“Seth material” search engine (Jane Roberts)

(“A small round object in a lower corner, rather balanced by another round object in a diagonal corner.” [...] There was of course but one object, the parking ticket, in the envelopes. [...] The object however is small in comparison to the envelopes. Jane had one of her images here, seeing mentally two small objects in a space resembling the usual envelopes; she saw no detail however.

(First Question: “Are you saying there are two objects in the envelope?” Answer: “Or represented on a single object.” Only one item comprised the envelope object, but we don’t know how particularly to break down this single item to comprise two objects. [...]

(See the tracing of the object and the notes on page 284. As stated we obtained the parking ticket used as object on July 12,1966 at Robert Treman State Park, Ithaca, NY, and I kept track of this date by attaching a note to the ticket. [...] In the meantime Jane and I began making our own connections with the object.

[...] Seth gave this answer to my question in which I asked him to say more about the object itself. The object consists of small printed type which was folded several times; such an impression of tiny criss-crossings could occur to an entity with the ability to see through the layers of the object, so to speak, or to pick up the impressions resulting from layers. [...]

[...] If Seth can penetrate the folded layers of the object and tell us that printed type is a mishmash, then presumably he could tell us about things on the back of the object also, even when the object is folded.

[...] We hoped Seth would deal with any object Dr. Instream had focused on Monday night, as well as the object for last Wednesday April 13.

(Seth will occasionally comment about the lack of emotional impetus surrounding an object if I pick one that happens to bear little charge. I cannot be sure that I am choosing an object that carries little charge, however, for Seth’s data will often shoot off at an angle entirely unexpected by me. This data can be related to the envelope object in a variety of quite valid ways. I make no conscious effort to dwell on the object chosen for an envelope experiment, and when I do choose an object it is usually a spur-of-the-moment decision.

[...] Whenever possible we prefer to make as many connections between the data and the envelope object as we can on our own. Our purpose in conducting these experiments in this manner is to see what Jane, or Seth, can pick up about a concealed object that bears some kind of emotional charge related to us personally. To this end, envelope objects are often deliberately chosen by me with emotional involvement in mind, since Seth has said many times that his abilities have an emotional basis; this primary emotional basis is then disciplined and given shape by the intellect.

(See the tracing of tonight’s envelope object on page 71 and the notes on the next page. The empty envelope used as object was mailed to me last May 26,1966, by an old friend, Wendell Crowley, and contained a letter detailing a reunion of a group of friends, all artists, that Wendell and I worked with in 1941-43. [...] As I suspected, some of Seth’s data referred to the contents of the letter rather than the envelope object itself.

[...] At least a connection with writing that is not on the object itself. That is, other writing, either in a note or beneath these images which I believe are on the object.” [...] Jane made her list out Tuesday morning, November 29, after I had given her a copy of the list used as envelope object Monday, November 28.

[...] At least a connection with writing that is not on the object itself. That is, other writing, either in a note or beneath these images which I believe are on the object.

(“Perhaps the object has been in a book or album.” The object was not in a book, but had been part of a book or pad of paper in that sense.

The dream objects, then, are so cunningly, and if I may say so, almost slyly chosen, that the simplest of them may refer to instances in this existence, to personally subconsciously desired or feared objects or instances, to desired or feared objects or instances in past lives. They, such dream objects, may be the method or means with which the inner self warns the personality of future possible disappointments or disasters.

[...] One dream object has reality then in four or five different levels of reality simultaneously, the one object being more than itself, and equal to realities that have existed or will exist in your past or future; the past and future being therefore contained simultaneously within the dream object, by virtue of a quite real psychic contraction and expansion.

[...] While such a dream is less complex than others, it is nevertheless an amazing construction, and when we break down the obvious perceived objects or events of such a dream, we will find that the immediate objects and events that have application in daily life, that may be rehashed versions of the day, have nevertheless been carefully chosen.

(The envelope object for the 69th experiment was a colored postcard sent to us by Barbara Ingold, our neighbor who lives below us on the first floor. Colors on the front and back of the object are indicated to some degree on the tracing on page 16. [...]

(See the tracings of the object on page 16. The object was a postcard mailed to us by Barbara Ingold from Ft. [...]

