“Seth material” search engine (Jane Roberts)

A photograph this time, without a border. [...]

(See the tracing of the test photograph on page 329. [...]

(The test object is a photograph, but with the standard white border.

(“Two people” can be Jane and me, just as I recall that in the second envelope test, which also concerned a photograph of York Beach, the two people mentioned could be us. [...]

[...] She had the mental picture of a border, of something square, as the photograph is, with a border around it. She had no indication of size; the photograph is 4” x 4”. [...]

(The orange-yellow-sunny interpretation of this photograph is particularly intriguing to us because it was taken on an extremely bright day; we remember it well because some other pictures I took on this roll, of rocks and the sea, were overexposed because of brightness and reflections. [...]

[...] Most striking of all perhaps, she said that when she heard herself speak the initials J. B., she knew that Seth meant Jane Butts, the subject of the photograph. [...]

[...] With all of the above data Seth, or Jane, did not use the word photograph.

(“Did you like your pictures?” This refers to the photographs taken the night before this session, in our 508th session, by a photographer. The photographs will be used in Jane’s book on the Seth Material.)

The photograph connection. [...] He interpreted this however in his own way, as saltwater, and the photograph was taken by the ocean, with rocks and sand, and the sand, you see, was picked up because of the grains.

[...] Ruburt thinks of an old photograph of himself, with his dog. [...]

[...] Ruburt thinks of an old photograph of himself, with his dog. [...]

A connection with a photograph that was taken along with others, more than one of its kind in other words.

(“The habit of squirreling away” is a good reference to my father, in whose photographic studio my brother Loren took the pictures he refers to in the test letter. [...]

[...] Refers to my father’s photographic studio.

(“A connection with a photograph that was taken along with others, more than one of its kind in other words.” [...]

[...] The test itself involved however a particular photograph that was of Jane Butts at York Beach, and in which the Instreams did not appear. I was not able to make the distinction clear to Ruburt, for it was definitely not a photograph of the Instreams.

(During break I asked Jane to discuss why I picked the particular photograph of York Beach to use in the test for August 23. [...]

In answer to your question, Joseph: both you and Ruburt were subconsciously aware of the Instreams’ location, and it was for this reason that you chose the photograph of York Beach, though you did not consciously realize the connection.

(For the test object I picked a black and white photograph of a dog Jane had owned when I married her. [...]

Not a photograph. [...]

[...] She said the color purple could apply to the brick facing depicted in the photograph. [...]

[...] Our dog was certainly of personal concern to us, the test object is a photograph, my initials are not directly connected with it as far as being visible, and as far as we know there is no wallet connection with the photo, etc. [...]

A note about the photographs of Jane on the cover of The Early Sessions:

[...] In the larger one, she was 41 years old when Rich Conz, a photographer for the Elmira Star-Gazette, took her picture in 1970, when she was in trance. [...]

[...] The impression is certainly of some kind of photograph here. Ruburt now thinks of a woman and child, and of a photograph of Marie Tubbs and a baby, in Florida.

[...] The impression is certainly of some kind of photograph here. Ruburt now thinks of a woman and a child, and of a photograph of Marie Tubbs and a baby, in Florida… I feel we are off here, but that the connection is valid.” [...]

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.

[...] Others are to duplicate tapes and photographs for us.

9. On facing pages in our album, Jane and I have a pair of large, rather formal photographs of ourselves that we’ve often joked about. [...] Jane, in her photograph, is 6½ years old. [...]

[...] Give us a moment … In no way could you predict what would happen to the child in that photograph of yourself.⁶ In no way now can you “predict” what will happen to you now. [...]

6. Seth referred to the photograph my father had taken of me when I was about 2 years old; see the appropriate note at the beginning of the 679th session.

Since Seth mentioned predictions in connection with the photograph, this is a good time to present a few of the things he said in an earlier session about his own ability to predict, and about the subject in general. [...]

[...] This sort of arrangement is more important than the other matter under discussion, concerning a possible photograph of Ruburt during a session. [...] I have nothing against such a photograph being taken or used.

(Another project we would like to explore is photographing Jane during sessions. [...]

[...] These clues are seemingly oddly assorted ones involving such issues as cheesecake, the repair of an old chair, old photographs and a photography shop, and the meeting of an old acquaintance after some period of time. [...]

Your person-to-person encounters with reality have been unusually supportive of late: Adams, Frank, your new friends the Germans, and even your encounter with the photographer. [...]

[...] It was held primarily so that Rich Conz, of The Elmira Star-Gazette, could photograph Jane in trance. [...]

[...] I will take a break, and let our suffering photographer rest his weary hands.

[...] Those beliefs helped give you your photographs, because, while you don’t like the idea, you believe it.

Poett and the photographer, however, believe the same; only they regard “spookiness” and strangeness as highly commendable qualities that contrast with what they think of as the blandness of the common man.

Ruburt thinks of a photograph taken in Marathon.

[...] We do have photographs of the place.

Ruburt picked up the Florida connection, and this led him to think of his photograph. [...]

[...] I saw fairly clearly a four-column layout set in type; at the top was a plate for printing a photograph, with headline lettering on either side of the photo. [...]

[...] Connection with a photograph I believe, or other object with triangular corners that photographs usually fit into in an album.

(“Connection with a photograph, I believe, or other object with triangular corners that photographs usually fit into in an album.” [...]

[...] We had read that some of the quasars were found on old sky photographs.)

[...] Closer, I have the impression of a black and white photograph, with two faces in the foreground, and shadow-shapes in the rear, through which lighter portions show.

[...] A man and a woman in the photograph. [...]

[...] A photograph. [...]

[...] She said that at this stage of her development it is very difficult for her to tell when such personal associations enter in, unless Seth himself notes it by saying “Ruburt here thinks of a photograph,” etc. [...]

[...] The snow I used merely because the white was so blinding, and this led Ruburt to his own associations, concerning your parents’ house, and a particular photograph which was taken in the wintertime. [...]

(“Why did Jane and I find his photograph so striking?” Sunday at the family home in Sayre, I found a copy my father had made of a very old picture of Otis. [...] Otis’s photograph exerted a most peculiar fascination for Jane and me. [...]