and I will paint pictures of your psyche that will lead you to experience even its broadest reaches, if you so desire. [...]

Our artist then realizes that all of the people he painted are also painting their own pictures, and moving about in their own realities in a way that even he cannot perceive.

Now I come from another portion of reality’s picture, from another dimension of the psyche in which your existence can be observed, as you might look upon a normal painting.

[...] So we used this in that test to enlarge the picture, and bring in further details that did give you a rather complete picture, respectable data, in a way that was fairly natural to Ruburt. [...]

[...] Any material proof of this sort is extremely difficult, since oftentimes you pick up a generalized picture of coming events, so to speak, and the words that you use are so literal that they cannot convey the whole picture sufficiently enough so that validity can be proven, in your terms. [...]

In that larger picture (underlined) there are no errors, for each action, pleasant or not, will (underlined) in its fashion be redeemed, both in relationship to itself and in relationship to a larger picture that the conscious mind may not be able presently to perceive. [...]

[...] When he walks now on the streets, he should keep the mental image just given in his mind, picturing the whole flexible and fleet image, and the inner self will take steps to see that the suitable adjustments are made. [...]

[...] He has, you see, a negative picture of himself walking that must be replaced by a positive one.

[...] You take its usual transmission in daily life for granted, overlooking the fact that all the physical aspects of its transmission and appearance serve to hide its basic non-materiality, and that words and printed data and moving pictures, all visual or physical symbols, are not the knowledge itself. [...]

[...] You are supposed to get a clear picture of your inner development by perceiving the exterior environment. [...]

[...] In man, the psychic-physical structure has at every moment a complete up-to-date picture of pertinent information about all events that will in any way affect the organism. [...] In the dream state such data becomes transformed, again, into pseudophysical pictures — reflections of events that might occur, previews of probable sequences. [...]

[...] The physical picture is as I have given it.

Feel free to present me with pictures or data or questions you want, or to ask questions immediately on the material as I give it.

(I now asked Seth to name the object: “I have the impression, holding the object this way” [gesture in the same fashion as above], “of a rectangular object, a card that is connected with a picture”, resulted in Jane having a mental image here. [...] She also had an image of something darker in the center of the rectangle, and interpreted this as a picture instead of “something real.” Upon seeing the object, Jane realized the dark areas of the leaves matched the dark areas she had seen mentally, yet the image hadn’t been sharp enough to see as leaves; it came through in a generalized picture interpretation instead.

(Pause.) I have the impression, holding the object this way, (again the same gesture) of a rectangular object, a card that is connected with a picture, and strongly connected with something that opened, as a letter could open to another page.