(I picked the card deliberately because it had an emotional attachment to Jane, versus such a neutral object as a leaf, a clipping from a magazine, etc. [...] However Jane had not seen the object since we received it in July, and consciously had forgotten its existence.

[...] Jane said this data is correct, in that it referred to the Brooklyn Museum and Caroline Keck by name on the object, in the upper left corner. To Jane, this reading matter does project toward the center of the object.

[...] Caroline Keck’s handwriting on the object is in blue; hence no black appears on the object. [...]

[...] Probably another general reference to the object, in that the object’s author, Caroline Keck, was associated with both the Brooklyn Museum and the Arnot Art Gallery. [...]

[...] This came through in answer to my second question, concerning the shape of the object. The data can fit either the envelope object itself, or the picture of the dead priest referred to above under “cross shape,” etc. [...] The envelope object was folded three times so that it measured about 4 3/4” x 3”. [...] Neither the object or the priest’s picture have writing on the back, but both contain printed type. [...]

The object for tonight is some kind of ring, or perhaps two rings intertwined. [...] Perhaps the size of very large ring earrings, though the object is not an earring. [...] I believe they belong to another object and have been removed.

[...] The object was placed as usual between two pieces of Bristol and sealed in double envelopes. [...] It appeared on the same page of the newspaper, just above the center column of the object itself, but was attched to another article about Mrs. Berry.

[...] You must act as if there were an objective universe. [...] The fact that its reality is only limited to your level, and does not extend to other fields, must not tempt you to discount it; and yet while you must behave in a large manner as if your universe were inherently and basically objective, you must still retain the knowledge that this apparent objectivity has great limits, even practically speaking; and a too-great dependence in a world of objectivity can lead to a psychic imprisonment which is unnecessary.

Objects exist, and yet objects in another sense do not exist. [...] Using energy, you manipulate existing atoms and molecules into a certain pattern which you then, and others like you, recognize as one particular object.

Objects then are really arbitrary designations given to certain arbitrary divisions of atoms and molecules as a whole. There is no objective universe, and yet there is an objective universe.

(See the copy of the envelope object on page 142. [...] I wrote the date in pencil on the object the day I found it. [...] The back side of the object is blank.

[...] My penciled date on the object shows I picked it up on May 5,1966. Jane said she wrote the page used as object early in the month of April, and did not throw it away until she had rewritten it a month later. In the next session Seth tells us Jane wrote the object on April 7.

[...] Jane thinks that here Seth was trying to get her to say that an artistic endeavor, meaning the dream book, was involved with the object. [...] In the chapter five connected with the object, Jane uses a dream of Ernfred’s to make a certain point.

[...] Strange as it seems, I had forgotten the envelope object’s identity; I had prepared this envelope for the session due Monday, September 19; that session was not held and I saved the envelope. During tonight’s session I realized I had forgotten what the object was, even though I had chosen it. [...]

(See the copy of the envelope object on page 51, and the notes on the page 55. [...] Actually one could ask many questions, whether knowing the object or not. [...]

[...] Our interpretation here was that the swirling and leaves data referred to the mention of a garden in the poem used as object. [...] The poem used as object was written for this occasion.

[...] Hence the razor cuts on the object as indicated. Also along the bottom edge of the object a coating of the white gesso was to be seen, residue from the panel itself. [...]

The object for tonight, some kind of buckle, of metal or metallic color, scratched. (Pause.) Also a design or initials (pause) scratched deeply into the object. [...]

[...] The visual impression is of an object or representation on two balancing sides of the object, as for example here and here, you see…

[...] The object is the flap of a letter that my nephew Douglas Butts and myself wrote on last Sunday, April 3, at my parents’ home in Sayre, PA. The tracing is drawn with the same blue pen, my own, that was used to write on the object. The object came into being when Doug, who is 14 years old, was showing me how he writes left-handed. [...] I did not intend to use this object for the envelope experiment, but decided to on the spur of the moment after it was made. Jane never saw the object in its finished form before the experiment.

(Jane now explained at break that Seth didn’t want her to say transparencies when I asked her to name the object. [...] When I asked her to explain the object, she explained, the inhibiting idea of the transparencies got in the way. Since Seth didn’t want her to say transparencies, a compromise emerges in which a connection with the actual envelope object is given.

