“Seth material” search engine (Jane Roberts)

(The negative mention in the data is interesting, and has several connections, both here and in the rest of Seth’s data. Jane and I did not think of negative in connection with the word no, for instance, but in relation to pictures or visual images. On page two of his letter Wendell tells about a friend who works for the Neilson TV survey people—having to do with pictures. But also, negative, meaning pictures, is called to mind because Wendell’s letter deals with a group of artists who worked together in a studio, drawing comic strips, in 1941-3. In addition I personally have a studio here in the apartment, and the envelope used as object was kept in this studio. These references about studios, pictures, and the object crop up again later in the data also.

(“Something standing vertical.” Jane said this referred to trees. Note that Wendell Crowley, who mailed us the object, is partner in a lumber company. Also, the object was mailed to us from Ridgewood, NJ, as shown by the postmark. After break Seth says this interpretation is correct.

(“It seems some connection with cars or transportation.” As stated, the object contained a letter describing the reunion of perhaps half a dozen artists who worked together in the early 1940’s. The reunion was attended by the writer of the letter. All of the reunion participants live in the New York City and New Jersey area just across the Hudson River. In his letter Wendell does not name the town or city in which the reunion, at a restaurant, took place, but from following data Jane and I surmise it took place in New York City.

(“The photograph connection is strong [pause] but I do not believe the item is this precisely.” [Pause.] Seth tried to help Jane discriminate here, as he often does. Tonight’s object of course is not a picture or photo, but an envelope that contained a letter about people who make pictures. Also, I was taking pictures of Jane last week, as explained. Thus it can be seen how all such related data, even though separated by much time, comes together in these session experiments. This particular chain of association was not anticipated by me when I picked the Crowley envelope as object for tonight. The two studio settings—the studio I worked in with Wendell Crowley in 1941-3, and my present studio, are separated by as much as 23 years.