“Seth material” search engine (Jane Roberts)

You could imagine it for example as having a shape, but the shape would not be formed by matter, but by pattern masses; and all the multitudinous portions of it, the shapes on it, would be composed in terms of mass intensity. To bring this even clearer, you could even imagine that the whole inner universe was an organism, of which your universe represented but one small portion. Yet in using the inner senses, you yourselves probe into this universe, and at least in analogy dissect it, the inner self acting as the imaginary knife.

Thoughts have shape in terms of intensity mass, though you cannot see their shape; your outer senses do not perceive it. You see within yourself the various shapes of dreams to a certain extent. You do not see the dream itself, for even here, after giving a dream reality, electrical existence, you must break it down into simpler terms so that you can perceive what you have indeed created.

But thoughts have shapes, as do dreams. I use the word shape for simplicity’s sake, but the electrical universe is composed of dimensions which are perceived by the inner self, for the inner self also has existence within the electrical universe. If all of this sounds farfetched, then remember that the shapes that you perceive meaningful, many other species within your own field cannot perceive at all.

The idea image of the physical body is of course retained by the individual. The idea shape may be used or not used, according to when and in which manners the personality wishes to extend itself. It is no longer necessary for locomotion, and its senses, electrically coded now, are no longer necessary, since they were adopted to meet the demands of a particular field in which the personality no longer has any prime interest.

[...] An object in the center that is somehow sharply shaped. For example a star shape, a sharp shape. (Gesture—with her forefinger Jane made angular shapes in the air, her eyes closed.)

[...] An object in the center that is somehow sharply shaped. For example a star shape, a sharp shape.” [...]

[...] “The shapes perhaps cubes. [...] Some of the shapes in it are based on cubes. [...] And Jane said the design of the painting, with its interlocking angular shapes and lines, reminds her of a Jungle Gym at a playground.

[...] Note the sharp shapes. These shapes float in the center of the painting. [...]

(“A square object, perhaps a small square shape at the top center of the object, balanced by another shape at the bottom center.” Throughout the data Seth keeps attempting to refine this shape or block image, with some success. Although none of the shapes on the original object are square, they do give the impression of being balanced one upon another. [...]

[...] A square object, perhaps a small square shape at the top center of the object, balanced by another shape at the bottom center.

[...] The feeling of a fluid dark color, broken by white shapes that appear like blocks. Perhaps some connection with a pond or pool shape. [...]

(“The feeling of a fluid dark color, broken by white shapes that appear like blocks.” [...] Some of the whites are of a block shape, roughly, but more often simply irregular just as the pigment is.

In highly complicated cellular structures like yourselves (pause), with your unique mental properties, you end up with a vital inborn sense of shape and form. The ability to draw is a natural outgrowth of this sensing of shape, this curiosity of form. [...] It is a knowledge of bodily form from the inside out, so to speak, composed of cellular shapes and organizations, operating at the maximum. [...] It is primarily felt as a curiosity about shapes: the urge to touch, to explore, to feel edges and smooth places.

Cells, however, possess an inner knowledge of their own shapes, and of any other shapes in their immediate environment—this apart from the communication system mentioned earlier that operates on biological levels between all cells.

[...] The cell’s identification biologically is highly connected with this [very] precise knowledge of its own shape, or sometimes shapes. [...]

There is particularly a fascination with space itself, in which, so to speak, there is nothing to touch, no shapes to perceive. You are born, then, with a leaning toward the exploration of form and shape in particular.

(Jane said that when giving this bit of data she plainly had the feeling that the visual X-shape was to show her that something was canceled. [...] Jane also saw the large X on a rectangular card shape, within, but saw no detail on this card shape that would have enabled her to identify the envelope object specifically.

[...] A rectangular shape, and a rather large X-shape mark.

(“A rectangular shape”, The membership card is rectangular in shape, whether opened up as shown on page 1, or folded as indicated. [...]

(“and a rather large X-shape mark. This sort of thing, you see, in dark color, the X-shape mark in dark color, as something canceled.” [...]

(“With something revolving, and with an oval shape that is not a perfect circle.” [...] Directly in back of the painting is a large circular ceramic sculpture, perhaps a foot in diameter, that is more egg-shaped than a perfect circle. [...] Just to the right of this sculpture is another egg-shaped sculpture; this one is of polished silvery metal and is perhaps ten inches across. It stands on a wooden pedestal; the polished reflections in it seem to move as one’s viewpoint changes. We believe this is the oval shape Seth refers to, in light of his answer to my second question.

More of an egg shape than a circle. [...] Small in contrast to a larger shape perhaps. [...]

(“More of an egg shape than a circle.” [...] The smaller of the two sculptures is more egg-shaped than the larger. [...]

With something revolving, and with an oval shape that is not a perfect circle. [...]

(“A large round circular shape, perhaps inside of a rectangular one”, can refer to the caricature of Nate Goldsmith on the back of the object. The drawing is made up of rounded lines and shapes, is rounded in overall shape, and fits into the black rectangular frame. We don’t particularly know why Seth uses large here, unless he means that the drawing could not be much larger and still fit into the rectangular shape.

A large round circular shape, perhaps inside of a rectangular one, and crisscross lines in the shape of a cross. [...]

[...] If not there is a close resemblance in size, shape and color. [...]

(“and crisscross lines in the shape of a cross.” [...]

In their own way they have what amounts to shape, color and structure. [...] He grapples with, and manipulates and juggles these inner psychological shapes before constructing them, his version of them, into physical form.

