“Seth material” search engine (Jane Roberts)

“He would not be content simply to give the details on the snatch of paper. This is a fairly automatic tendency of his mental life. We use it, I hope to advantage, in our sessions in other ways. … In the tests, however, we tried to utilize this characteristic, since we could not deny it. Ruburt’s abilities are what I have to work with and through—besides, of course, my own. So we used this tendency here to enlarge the picture and bring in further details that gave you rather respectable data … and in a way that was fairly natural to Rubert.”

Here Seth’s impressions had been quite literal, as if the words on the bill were coming to life and being described as objects instead of as words describing objects. Later I was to do much better when Seth left some impressions up to me, but this kind of training was invaluable. Even though I didn’t do a very good job, we learned something about the nature of perception, which was Seth’s intent. This test made us suspect that all impressions, extrasensory or otherwise, are initially nonverbal and nonvisual, more like pure feeling that is only later interpreted in sense terms.

For one year, twice a week, Seth gave his impressions as to Dr. Instream’s activities. These included specific references as to names, initials, dates, and places. Some of this data could be easily checked out. Dr. Instream wanted Seth to concentrate on naming a particular object, though, upon which he would be concentrating in the distant town in which he lived. It became obvious that emotional elements were more important; that activities of an emotional nature “came through” more clearly than impressions of a more neutral object. Seth did give material pertaining to objects also, but he was more apt to give specific information on Dr. Instream’s daily life.

Here are a few excerpts from that session: “In a portrait,” Seth said, “do the same exercise as given earlier: [that is], imagine the individual as the center of all life, so that when the painting is completed, it automatically suggests the whole universe of which the individual is part. Nothing exists in isolation, and this is the secret that the old masters knew so well.

Seth has dropped some hints as to the identity of the artist who is passing on this data to him. According to what he’s said so far, the artist was a fourteenth-century Dane or Norwegian, and was known for his domestic scenes and still lifes. We have been told that his name will come in future sessions, along with other information on art.

In the past, Rob’s portraits were representations of personalities involved with us personally through association or past life connections—as far as we know. Some of them still have to be identified. Lately, however, the range of the portraits has been extended. Rob did one of a young man recently, for example (see illustrated section). He had no idea who it was. Later one of my students, George, picked out the painting as a portrait of a personality called Bega, who communicates with him through automatic writing. Seth corroborated this, and said that Bega is one of his own students in another level of reality.