“Seth material” search engine (Jane Roberts)

(The object is a poem written to me by Jane on a sheet of yellow paper, in a dark pen, and dated July 3,1966. The back of the object is blank. [...]

[...] Note that much of the data concerns the three people involved in the poem’s psychic surroundings at the time of creation; and that indeed this feeling on Jane’s part overrides the data pertaining directly to the object itself in most cases tonight. But Jane’s perception of the object was necessary in order for her to give the data pertaining to Barbara and Dick, and her own feelings.

(Note that most of tonight’s data stems from the strong emotional charges surrounding the gathering of Barbara, Dick and Jane in the backyard, during the time Jane wrote the poem to me used as object. I had picked the poem as object in the frank hope that it would have strong emotional attraction for Jane. [...]

[...] It is possible the yellow object inside the sealed envelope had settled into a corner. But it was a rectangular rather than square object.

When his senses, his outer senses, do not perceive a physical object in his self-perspective (and hyphenate that please), in his self-perspective, the object simply does not exist. If the object is touched and not seen or otherwise perceived, then in his self-perspective it exists only in the realm of his sensual perception of it. [...] If his father, for example, sees the chair that the boy does not see, then the object exists as a thing to be seen in the father’s self-perspective. Each individual himself creates a portion or a whole physical object. Many people appear to see an object, but the object that they see is not the same object, but only approximates an object.

Nevertheless, the objects are simply not the same objects. You do not see, feel, smell or touch the same object. I will shock you further by stating that, in your terms, the objects do not even exist in the same space, but in the personal self-perspective space, formed and created by any given individual.

[...] For every apparent single object you have, literally, infinite varieties, and no one particular object indeed. From your own perspective, from your own space perspective, through the methods which I have given you, you create your own version of a particular object, and you do it by using energy in a personal manner.

[...] During break Jane, John and I discussed the above material, wondering what transpires when the three of us with our different viewpoints looked at the same object, for example our TV set; did we all see the same object?

Today Dr. Instream looked at an object in a store window. [...] The man earlier mentioned also brought an object, I believe for Dr. Instream.

(As is usually the case when we do not personally know a lot of intimate details connected with the envelope object, Jane and I found ourselves unable to check all of Seth’s data. We think of these occasions as being like those where strangers would furnish the object. [...]

[...] The object was a black and white photo of Jane’s father and his deceased second wife, Maxine, taken sometime prior to 1954. [...]

[...] The Three Faces of Eve is an excellent title for the book, since the ego may quite legitimately be compared to the face that the identity turns toward objective reality, or the living mask that it dons.

You are only aware of any such changes when your present conscious attention is directed at any object or event. Objects or events known to you in your past still exert their pressures upon you even as your own effect still changes them. The same holds true for what you would term future objects or events.

I use the word event here to include either object or happening. [...]

[...] The pathways are carriers of telepathic thoughts, impulses and desires that travel outward from any given self, altering and changing the seemingly objective events.

In a very real manner events or objects are actually focal points where highly charged psychic impulses are transformed into something that can be physically perceived, a breakthrough into matter. [...]

The object he has chosen has a strong connection with a place. (Jane began to rub her eyes strongly.) The object is not utilitarian, that is, you cannot do anything with it, but it represents something else.

[...] The object is on a rectangular piece of heavy, porous-type paper, similar to card stock. Jane said she had an image of the correct size and proportion of the object, and that Seth was trying to get this data across to her. [...]

(“A thin border on the object”, The border might be called thin on the bottom and left edge of the object, since the drawing runs out almost to the edge here. [...]

[...] My writing on the object follows the horizontal or long dimension of the object. [...]

Using the art form, the artist in a strange way broke through line, destroyed what would seem to be the literal continuity of the objective shape. At the same time a few lines were used to hint at a variety of unseen, apparently unstructured objects, so that in that regard the line became in the hands of a master a strong symbol, hinting at other realities that lay within the seemingly distorted portrayal of objects.

[...] At its best (underlined) impressionism achieved a certain focus unknown to Western art up to that time, in your terms, offering a breakthrough from cohesive objective form into the moving vitality that gives objects, say, their durability and shapes their images.

[...] (Pause.) By changing the names of objects you automatically look at them in a new fashion, yet certainly all objects will not be given names, for this would defeat our purpose. [...]

