“Seth material” search engine (Jane Roberts)

[...] It is kept in a box that also contains several notes and photographs. Either that, or the box itself is kept next to the notes and photographs. [...]

(Before she opened the envelope, Jane told me that while giving the data she had a most definite impression of something connected with photographs and music. [...]

(Remember that at the beginning of this data Jane is quoted as saying that she had strong impressions of something connected with both music and photographs. [...]

[...] Like a photograph; in shadow, but for this fabricky connection. [...]

[...] Like a photograph; in shadow but for this fabricky connection.” [...]

[...] Your father would not have worked as a photographer. [...]

[...] Jim Poett told us that the Voice will send a photographer up for pictures, so I’d figured we’d spend time worrying about that, too.

(Tracing of the photographic negative used in the 7th envelope test, in Session 187, September 13,1965.)

[...] that when you’re a kid you pick up certain ideas about what kind of a person you want to be—from a photograph, a corner of life, an edge, and you put all those little things together into a personality. [...]

[...] The object was a faded color Polaroid photograph. [...]

[...] Since the brick walk in the photo was photographed in perspective, there is a graduation in the size of the bricks. [...]

[...] The numbers three seven, and diagonal marks on the four corners of a rectangular piece of paper, connected perhaps with a photograph album.

(Jane said that when she gave the data about “diagonal marks on the four corners of a rectangular piece of paper,” she saw such a piece of paper rather clearly within her mind’s eye, without thinking of it particularly as a photograph.

[...] It’s interesting to note however that in late July, 1971, about eight months after this session, newspapers carried the story — with photographs — of the unearthing of a “massive” subhuman skull in a cave in the French Pyrenees Mountains, very close to the Spanish border.

[...] There, from another viewpoint, you can see it even more clearly, holding it like a photograph in your hands; at the same time you can see from that broader perspective that you do indeed also stand outside of the dream context, but in a “within” that cannot show in the snapshot because of its limitations.

Ruburt’s book should include, as it will, a photograph of Ruburt. [...]

[...] The things that paid off, the things that were indeed quite effective, were these: again, your chair suggestion —remind me to return to that, for I have not mentioned some other reasons why I would like it stressed—it being the chair; the table in the kitchen, with all of the implications of additional cooking and involvement; your remark (last week) that Ruburt’s face looked much better than it did in those old photographs; your bringing in the flowers; your lovemaking, which I will discuss; and Ruburt’s point-of-power exercises. [...]

[...] Your father was used as the main character, of course, because he is referred to in your notes, because you planned photographs of him in the beginning, and because in the dream he represented the disapproving portions of your own personality.

(To recap: Seth also said, referring to photographic proof of facial changes in Jane, that if she took the photographs for instance [Peggy is a reporter for the Elmira Star-Gazette], she would be accused of collusion with Jane and myself.

[...] When I asked if these could be photographed he said yes.

[...] The men were employed by the “plumbers,” a secret group working for the Republican President Richard Nixon’s Committee to Re-Elect the President, and their tasks were to photograph records and to check upon listening devices — “bugs” — that had been planted in the offices during a first illegal entry in May. [...]

[...] As the photographer he was often out of the picture. [...]

There is some connection here that you can easily dislodge, having to do with your father’s reluctance to sell his photographs, his attitude, and his reaction to clients when they entered the house. [...]

[...] (Long pause.) The Bantam photograph covers did displease him, but in a fashion he did not expect any more from the mass paperback situation. [...]

[...] It seems to have clothes but with a portion of the bottom of the drawer showing between, and somewhere in there a small notebook of some kind, or photographs that mean much to her.