“Seth material” search engine (Jane Roberts)

(“With something revolving, and with an oval shape that is not a perfect circle.” In the third column of the envelope object there is a reference to “ceramics and metal sculpture” also in the window with the nude painting that is the subject of the object. Directly in back of the painting is a large circular ceramic sculpture, perhaps a foot in diameter, that is more egg-shaped than a perfect circle. This has a textured, matte surface. Just to the right of this sculpture is another egg-shaped sculpture; this one is of polished silvery metal and is perhaps ten inches across. It stands on a wooden pedestal; the polished reflections in it seem to move as one’s viewpoint changes. We believe this is the oval shape Seth refers to, in light of his answer to my second question.

(“More of an egg shape than a circle.” Seth gave this in answer to my second question, and continues below. See the data and our interpretation on page 109, with the description of the two near-circular sculptures in the same window of Bill Macdonnel’s gallery, with the disputed nude painting. Seth gave the above data when I asked him to clarify his original data on page 108. The smaller of the two sculptures is more egg-shaped than the larger. See the next impression.

(“White or bluish-white. Small in contrast to a larger shape perhaps.” As stated, the smaller of the two near-circular sculptures, about ten inches across, is of polished silvery metal, highly reflective. This gives it the bluish cast. It also looks whitish, and gray. The quality of light can cause these changes in color. When Jane and I visited the gallery window to check out this data before writing it up, we noted the three colors mentioned above in this particular sculpture—white, blue, gray.

Deliberately he decides to create a sculpture, and automatically focuses his energies in that direction. When you form the living sculpture of your body, which is far more important to you than any work of art, you should certainly follow the same course. [...]

[...] Yet it operates regardless of interference, and is always at your command to give health and vitality to the living sculpture in which you have your present experience.

Personality differences then obviously have a great deal to do with the kind of illness adopted, or the “mars” you may inflict upon your own living sculpture.

(Perhaps I carried out some of my experiments with painting the outdoor sculpture in Denmark, where winter weather must be considered, after visiting Italy. While I discussed the Florence, Italy, data with Jane after the session, Seth returned very briefly re Rembrandt:That is why he went to Florence—to see the sculpture there. Perhaps after my return to Denmark from Italy I did some experimenting re painting sculptures, and then passed this information on to Rembrandt?

[...] There is a man vastly interested in the idea of coloring sculptures—the statues.

Rembrandt took the discovery with him, though you initially developed it for sculpture that stood outside. [...]

(See my dream book for Friday, December 8, 1967, for a sketch of the first vision I had that involved sculpture. The seeing of sculpture is most unusual for me, since I have never done any; though feeling all along that I was quite capable.

[...] Finally, very briefly but rather clearly, I visioned internally the hanging sculpture sketched below. [...]

(The Grand Opening exhibition will consist of a two-man show of sculpture by Harold Spaulding and Walter Buhr, two well-known Binghamton-area artists. [...] He is starting a sculpture class as well as working at his own sculpturing. [...]

Now: Your body is your own living sculpture — not only the shape, structure and nature of its form, but the miraculous sense-knowledge of its being and the unique effect it has upon others. The sculpture itself is also endowed with the power of creativity given to it by yourself.

I enjoy the children’s sculpture, and suggest you consider them, particularly the two large ones, as part of your more or less permanent household collection. [...]

[...] The sculpture Seth refers to above represents some done by students in Bill Macdonnel’s art classes; at the end of the school year the students did not claim their work, so Bill presented us with some pieces. [...]

[...] The heading that you asked about is for Part Two of the book (“Your Body as Your Own Unique Living Sculpture,” etc., given in the 637th session in Chapter Nine). [...]

[...] (Pause.) Again, the body is a living sculpture. [...]

[...] (With pauses:) “Your Body as Your Own Unique Living Sculpture. [...]

[...] Since these were an aesthetic people, the walls were lined with paintings and drawings, and sculpture was also displayed along these inner byways.

[...] A poem, a musical masterpiece, a sculpture, a novel, an opera, into a great piece of architecture. [...]

[...] In part: “Briefly but rather clearly I saw this hanging sculpture. [...]

[...] Pretend then that you possessed within yourself the knowledge, the sight, of all the world’s masterpieces in sculpture and art, that they throbbed and pulsed as realities within you, but that you had no physical apparatus, no knowledge of how to achieve it; that there was neither rock, nor pigment, nor source of any of these, and you ached with the yearning to produce them—and this, on an infinitesimally small scale, will perhaps give you, as an artist, some idea of the agony and the impetus that was felt.

[...] Your creative abilities do not simply allow you to paint pictures, to tell or write stories, to create sculpture or architecture. [...]

YOUR BODY AS YOUR OWN UNIQUE LIVING SCULPTURE

Those sketches of his, it seems, do not stand up as creative products as a great sculpture might, but they stand for a truly creative originality in which a consciousness played with internal material, and projected outward many of the material properties that then simply did not exist. [...]

I mentioned once that I found sculpture to be a more imprisoning form than say painting, music or a poem, and here I will mention my reasonings. [...]

[...] A sculpture cannot be compared with a musical note. [...]

[...] The time of the great masters in the fields of painting and sculpture is a case in point (humorously and louder)—so you see, I am getting to one of your favorite questions,² and we will continue the discussion at our next session.

[...] We are not sure of the “steeple shape,” unless it may apply to some of the modern sculpture also on exhibit in the gallery last winter.