“Seth material” search engine (Jane Roberts)

ASSOCIATION, THE EMOTIONS, AND A DIFFERENT FRAME OF REFERENCE

(With humorous emphasis:) Chapter Three: “Association, the Emotions, and a Different Frame of Reference.” That is the heading.

Dictation: In your terms a photograph freezes motions, frames the moment — or all of the moment that you can physically perceive.

In a way, one remembered dream can be compared to a psychological photograph, one picture that is not physically materialized, not frozen motion, not framed by either space or time; therefore many of those ingredients appear that are necessarily left out of any given moment of waking conscious activity.

[...] There are many kinds or varieties of dreams, some more and some less faithful to your memories of them — but as you remember a dream you automatically snatch certain portions of subjective events away from others, and try to “frame” these in space and time in ways that will make sense to your usual orientation. [...]

(Somewhat softer.) And then, bringing this energy back with you to your physical frame. [...]

[...] He is getting new glasses and new frames that are in style with the times, and he will not want me to toss them across the room like that (tosses glasses). [...]

[...] Jane said the Kecks worked with frames and pictures while at the gallery in July 1964. A painting could be a framework, fitting within another framework—the frame. [...]

(The framework data may be associative, coming from the earlier framework references having to do, we think, with paintings and frames.

[...] Again, framework can refer to frames, paintings, etc., as explained. [...]

Mental energy, indeed, is an attribute of personality; but personality survives the physical frame as it existed before the physical frame, and indeed created the physical frame. [...]

[...] She said she could see the 1954 painting very clearly while Seth talked about it, including its wide, old-fashioned gold frame. At first she had forgotten what the frame looked like, she told me, but now correctly described it. [...]

Most of this is out in the open, but you did not understand the connections that existed between your ideas about the dryer and food and frames, and how they applied to your mental and physical habits. Your art is set off by your frames—so you deny your paintings their natural setting.

The frame connects the painting with the world, and yet divides it from it in the most beautiful of fashions. [...]

[...] Besides this, it seems to you that such encounters involve a simplification and distortion by their very nature as far as your work is concerned, along with a unique kind of psychological disclosure that could be humiliating, lacking the proper frame of understanding. [...]

(“A frame.” The walls of our living room are hung with my paintings and drawings, some of which are framed. [...]

[...] A frame. [...]

[...] Now I’m organizing my files for new work, doing some painting, and making a few picture frames for both of us, a very pleasant interlude for a change. [...]

[...] I thought our frame of reference wasn’t large enough. [...]

[...] The consideration itself is what I am after —the willingness to explore a probability that has come into your attention—because in so doing you remind yourselves of the freedoms that are (underlined) available in your terms, and because such a consideration, among other things, will allow you to automatically see your beliefs from a different focus, through another picture frame. [...]

[...] Such a possibility is feasible, containing in fact many desirable—and most desirable—elements; the presentation of a second frame of reference, a second environment that would still be your own. [...]

(The word “framing” appears at the bottom of page 3, and is itself enclosed in a fancy frame, but evidently Seth wasn’t referring to this.

[...] When Jane saw the monogram she said the A represented a framework to her, like an A-frame house, and that the right leg was shorter.

[...] As stated in connection with the “framework” data on page 244, the A in the Art Shop monogram on page one of the object meant framework, or A-frame house, to Jane.

[...] Simply to stretch your imagination: When you look at your photograph, imagine that you are a representative of a species, caught there in just that particular pose, and that the frame of the photograph represents, now, “a cage of time.” [...] Though unseen, time is the frame.

[...] and it rings through this frame and it rings through your own frame... [...]

[...] And as my friends know that I will, I will tell you that all vitality rings...and it rings through this frame and it rings through your own frame—and it is lighthearted; and it is joyful; and it knows not sobriety; as you know, it is a lighthearted thing. [...]

[...] They automatically put people in a different vaster psychological space, another frame of reference, in which a good number of problems vanish or simply do not apply.... [...]

[...] In physical reality a man in a desperate frame of mind is more apt to emphasize horrible aspects in the news, for example, and to see desperation rather than joy in the faces of those he meets. [...] So your frame of mind when projecting will largely determine the sort of experiences you have, and the environments you visit.

A grouping that is somehow geometrical, and the frame of an A, or an A-frame structure.

[...] I suggest you read the late sessions again, and I imagine that by our next session you will both be in a better frame of mind, unless you allow your discouraging feelings to predominate, which would be a vast mistake.

Now, again, each of you have available to you the energy that sweeps through this frame. [...]

[...] Feel it then fill her frame with vitality and strength and know that you have a part in this, and that through the part that you are playing are you also being filled with therapeutic energies and with vitalities that will rejuvenate your spirit and your mind. [...]