“Seth material” search engine (Jane Roberts)

(See the tracing of the envelope object, and its accompanying drawing, on pages 313-14. We did not ask Seth to clear up each point in the data, so give below our own interpretations. As stated, the key drawing made by my boss was the actual envelope object. This is on thin white paper. The drawing on tracing paper was made by me, from instructions given to me by my boss, and is a schematic drawing to be traced onto Bristol board for final artwork.

(The 36th envelope experiment was held tonight. See the tracings on pages 313-14. The drawing on 313 is the actual envelope object. The drawing on 314 is executed by myself, after my boss’s drawing and instructions, and enters into the envelope data in the manner in which the four letters became involved with the envelope object in the 234th session. The relationship tonight is simpler, however.

(As can be seen, much of the envelope data given by Seth was transposed from the actual object to my own tracing-paper drawing. It might be noted that during the session, while Jane held the envelope in her hand, my tracing-paper drawing was in the same room with us, although I was unaware of this until after the session. It reposed in my jacket pocket in our front room closet; I had brought it home several days ago, then forgot about it, not having worn the jacket since. Both drawings were made about two weeks ago. Jane hadn’t known they even existed.

(The 79th envelope object was a drawing made by me on Friday, November 25th, at work. [...] Thus, she had never seen the drawing until after the experiment. [...]

(“The impression is of a small image or drawing that might represent a foundation, house, federal building or church, or monument.” [...] The object is a drawing, and is small. [...]

(Jane also said the embossed data is legitimate, and stemmed from two things on the object: the “squiggly" frame I indicated in the drawing, and the fact that the center portion of the object had added dimension or thickness because of the two pieces of paper—actually one-ply drawing paper—being pasted together.

[...] The drawing used as object is done on a porous paper that is somewhat thicker than most papers, yet is not actually card stock. I used a black felt marking pen to make the drawing; this is indelible, and the ink soaked through the porous paper until the drawing is quite easily visible on the reverse side. [...]

(The 60th envelope experiment used as object a quick black line drawing, on porous white paper, that I made of a giant begonia plant at the office. The plant sits on a taboret beside my drawing table. [...]

[...] The drawing shows that the leaves of the plant are climbing up a wooden stick. With the object held horizontally, the stick is also horizontal and divides the drawing in half easily enough; the horizontal attribute of her gesture was stressed by Jane. [...]

The size of such drawings also spoke its own message. [...] This technique was later discovered by the third civilization, and some of the remnants of drawings done in imitation of it still exist. But the keys to interpretation have been completely lost, so all you could see would be a drawing devoid of the multisensual elements that gave it such great variety. [...]

[...] In what would appear to be a drawing of an animal, then, the entire history or background of the animal might also be given. Curves, angles, lines all represented, beside their obvious objective function in a drawing, a highly complicated series of variations in pitch, tone and value; or if you prefer, invisible words.

[...] Since these were an aesthetic people, the walls were lined with paintings and drawings, and sculpture was also displayed along these inner byways.

[...] The object was a pencil drawing I made of Jane this afternoon, without her knowledge. [...] The drawing is on porous paper with a slight yellowish cast. [...]

[...] The drawing used as object contains many lines, few of them straight. [...] The drawing is organized into a pattern.

[...] As stated earlier, I felt pronounced amusement while making the drawing used as the object. [...]

[...] in which a woman was involved,” could be entangled with the day I made the drawing; this being last Wednesday, when we missed our regular session because of visitors. [...] Seth’s information following this statement connected itself with the drawing easily enough, even to the “color gray,” which arises from the shadow effect I achieved in the drawing by using closely-spaced parallel lines.

(Referring to the drawing, it can be seen that there is an interlocking group of 7 designs or blocks on the right, and a like group of 3 on the left. [...] We suppose the “familiar location” can refer to our own apartment wherein I made the drawing; or perhaps to the apartment house itself, in which our visitors also live. And surely the drawing contains a “multiplicitude of designs” and “crisscross shapes”.