Some of the basic shapes in your physical universe are, therefore, reflections of these inner psychological structures, more or less reproduced in matter. [...] It is these inner psychological structure patterns to a large degree that determine the shape and form of physical structures.

Now imagine the idea, not of triangle, but the idea which has the shape of a triangle, being then expressed in architecture, in a philosophical dissertation, in color, in a sculpture, in a poem, in a painting, in music, and also in so-called natural phenomena such as the shape of a rock, the angle of a shadow, a portion of a crystal, a tree branch.

The shape of the physical environment, for example, is not static; though it is made of material it is not one thing at one place and within one time, and not something else. That is, the quality that you call environment, and speak of as if it were one thing with one shape and form always, is indeed at various times many things in many places, with you at the focal point.

[...] We believe the starlike shape a good reference to the internal pattern of the leaf. This kind of radiating line pattern is one which Jane uses in her paintings, and in past experiments has been interpreted as “sun shape,” “star shape,” etc.

(More data follows from the first question: “Both inside, but just an oval shape. [...] [Jane gestured again, the envelope in the same position, short end up.] From this we infer that Seth refers to the spines of the leaves, and not their stems; yet mention is made only of an oval shape, singular.

Perhaps two windows also on the south side; though I am not sure these are windows on the south side, but window shapes in any case. [...]

A small starlike shape, perhaps in the lower right hand corner, holding the object this way. [...]

Suggestion then can shape the future. [...] Suggestion can shape dreams, and the dreams themselves then operate as action. [...]

[...] Suggestion can shape future events because any action changes that which existed before it, and that which shall exist after it within your system.

[...] The shape of a star. [...]

Four, six (pause) a location with much space, and a steeple shape. [...]

(“I have the impression of a steeple shape, or upside-down V shape, that is rather prominent.” To Jane the shapes of my fingers as outlined in pencil on the print, were steeple shapes. There are several V shapes on the print, and a prominent one between the thumb and forefinger. We are not sure why the upside-down reference to a V shape however. [...]

I have the impression of a steeple shape, or upside-down V shape, that is rather prominent.

[...] It wasn’t until after the session ended that Jane realized that the “steeple shape,” and the “many people” data to follow, had reminded her of a childhood poem she hadn’t thought of in years. [...]

[...] The object for tonight is small and blue and square-shaped, with perhaps an imprint on it. [...] The imprint is something like a shamrock shape, though not precisely.

[...] A miscellany of shapes in one corner.” [...] In the photo the tree branches in their left background form an interesting pattern also, with the building mentioned at the top of this page seen behind them; usually when Jane uses the word miscellany to denote irregular shapes the data is too general.

[...] A miscellany of shapes in one corner. [...]

(“Do you want to say something about the shape of the object itself?”)

[...] Slowly, with Seth’s monologue in our ears, the hand came to resemble a pawlike shape. [...]

(Jane’s hand slowly regained its normal shape. [...]

(Jane’s hand returned to the table and resumed again its pawlike shape. [...]

[...] Usually the changes in shape and color took place quite slowly. [...]

An oval, the shape of an oval rug, for example.

The impression of a rectangular shape. [...]

Smaller shapes, fairly dark perhaps like leaves in shadow. [...]

The small leaflike shapes, for example.

[...] The first concerned a card shape, rectangular, with balancing designs on each end of it while held horizontally. [...] The second image was of the target shape also mentioned on page 255.

As a rule they are not solid in the same way that clouds are not solid, and yet they have shape, and to a certain extent boundaries, and of course movement. [...]

[...] That it is rectangular in shape. [...]

[...] A cluster of shapes, rounded. [...]

[...] We do not know to what “something dark of rectangular shape” refers to, unless it’s the shape of the table we sat at in the dancing establishment.

A variety of shapes such as packages. [...]

A variety of shapes and designs. [...]

I seem to pick up a connection with Christmas or Christmas tree, though I believe this is indirectly connected rather than directly; and something dark of rectangular shape, and also again of a border (pause) and something shady, and a sky symbol.

[...] Star shapes. The color white background, and a paper item, folded like a card, the center being a rectangular shape.

[...] She was aware, she repeated, of the circular shape upon the rectangular shape formed by the folded tracing paper; she felt it was folded when Seth said so.)

[...] A connection with something unclaimed, with the number 12, perhaps also with six three, and with ribbonlike shapes. [...]

(“and with ribbonlike shapes. [...]

[...] It could be a box of book shape. [...] (Long pause.) The patterns resembling imperfect circles—shapes—perhaps red, orange or yellow, but more than one color.

(The receipt is rectangular in shape; in connection with this shape, Jane said she had an image within, of a whitish color. [...]

[...] A miscellany of shapes. [...]

Circular shapes. [...]

[...] The shadow shapes are dark, and contrasted with light. I have the impression of chimney shapes.

[...] The pattern of his clothing and blanket forms a triangular shape, very similar to the shadow shapes on the snow; these forms can be called pyramid easily enough. [...]

[...] I have an impression of afternoon, an impression of three people, of dirt or dirt color, and shadows or shadow shapes, perhaps of pyramid form.

[...] This is dealt with after break, along with the matter of chimney shapes.

Overall, whether or not you are conscious of it — for some of you are, and some of you are not — your lives do have a certain psychological shape. That shape is formed by your decisions. [...]

[...] Those legs now climb mountains, stride gigantic boulevards, because they followed their own impulsive shapes. [...]