Instead the relationship between objects will be stressed through sound. The emphasis will be on an object’s “placement,” (in quotes) in title and space as you think of it, and on the ever-changing pattern of force that constantly alter relationships of any kind.

(See the tracing of the envelope object on page 289. I had used this for the object on the spur of the moment, more or less, without being concerned with whether Jane might know, or have on file, the letter the envelope had contained. Some of the data we could connect with the object, some we could not. When Jane began to go through her file of correspondence with her publisher, F. Fell, we began to see what complications could evolve from what seemed to be a simple envelope object.

[...] Naturally, she was considerably vexed to learn that it was a legitimate one, and pertained directly to the object. See the tracing of the experimental object on page 289. [...] As soon as she opened the sealed double envelope and saw the object, Jane realized she had had an impression of bread. [...]

[...] The object was the front of a recent letter to Jane from her publisher’s secretary. [...] I thought this object simple enough, while containing some good emotional charges, but as will be seen Seth picked up many connections. [...]

The above is to be taken as my impressions concerning an object, or objects.

Now for our object. [...] It is not an esthetic but a functional object. [...]

[...] The doodles on the object were made with a blue pen. [...] There is a strong darker color in a couple of spots on the object, where Don blocked out numbers. [...]

[...] The object was a sheet of yellow paper upon which our young friend Don Wilbur doodled various numbers and words on the evening of Friday, April 15. [...]

In certain areas of mass shared dreams, collective mankind deals with the problems of his political and social objective structure. [...]

Think of the energy as radiating outward from the object, giving life to all other things, whether or not many specific objects are to be in any given painting. This will result in paintings in which your chosen point of attention radiates through the form, illuminating all other objects in the painting, and psychically radiating outward from the painting.

Pretend that the energy within that object is the center of life, so that the whole rest of the universe derives its energy within that stone or flower. Do this until you can feel that energy pulsate within the form of the object, so that the form itself is ever mobile while it retains the semblance, as in a stone, of immobility.

[...] Imagine the energy within that object perpetual, but in terms of being endlessly alive and vital.

It will automatically be evocative of other objects not in the painting, and will automatically remind the viewer of the universe that you did not paint. [...]

(In the 221st session Seth suggested we postpone our series of object tests with the Gallaghers. At the same time he described the object the Gallaghers were focusing upon in their home outside of Elmira at session time. Jane learned from Peggy Gallagher later in the week that the object was a miniature teapot. [...]

[...] He picked up accurately enough that the test object could be held in the hand, had a connection with water and an indentation—the opening in the teapot—but erred in the rock or stone terminology, the color and the word nondescript. Bill indicated the color of the teapot in his sketch, saying the object is anything but nondescript. [...] He also said that we would conduct a series of tests with the Gallaghers, involving objects, and that they would be successful.)

[...] the word nondescript as applying to the Gallagher object.”

(Without indulging in wishful thinking, Jane and I thought we saw some points of similarity in the above data and a miniature teapot, namely the fact that the test object could be held in the hand, had a connection with water, and an indentation. [...]

[...] As stated on page 36, Jane had a mental image of a rectangular object that was whitish in color, with lines upon it. Hence the persistent references to a white object instead of the actual green color. [...] Perhaps the meaning is subjective, as well as the size of the handstamp in relation to the size of the whole object.

[...] See the tracing of the object on page 29. The top and bottom edges of the object are serrated or perforated; several receipts are contained on one page in the book at the post office, and are torn off as used. The sides of the object are straight.

Now for the object. A book, or an object resembling one. [...]

[...] It was rectangular and of the approximate proportion of the object. [...] Remember also that she gave white in connection with the object’s color, in answer to my second question. [...]

[...] I have a habit of sticking various objects on the shade for easy reference—small pictures, drawings, pieces of tape, stickers of various kinds, and other objects. [...] Due to the long narrow shape of the lamp shade, the objects fastened thereon end up arranged in a row.

(See the tracing of the envelope object, the holly leaf, on page 13. [...] I thought another group of them tried to get at the origin of the envelope object—namely my place of employment—hence the reason I chose the question I asked. [...]

[...] The envelope object was a dried holly leaf. [...]

(See page 7 of the 240th session for the envelope data on the AAA card used as the object. [...]

This procedure left me knowing only one thing about the object: that it was from some section of The New York Times, date unknown. After the experiment was over, Jane opened the envelopes containing the test object; then I went back to the studio, and from the hidden section I picked out the page from which the object had been torn. [...]