[...] In this envelope experiment Seth again used the actual object as a jumping-off point for some of his data, and this is a case in point. Doug, who helped me author the object, is not musical; however both his parents are professional musicians; both are teachers; Betts teaching music as well as other subjects. [...]

(See page 279 for a copy of the object. [...] The object is a strip from a piece of linen canvas which I bought a few weeks ago at the Art Shop, in Elmira. [...]

[...] I do not recall whether I had such a list on the day I bought the canvas which furnished tonight’s object, but the chances are that I did have. Very seldom do I make a trip there for just one object.

[...] This is excellent data, and very close indeed to the object. The object is trimmed from the linen canvas I bought at the Art Shop, and this piece of canvas was glued on to large sheets of Masonite so as to have a firm support—the experiment I had in mind which was referred to later.

A stone object, with an edge. [...] (Pause.) The object is rectangular, and for stone fairly uniform. [...] A metal object sits on it, perhaps in miniature. I have the impression that the object on the stone represents a man on a horse.

The whole object may itself be in miniature. [...] The object seems to have a purpose or function connected with a desk. [...]

(“Writing or printing in a lower left-hand corner perhaps, very small, holding the object horizontally.” [...] We did not mark the envelopes or the object to verify this data. However if she held the object so that its head, or top, pointed to the right as she faced it, then there would be printing along the left-hand side of the bill. [...]

(On the object, the first word in the heading beneath the name is Roofing. [...] Note also that the word Roofing is located on the upper half of the object; that is, high up on the object, as a roof would usually be over the head of an observer.

(“Rectangular object, with some dark coloring, perhaps dark blue. [...] The bill used as object is rectangular in shape. [...]

(See the tracing of the object on page 91, and the notes on page 92. [...] This is a case where Seth used the object as a springboard to delve into data that is connected to it through location mainly. My thought was that the bulk of the material he gives had more appeal emotionally for him than the object itself, and he confirmed this after break. [...]

[...] Note that the object was secured two months after Aunt Ella’s funeral. [...] Jane possessed strong emotional memories regarding the funeral, and clairvoyant knowledge of the envelope object in some form; evidently Seth responded to, or deliberately chose, what he perceived as the stronger intensities pertaining to Aunt Ella’s funeral over the object itself.

[...] The object was a faded maple leaf that Jane and I had picked up, along with others, on a walk last year, probably in October 1965. [...] As will be seen the object led to some data that is somewhat difficult to evaluate, but Jane and I believe it legitimate.

Now in the same way, I am telling you that objects are also symbols that stand for a reality whose meaning the objects, like the letters, transmit. The true information is not in the objects any more than the thought is in the letters or in words. [...] So are physical objects in a different kind of medium. [...]

(10:29.) Physical objects are the result of another kind of expression. [...] I mean that objects are natural by-products of the evolution of your species, even as words are. [...]

[...] It is only by comprehending the nature of this constant translation of thoughts and desires — not into words now, but into physical objects — that you can realize your true independence from circumstance, time, and environment.

Seemingly nonstable mental objects appear in the dream environment at certain levels. [...] As mentioned earlier, again, the dream universe is as “objective” as the corporeal one. The objects and symbols within it are as faithful representations of dream life as physical objects are of waking life.

[...] The feeling of joy changes the objects themselves, in that the perceiver sees them in a far brighter light. He creates the objects far more vividly and with greater clarity. [...]

(9:41.) What he sees, however, is still physical, the objects of the material world. [...] Into his inner mind come pictures or symbols of material objects, people or events, from perhaps the past as well as present and future imaginings, the joy now being expressed with greater freedom mentally, but with symbols.

[...] Objects may appear and disappear in these other systems. Using the root agreements just mentioned as a basis for reality, an observer would insist that the objects were not real, for they do not behave as he knows objects must behave.

[...] One of the root agreements upon which physical existence is based is that physical objects have a reality that is entirely independent of any subjective cause; and that these objects, within definitely specified limitations, are permanent.

Because dream objects appear and disappear, this does not mean they do not exist. [...]