“Seth material” search engine (Jane Roberts)

(Jane began speaking in trance this evening with her eyes open at once, her voice a little stronger than usual. She used few pauses and many gestures, and it was evident from the outset that the trance was a deep one.)

When you are sketching outdoors, as a helpful exercise I suggest the following: attach your focus of attention to one small thing. It may be a flower or a stone. Something however that catches your own eye. Imagine the energy within that object perpetual, but in terms of being endlessly alive and vital.

(I am not an expert on Spanish art, but the above passage reminds me of Velazquez for some reason. Nor does Jane know Spanish art. For instance, she doesn’t particularly admire Spanish artists, or talk of any one or group of such artists, etc.)

Now the suggestion I have given you is the same sort of thing. There is no dependence upon agreed ritualistic symbol, however. The exercise itself will allow you to make the necessary transformation, where the one becomes all. Now this is the expansion of which I am speaking. It will cause immediate physical evocative reactions. Do you follow me here?

Painting or sketching outdoors for a while will aid you considerably in your ability to sense this inner unity, to see each natural object in its individualistic momentary majesty, and yet to realize that it is in one way a center through which all energy moves.

Now oils themselves suggest the earth. The medium is a fairly natural one. Let the medium then stand for and represent the physical appearance of permanency in any object, the physical continuity of any given human form in a painting. Let transparents represent the constant renewal of energy that always escapes the form. These lift the medium itself into another realm, and the two together can suit your purposes well.

Now one other small point. (Pause.)

Now. One of the attractions for others in that painting of me is that it automatically suggests an unseen audience, to whom I appear to be speaking. Not indeed a formal audience, but unseen listeners who represent humanity at large. The unseen is there. ‘The figure manages to suggest the universe of men and the world that holds them, yet nowhere literally do these appear.

(Again Jane paused, at 10:13. This time she told me I had better speak her name three times, as Seth had suggested I do in a recent session, when her trance was deep. I did so now, and very slowly Jane opened her eyes, one at a time, on a crack. But, as she said later, she never really got out of the trance, and resumed at 10:15.)

(The Van Elder name was not specifically familiar to me, although it could be said to have a familiar sound. I can say that the painting and energy data given tonight is entirely sound and worthy, however, and certainly beneficial for any artist. The method of using siennas, ochre and violet is not one I have used, but appears to be quite sensible; I may try it soon. I do not believe Jane consciously thinks this way.

(Jane said she was so passive at the end of the session that she couldn’t assert herself as she usually does; she thought that this assertion on her part helped Seth disengage at the end of a session. I thought this an excellent point, and one not previously mentioned in just such a way.)