[...] (The word “twin” appears on the object, referring to the size of a blanket on sale. I had the strong subjective impression, however, that this was a reference to the fact that the envelope object was a part of a similar object.)

[...] 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.

Still without looking at the paper I’d chosen as object, I sealed it in the envelopes. Then, with my eyes closed, I picked up the section from which the object had been taken, groped over to a floor-to-ceiling bookcase, and placed it on a high shelf where I would not see it.

(Over the weekend Bill and Peggy Gallagher agreed to try mutual concentration upon a single object in their home at session times. They would keep a record of the chosen objects for a month, without telling us what they were, then we would compare the list with Seth’s data after the experiment ended. [...]

If it is an emotionally charged object this will make our task easier. Though he need not concentrate upon it then with too great an intensity, since the object itself will send out information of its own.

(See the tracing of the test object on page 190. As can be seen practically none of the data applies to the test object, with the exception of the white coat; the connection here is tenuous, and will be explained. [...]

[...] Now the test object contains a poem referring to shivering pigeons and snow—hence the connection. I thought the November reference might be legitimate, since the originator of the test object, Ann Diebler, could have visited our apartment during that month. [...]

[...] The object was two sections of a red ribbon taped to a piece of heavy Bristol board. [...] We regard such objects, where we know little of the history, as being like objects furnished by others.

[...] Objects perhaps—that is, four objects perhaps indicated.

[...] As stated I picked the red ribbon used as object from the bed of our cat on about June 20, with little idea of its history. It developed that Jane had to think hard in order to tentatively link the object with a hand-knit sweater she had received from her mother as a birthday present. [...]

[...] Objects perhaps—that is, four objects perhaps indicated.” [...]

[...] The object, the round object, seems to have something to do with motion.

(Jane said she knew she was going astray in the data when I asked about the family group, although the envelope objects do mention family groups. [...] Jane said she had an image of a “round object”, that had to do with motion, but had no idea as to what it represented.

[...] The object, the round object, seems to have something to do with motion.” [...]

[...] See the copies of the objects on page 51, and note the copy on the back of one of them, above. [...]

A connection with a man as close to him as a brother, so to speak, with sandy hair, who is somehow connected with the object. (Pause of 50 seconds.) The object also had to do with an understanding that was reached between the owner and another man.

(“The object connected with an event that happened in the afternoon.” My dental appointment as shown on the test object was for 2:30 PM.

I saw at first the object as if it were—the round object which was the light—as if it were on the card.

[...] I also used Jane’s appointment card of May 5,1965 as the test object for the 15th envelope test in the 199th session. [...]

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

There is constant translation of inner reality into objects in the waking state and a constant translation of ideas into pseudo-objects in the dream state. Within a certain range of dream reality, ideas and thoughts can be translated into pseudo-objects and transported. [...]

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

[...] Objects, you see, are symbols. Dream objects are often symbols of realities that the ego could not otherwise perceive.

I mentioned that objects are symbols to express a basic reality, the reality of direct experience. On one level dreams deal with objects and dream images. [...] At deeper levels however in the dream state there is direct experience, and objects are not used.

In all these experiments I receive the emotional and psychic impressions first, and then attempt to name your object.

[...] I follow these emotional charges most minutely, using great discrimination in order to let myself be led to the specific object.

[...] Again, quite legitimate perhaps, but is this a threatening event, or is it perhaps a threatening physical object?

(See the previous pages for tracings of the two envelope objects used in the 73rd experiment this evening. [...] I did this deliberately on Friday evening during the gathering, in full view of everyone, for at that moment I decided to use this cap as the envelope object for the session tonight. [...]

[...] This is a case where Jane had seen one of the two items making up the envelope objects very recently—the beer can cap, on Friday, October 7, three days ago. [...] See pages 86-88 for tracings of the two envelope objects, and the beer can. [...]

[...] Our experiences of the evening involving this game enter into the envelope data, although neither of the envelope objects refer to it directly. This is often the case, the often innocuous envelope object reflecting whatever strong emotional charges surround it at the physical time Jane and Seth are trying to get back to.

[...] There could be many sources of red that Friday evening; for instance, the candle I used to deposit a coat of carbon black on the cap used as object, was a brilliant red; this was a large fat candle, and one we have used in previous experiments. We used it toward the close of the evening last Friday as an object upon which the six of us focused our attention. [...]