(The double envelope contained a simple line drawing I executed in black ink on ordinary white paper. [...] The drawing is reproduced on page 232; it is a pen tracing made from the original on a light table.

[...] In my school days I did not have a drawing table, but worked bent over at a card table in the front upstairs room, with a small drawing board in my lap, resting on the edge of the card table. [...]

[...] I see you bent over a table, either reading or drawing, in the front upstairs room.

[...] I was not seated at a drawing table such as I now have.

[...] The test object was a ball-point pen drawing of a dog; my four-year-old nephew made it while my brother Bill’s family and Jane and I visited my parents last Sunday. I thought David’s drawing good for one his age, and added notes of my own. [...] The drawing is on paper the weight of this page. A drawing on the back doesn’t apply here. [...]

(Jane said that Seth’s count of 1, 2, 3 was his way—or Jane’s?—of leading up to the number 4 that I wrote on the drawing, referring to David’s age. [...] Also “Round shapes”; although there are round shapes on the drawing. [...]

[...] “A letter or note” can refer to the notes for reference I made on David’s drawing. “The color yellow” we think is a strong connection to the drawing of the dog; Dick recently obtained a puppy for his children, and when Jane and I asked David to describe the dog he called it orange at first, then yellow.

(Caroline Keck sent Jane the items to give to her in appreciation for a pen and ink drawing of a pigeon I gave to Caroline Keck. [...] The drawing of the pigeon was among a group I had exhibited at the gallery at the time the Kecks were present; they saw it and admired it. I never met the Kecks, but told Jane to give the drawing to them.

[...] The drawing I gave the Kecks was of a pigeon—the “animal in a tree.” The drawing merely showed a pigeon, no tree, and a pigeon is not an animal. [...]

[...] Note that Caroline Keck writes Jane that her son Larry appropriated my drawing for his own use. [...]

(Wind is an intangible, and is not overtly indicated in the drawing. These are a draftsman’s drawings, quite precise in detail. [...] The effect of the drawing was one of “much space.”

[...] Checking the whole calendar however, we noted there was a drawing of a man and a woman on the upper section of this particular page, but that I had left them behind in clipping out the test section. They would be about four inches removed from the clipping, and stood before another drawing of a house. [...]

[...] I made two pencil drawings of the image. [...]

[...] Actually it is a black line drawing, in some detail, of an eagle. [...] Jane insisted the drawing represented a moose; she interpreted the spread of the eagle’s wings as stylized antlers. My tracing is quickly done on page 217, and shows little detail, but the drawing on the actual object is very well and finely done, including individual feathers on the wings, etc. [...] Intellectually she agreed that the drawing was of an eagle, but said that she saw a moose.

[...] Her opinion on the drawing had not changed; she still regarded the drawing as that of a moose, with the eagle’s wings representing stylized antlers. As for the rest of the drawing other than the wings or antlers, she said she couldn’t see anything in it “in particular” that represented an eagle.

(Copy of the drawing of a begonia plant, used as the object in the 60th envelope experiment, in the 267th session for June 13,1966.)

[...] To some extent, however, according to your freedom within it, such an exercise will automatically rejuvenate your body, mind and spirit, and begin to draw to you whatever equivalent is possible for you within the world of facts that you know (emphatically).

[...] This feeling of being loved will alter your reality, drawing love to you. [...]

On the other hand you may draw another man to you, and end the marriage that has served its purposes in all ways, finding now the impetus and the reasons for change. [...]

[...] You imprint the universe with your own significance, and using that as a focus you draw from it, or attract, those events that fit your unique purposes and needs. In doing so, to some extent you multiply the creative possibilities of the universe, forming from it a personal reality that would otherwise be absent, in those terms; and in so doing you also add in an immeasurable fashion to the reality of all other consciousness by increasing the bank of reality from which all consciousness draws.

