“Seth material” search engine (Jane Roberts)

The distance occurs within the intensity of an action within the electrical field, as to say, you could fall into depths of intensity. The falling into would itself involve action. The action as it happened, then, falling through the intensity, would be falling into what I mean by distance. Dreams have this kind of distance. Again, as a simple analogy, in a dream you may travel down a road. This involves distance in essence, although within your physical universe the particular road does not exist, so that spatially no distance would exist.

I mean that the distance would not exist spatially, but the distance would exist. Action within the electrical system, then, would involve this same sort of distance without space; the road would then be an imaginary road of intensity.

[...] Dreams educate you even in spatial relationships, and are far more related to the organism’s stance in the environment than is realized. The child learns spatial relationships in dreams.

[...] All of this presupposed spatial manipulation. Religious incentives always served to stimulate man’s spatial curiosity (intently).⁶

[...] In psychic terms also there is something that can be loosely explained in terms of spatial relationships, but having to do with intensities. [...]

The old desk in your family, you see (Jane pointed to me), although the spatial relationships there are difficult. [...]

Now, through Ruburt’s eyes, I see you as Ruburt’s physical eyes must, wrapped in your particular time and in your particular place, held in a unique spatial arrangement.

There will be all kinds of different spatial relationships for you to explore, and then to attempt to reproduce in your work if you prefer. [...]

[...] Naturally, however, your working method is different, and is built up of an intricate series of quite complicated logical judgements involving spatial relationships—in for example particular kinds of immaculate gradations. [...]

[...] (Long pause, eyes closed; one minute.) Spatially, a painting is flat. [...]

[...] If they were isolated in spatial terms, they extended their imaginations and to some extent their lives and emotions both backward into the past and ahead into the future in ways that modern psychology has made most difficult. [...]

It should be obvious to you also that within your dreams a spatial location that belongs in present physical time can be experienced in the past or in the future within the dream framework, and there is much more here than meets the eye; and you must be careful so that you catch it. [...]

The mind simply does not exist in spatial terms. [...]

[...] Mark’s paintings of the crucifixion, like other such paintings, created a concept form, within which an unexpressable concept is transformed into expressible terms and placed within a spatial framework.