“Seth material” search engine (Jane Roberts)

(The scheduled session for Monday, April 18 was not held, and we enjoyed the change of pace. We hoped Seth would deal with any object Dr. Instream had focused on Monday night, as well as the object for last Wednesday April 13.

(I found other copies of the article after the session. The actual copy used in the envelope is as usual on file in our object notebook. On the partial copy attached to page 104 I penned in the row of numbers representing the date after the session. The session was a comparatively short one and Seth did not go into each point in the data. Some of the data is self-explanatory when checked against the article.

(“Good evening, Seth.”)

(Seth’s material above could explain the strange malaise she has been aware of in recent days, and we believe prompted Seth to call for the time off in the first place, in the 250th session.

(Jane’s increased abilities could already be revealing themselves. She has been doing very well on her book on dreams recently; this afternoon she remarked that it was going so well that she wondered where the material was coming from. Seth spoke on the integration of our personalities also in the 228th session; the material grew out of his material on the poetry book Jane produced so effortlessly. Our thought is that the dream book material is also appearing in the same way. According to Seth we are just beginning to use our creative abilities.

The results of this new integration are only now beginning to show in Ruburt’s work. They will become more apparent, and the whole Seth book will benefit now also. Ruburt’s experience with his friend Marian, was in a strange way also a result of his increased abilities.

(True. See the summary of the unscheduled 247th session, which was held at the home of our landlady, Marian Spaziani. In the session Seth dealt with the coming operation Marian faces for an ovarian tumor that is benign, and gave Marian ideas for suggestion. Jane visited with Marian one morning early last week, and for the next day or two remarked that she felt quite like Marian’s description of her own symptoms. We considered that Jane was reacting to suggestion here, but were rather surprised since Jane knows how to guard against negative suggestion as a rule.

(Jane took a long pause while delivering the last sentence. See the summary of the unscheduled 251st session. Seth cut the session short, and after the five witnesses had left Jane was physically sick to her stomach three successive times. We both thought it a panic reaction. Later Jane told me she had very little memory of what Seth had said, even in the very strong voice; this is unusual for her.)

(Jane paused. Since Seth had announced a short session I hadn’t anticipated the chance to ask many questions—or even that an experiment would be held. I thought the session might still be cut short though, so I tried my usual last question first.

(Break at 9:52. Jane was dissociated as usual. Her eyes had remained closed. Jane said Seth had surprised her by asking for the envelope. This was definitely Seth’s doing, she said, and he asked out of politeness.

(This did mark the end of the session as far as Seth was concerned. Jane and I made the connections that were clear to us. We would have liked Seth’s help on a few, but did not ask him to resume. See the copy of the envelope object on page 104.

(“With something revolving, and with an oval shape that is not a perfect circle.” In the third column of the envelope object there is a reference to “ceramics and metal sculpture” also in the window with the nude painting that is the subject of the object. 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. This has a textured, matte surface. 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.

(“Blue green, written with a pen, or the color of blue ink.” I wrote the date at the top of the object with a ballpoint pen containing blue ink—the same pen used to duplicate this series of numbers on the copy of the object included with this session. The reference to green is interesting; my thought being that blue and green are next to each other on the color wheel and perhaps difficult for Seth to distinguish. Both are cool colors.

(“A connection with an L initial.” Jane and I made no connections here, and would have liked to ask Seth about this.

(“The number impression again…initials.” As Seth said this block of data pertained to an address Jane and I were given last evening, and is not related to the envelope object. The address also contained a series of numbers.

(“A mishmash, as of tiny crisscrossing wires.” Seth gave this answer to my question in which I asked him to say more about the object itself. The object consists of small printed type which was folded several times; such an impression of tiny criss-crossings could occur to an entity with the ability to see through the layers of the object, so to speak, or to pick up the impressions resulting from layers. This gets complicated however as will be seen in the next impression. [A later note by Rob: Bill had a small scuplture of criss-crossing wires in a gallery window.]

(“A connection with a building that seems to be behind the wires.” If Seth can penetrate the folded layers of the object and tell us that printed type is a mishmash, then presumably he could tell us about things on the back of the object also, even when the object is folded.

(“More of an egg shape than a circle.” Seth gave this in answer to my second question, and continues below. See the data and our interpretation on page 109, with the description of the two near-circular sculptures in the same window of Bill Macdonnel’s gallery, with the disputed nude painting. Seth gave the above data when I asked him to clarify his original data on page 108. The smaller of the two sculptures is more egg-shaped than the larger. See the next impression.

(“I mentioned several colors. The color bronze here.” This was in response to my third and last question, for more data on color connected with the object. Jane subjectively feels the bronze reference above deals with the overall color of Bill’s painting, discussed in the envelope object. In the first column Peggy Gallagher calls the painting done “In washed out shades of gray and orange.” Jane associates the gray and orange with bronze. I neglected to ask Seth about “The number 5.”