“Seth material” search engine (Jane Roberts)

(This morning I showed Jane the portrait in oils that I’m working on. It’s of one of my imaginary male heads, and I began it a week ago, following Seth’s material on art for me in the private session for April 9. [See Note 1 for the last session.] I explained to Jane that even while it’s incomplete, the painting contains improvements that I can already tell will be developed further in the next one. Once I start a work in a certain mode, it becomes somewhat set in that expression; this is inevitable if one is to ever complete the physical painting. Those sensed, additional improvements have to wait for the next effort: A creative tension between the present and the future is set up, then—one that I’ve often felt, an impatience to leap ahead to the next step even while I’m still working out the current one. I asked that Seth comment upon the painting tonight if he cared to.

1. With a little reflection it becomes obvious, but I think it important to note that Jane’s expression of the Seth material is certainly the result of her direct cognition. Because she has to deliver it linearly in words, which take “time,” she cannot produce her material almost at once, as the mathematical prodigy can his or her answers, but in their own way her communications with Seth are as psychologically clear and direct as the calculator’s objective products are with numbers, or the musician’s are with notes. From the very beginning of the sessions, in late 1963, I appreciated the speed with which Jane delivered the Seth material, and began recording the times involved throughout each session. I now think that spontaneously starting to do that reflected my own intuitive understanding of her direct cognition, long before either one of us knew how to describe it. And when Jane speaks extemporaneously for Seth, her delivery is even more rapid. It was most definitely faster—sometimes spectacularly so—during all of those years she gave sessions in ESP class.