[...] Using your own indestructible validity as “bait,” you go forth to draw from the universe the raw material of experience. [...] In your terms, you literally look backward and forward in time at your individual self and your civilization, seeing where they merge, and feeling the infinite connections, so that each event you choose as your own will also be chosen as a world event — participated in to whatever extent by others, and adding to the available experience of the species from which others can also draw.

[...] Each consciousness is endowed with creativity of a multidimensional nature, so that it will seek to create as many possible realities for itself as it can, using its own significance as a focus to draw into its experience whatever events are possible for it from the universe itself. [...]

[...] I wrote these notes on the morning of January 8; they came to mind while I was working on an ink drawing of a complicated tree bearing within it two birds’ nests. I began the drawing in reference to an image Seth had conjured up in an earlier session on the fifth dimension. I believe these thoughts came to me so easily because I had been making some conscious efforts to think in new ways, and they were triggered by my working on this particular drawing.

(A drawing is solidified action. In the process of drawing I am solidifying emotion or feeling. [...]

(Pause in an intent delivery.) I am doing my best to explain the very practical aspects of the intellect’s beliefs, and their strength in drawing experience to you. [...] They draw from Framework 2 all of the necessary ingredients. [...]

[...] Seth and Jane have both analyzed this excellent dream.² Today I’d shown Jane how far I’ve progressed with a charcoal drawing based upon the dream, with a little preliminary color added to some parts of it.

[...] Late last week I started the charcoal drawing for the painting, however, figuring I could only try to see what I could do… So far, so good.)

Paintings, sketches and drawings will be seen by millions of people as they appear—and will—in current and future books. [...] The impetus of your own growing psychic experience will more and more provide you with the inner models for drawings and paintings (louder).

[...] Drawing in its simplest form is, again, an extension of those inclinations, and in a fashion serves two purposes. [...] When they draw circles or squares, they are trying to reproduce those inner shapes, transposing those images outward into the environment—a creative act, highly significant, for it gives children experience in translating inner perceived events of a personal nature into a shared physical reality apparent to all.

When children draw objects they are successfully, then, turning the shapes of the exterior world into their personal mental experiences—possessing them mentally, so to speak, through physically rendering the forms. (Long pause.) The art of drawing or painting to one extent or another always involves those two processes. [...]

[...] The ability to draw is a natural outgrowth of this sensing of shape, this curiosity of form. [...]

[...] The test object is simply a drawing in black ink of the same symbol used in the first envelope test, of August 18,1965, in the 179th session. [...] I made the drawing for this evening’s test on white paper; the paper was thin and the heavy black ink struck through the paper rather clearly. [...]

(As stated on page 95, the black ink drawing struck through the thin test paper so that it was visible on both sides of the paper. [...] The test object is paper, and is connected with me since my name is on it, and I made the drawing. [...]

(As usual I handed Jane the standard sealed double envelope containing my drawing of the symbol shown on page 95. [...]

Art as painting or drawing was then an important element in what you think of as man’s evolution. [...] Men dreamed their own maps in the same fashion, one man dreaming perhaps a certain portion, and several dreamers contributing their versions, drawing in sand in the waking state, or upon cave walls. [...]

[...] Some cave drawings are an example. [...]

Drawing and painting during such periods was considered both sacred and immensely useful at the same time. [...]

“I was not conscious of my age, 61, in the dream, nor do I remember anything about being committed to draw a daily strip also. [...] My dream character stood confidently facing the reader — except that I’d omitted drawing his head! [...] I sat at the drawing table examining the assistant’s work.”

“In vivid color, as usual: I dreamed that in New York City I had gone back to my first love, drawing comics. [...] I saw my art for the first page, perhaps half again as large as the printed version would be, lying on a flat drawing table. [...]

[...] It’s one of my favorite notions, and one from which I draw — with my own kind of perverse humor, it seems — great comfort and stability.