“Seth material” search engine (Jane Roberts)

(The 56th envelope experiment was held during the session. The object was a pencil drawing I made of Jane this afternoon, without her knowledge. I looked down on her as she sunned herself, my viewpoint being the back row of the studio windows on the second story. The sketch took but a few minutes because she moved so frequently, and I was much amused at her restlessness; this mirth plays a part in the experimental results. The drawing is on porous paper with a slight yellowish cast. I placed it between the usual two pieces of Bristol, then sealed it in double envelopes.

However the window(smile, eyes open) you see, was a quite valid fabrication of his own. The projection was a projection. The window through which he ascended was a symbol necessary to him. The actual physical window was behind his head, you see, so he felt impelled to have a window in front of him, in order to get out of the physical house.

I found this amusing. The symbol was a highly valuable one however, obviously. You will both improve with practice. Because of your ideas, you see, you experience more difficulty in getting out of the physical house. (Smile.) Ruburt’s window image, had the experience continued, would have effectively done this for him. He did not have the confidence to imagine himself, you see, passing through the physical walls.

Instead he has to form the imaginary image of a window, which is in itself some feat, and then project himself through this. It is quite all right. I merely wanted to point out what he did. When you project from the dream body, you see, consciously you are already outside, as a rule. You have already made the initial change away from physical focus.

(Break at 9:53. Jane was pretty well dissociated. Traffic noise from the open windows hadn’t bothered her. Her pace had been much faster. Her eyes had opened often and she had smiled often.

(“Mirth.” As stated earlier, I felt pronounced amusement while making the drawing used as the object. Jane moved almost constantly while posing unwittingly, and I had to work very rapidly while at the same time being careful she didn’t look up at the studio windows on the second floor and see what I was doing.

(When I first saw Jane on the lawn below the studio windows, I leaned out to joke with her briefly. I thought of joining her myself, but did not mention it because I did not want to lose painting time. Nor did Jane openly ask me to join her.)