1 result for (book:tes6 AND session:259 AND stemmed:shape)
8/95 (8%)
pigment
object
Fox
white
shape
[... 52 paragraphs ...]
Dark printed matter. A square object, perhaps a small square shape at the top center of the object, balanced by another shape at the bottom center.
[... 1 paragraph ...]
The square shapes again, now, as in small patterns.
[... 9 paragraphs ...]
Something overturned. The feeling of a fluid dark color, broken by white shapes that appear like blocks. Perhaps some connection with a pond or pool shape. The object marked in the middle of the back, in pen or pencil.
[... 5 paragraphs ...]
(“A square object, perhaps a small square shape at the top center of the object, balanced by another shape at the bottom center.” Throughout the data Seth keeps attempting to refine this shape or block image, with some success. Although none of the shapes on the original object are square, they do give the impression of being balanced one upon another. Any object produced like the envelope object will give a feeling of balance, no matter what the design, as long as both halves are printed or impressed in full. On the original many small white interstices show that are not visible on the quick tracing. It seems Seth had a correct impression.
[... 3 paragraphs ...]
(“The square shapes again, now, as in small patterns.” Seth’s refinement here is to the point. The original object contains a multitude of fine patterns made by the rough paint when I pressed the folder paper together. It is very charming; the patterns are almost like the veins in a leaf. Flecks of white scattered throughout also.
[... 7 paragraphs ...]
(“Something overturned.” The irregular shape of the pigment on the object; a similarity here between it and some liquid spilled.
(“The feeling of a fluid dark color, broken by white shapes that appear like blocks.” The wet pigment used to make the object was a fluid dark color, of course. Seth now uses the block data to refer to the whites scattered through the object on the original. Some of the whites are of a block shape, roughly, but more often simply irregular just as the pigment is.
(“Perhaps some connection with a pond or pool shape.” Again, this applies to the irregular shape of the pigment on the object, and is close, and in the same vein as the “something overturned,” and “the feeling of a fluid dark color” data. We regard these three impressions as good.
[... 9 paragraphs ...]
