“Seth material” search engine (Jane Roberts)

(“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.

(“An organized endeavor.” Certainly the pressure applied to Bill Macdonnel by three police visits or calls, in an effort to get him to remove the painting from the window. A slightly different interpretation here would be that the police constitute an organization, and that their efforts to have Bill remove the painting constitute an endeavor.

(“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.

(“A reference to several items of a kind. That is an announcement made, a reference made, about several items of a kind.” Column three contains references to a collection of abstracts [which are paintings], ceramics and metal sculpture. Two of these are plural. Columns five and six of the object contain references to a bookstore and the books on display in the window there. This store is but a few doors down the street—East Water Street.

(“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.”

(Neither of us had seen Bill’s painting at the time the newspaper article was published, or this session held, on Wednesday, April 20. We did see it this morning, April 23. I can say the overall tone of the painting is of an orange gray, [bronze?] with other very muted colors interwoven.)