“Seth material” search engine (Jane Roberts)

This involves an assimilation on the part of Ruburt’s whole personality, that is quite important for his overall development. It is difficult to explain some of this in words, but connections are being formed, actually in terms of psychic structures, so that a much larger amount of inner data will become available to Ruburt on a conscious level.

We are indeed reaching a sort of breakthrough which will be most auspicious. The increase of ability on his part will be a qualitative one and a general one; that is, not one limited to psychic affairs. It is bound to improve his psychic performance however.

(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.

He picked up her physical symptoms, you see, sympathetically, and he must learn to guard himself now against such occurrences. This can be done by clearing his mind, and suggesting that all alien impulses or conditions be removed.

As sensitivity increases it will be necessary for him to distinguish among them; that is, to distinguish so that he realizes the differences between his own sensations, and any he may have inadvertently picked up. He will have no difficulty doing this. His abilities have increased, in line with his discipline, so that he will be able to make such distinctions. The first instance simply caught him unawares.

Ruburt’s illness at our unscheduled session was simply caused by a sudden inner panic, brought about because of his realization that the session was more complete than usual.

He allowed me to come through in a more definite fashion. The channels, so to speak, were wide open because of his increased abilities. He felt a surge of energy however and did not know how to control or direct it.

(“A connection with a schedule,” Bill Macdonnel’s gallery referred to in the article is a converted store with an inset door. Thus it has two display windows, one on each side of the door. The so-called disputed painting is in one window. In the window opposite it Bill has a large hand-lettered sign dealing with the hours when his gallery is open to visitors and for painting classes. Bill has been ill recently and has not maintained his advertised schedule, which has resulted in some confusion.

(“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.

(“A connection with something distant,” In the sixth column of the envelope object there is a reference to Corning—Painted Post School District, which employs Bill as an art teacher. This is perhaps twenty-five miles away. Bill lives here in Elmira and commutes to work daily. The time he can spend at his gallery in Elmira is thus quite limited—another reason for the schedule of hours posted in one of the windows, as mentioned on page 109.

(“with three people in particular.” When the police asked Bill to remove the painting from his gallery window, he asked advice from three people in particular. Two of the people are named in the sixth column of the envelope object. These two supported Bill’s decision to leave the painting in the window. The third man, Ernfred Anderson, who has a national reputation as a sculptor and teacher at Elmira College, and is a close friend of Bill, Jane and mine, advised Bill to remove the painting. Bill told Jane and me this on his visit earlier this evening, although we had heard this from other friends several days ago.

(“An announcement, as in an announcement of intention.” The first paragraph of the envelope object contains Bill Macdonnel’s intention not to remove the painting from the gallery window even though requested to do so by the police. Bill reiterated his decision on his visit earlier tonight.

(“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.