“Seth material” search engine (Jane Roberts)

[...] The face she saw was not that in a photo, but herself, alive. [...]

[...] There is a Baltimore connection, in that Baltimore is mentioned on the pepper can, as explained; also, Jane has a photo of herself taken on a set of the typical white Baltimore stone steps, with her dog, Mischa, now dead.

(This would be a different photo, it seems, than the one of Jane and her dog in Baltimore.)

(Jane said that as she began giving the data, the association she made with Seth’s data, “white, snow white,” led her to consider the particular photo of my parents’ house taken after a deep snowfall. [...] Jane said she saw the photo in her mind’s eye, but that as she continued to speak, she eventually received a hazy picture, a “nebulous impression,” of a bar. [...]

[...] There was of course no photo involved, or a house or any connection with my parents, or the past.

(Jane felt that “white, snow white,” was valid data, even though she was thinking of a certain photo of my parent’s house, taken when there was deep snow. [...]

[...] I’ve started a small oil painting based on the “chute” portion of the dream for July 7. I’ve also done a pencil sketch of one of the heads in the photos of myself in the reincarnational dream of July 17, in case I don’t get to paint it. [...]

(“Only that in the dream involving Debbie and me and the photos: Jane said the dream was reincarnational.”)

(I joked that I thought “A black and white photo.” meant the wallet identification card had been placed next to a photo in the wallet. [...]

A black and white photo. [...]

[...] A couple of weeks ago she received notice of his death, with a photo of him edged in heavy black. [...]

[...] Father Ryan’s mourning photo contained printed type on the back. [...]

[...] I believe the answer refers to the photo of the deceased Father Ryan. [...]

[...] To me at least the border on Father Ryan’s photo is more of a border than the implied border on the object itself.

[...] (And a photograph—for your edification, not my impression; Ruburt thinks of the word bizarre, since he is thinking of published photos—

—regarding published photos of your flying saucers, in parenthesis.)

(Now follows Jane’s impressions concerning a news photo of a drawing of flying saucers, which we had discussed recently. [...]

“Finally, [I ask] if you have a photo of Jane that you particularly enjoy that we can use on the flap. Once again, many of her fans would enjoy such a photo as a personal remembrance. It would also [let] us show a photo that does not exploit her channeling. Incidentally, this photo need not be recent. [...]

[...] However, I liked both Jim’s ideas of my doing the Preface for Jane’s book, and of publishing a photo of her. [...]

[...] However, this didn’t stop her from giving me a series of face-to-face hugs, very close, smiling like she does in some old photos of her that I’d found in a file yesterday. [...]

(Sunday, February 2, 1969, a group of articles and photos, totaling a full page and a half, was printed in the Elmira Star-Gazette. [...] The photos were of Jane and of the painting I did, in oil, of Seth.

(The material on a dog reminded me that the Bristol stiffeners I enclosed tonight’s test paper in were the same two in which I had enclosed the test photo for the 11th envelope test, in the 194th session. The photo was of our dog, Mischa, now dead. [...]

[...] There’s no need to go into all the complicated details here; it’s enough to say that the photos Bantam used in Seth Speaks were involved, especially the cover shot of Jane; as well as bids for Oversoul Seven between Pocket Books and Bantam; Jane’s fears that she’d end up committed for two more Seven books she hasn’t written yet; and various misunderstandings concerning ethics, expired option, and an offer to Jane to go to work for Simon & Schuster-Pocket Books, and to take Tam with her.

[...] Both John and Grace are upset also because Pocket Books thought about using the same photo of Jane on the cover of their book—The Coming of Seth—that Bantam had used on the cover of their issue of Seth Speaks.)

[...] It will be remembered that Jane’s second envelope test was held on the night of August 23, in the 180th session, and that the test photo featured Jane on the waterfront at York Beach. [...]

[...] For our part we want to know whether Dr. Instream understands that he was in York Beach on the same night a photo of York Beach was used in a session, or whether he remembers reading about York Beach in previous sessions.

[...] Seth here mentions some test photos I took of Jane in my studio here last week. [...]

[...] Tonight’s object of course is not a picture or photo, but an envelope that contained a letter about people who make pictures. [...]

[...] He deals with the photo-picture-artist impressions on the one hand, and the actual envelope object, containing both printing and typing, on the other. [...]

[...] I said I’d forgotten to ask Seth to comment on my feelings about parenthood these days, especially as I’d felt them yesterday when looking at the photos of the aide Sue’s children. [...]

[...] With the exception of an image of a photo of her schoolday friend, Marie Tubbs, Jane said she did not know if she had any images or not.

[...] Seth here appears to be drifting into a photo interpretation, as below.

(With an early letter he’d sent some photos of himself, and asked that they be returned. [...]

[...] Then when Debbie Janney arrived Saturday evening, she told me that she had just missed meeting me at Steiner’s photo studio earlier that week; going there to have a portrait taken, she’d seen by accident the enlargements of my parents that Mr. Steiner was making for me. [...]

[...] I felt like directing some very nasty barbs at Marie — especially when I remembered those old photos of Jane that I’d looked at a couple of days ago. [...]

[...] So did my studying out photos of Baalbek, the first-century AD Roman ruins in Lebanon. [...]

(During break I referred again to the photos of the massive ruins of Baalbek, in one of the books Shirley Bickford lent us. [...]

[...] He recalls a photo of his mother in the backyard when he was about seven. [...]

[...] 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. I could not distinguish the subject matter of the photo. [...]