“Seth material” search engine (Jane Roberts)

(“Four vertical lines,” While giving this data Jane held the object vertically, as indicated by T on page 4. The data is too general to be sure; the drawing on page 1 would have some upright lines in it while the object is held vertically, but nothing exactly vertical.

(After the gesture Jane switched the envelope to a vertical position as she put it back against her forehead. From now on I watched carefully to see that she held the envelope in the same position until the end of the delivery, so that I could mark the top dimension thus, should it be necessary to our interpretation of the data, and the Wilburs verified that the position of the object itself was thus determined by marking in succession both envelopes as they were opened at break, the two pieces of Bristol, and finally the object itself.)

A border. A top. Connection with an invitation. A house. Four vertical lines, and a present, or gift.

(“Vivid verticals”. The bill used as object contains verticals and horizontals.

[...] Vivid verticals. [...]

(Jane gestured with the fingers of her right hand spread and pointed downward; she made vertical motions with the hand. [...]

[...] Vertical, that is, vertical lines, on the top and bottom, and horizontal on the sides.” The insurance receipt contains clear black printed lines, both horizontal and vertical on the front, and horizontal only on the back. [...] Thus lines that were vertical at one time would become horizontal, and it seems this would apply whether in relation to her as the clairvoyant observer, or the floor or whatever. [...]

[...] Vertical. That is, vertical lines, on the top and bottom, and horizontal on the sides.

(“the verticals bright.” [...] We do not know why the vertical designation then.

The darks horizontal, the verticals bright. [...]

(“Vertical objects close together, as a woods.” [...] Perhaps Jane perceived this while the envelope was in a vertical position, or the data is simply somewhat distorted.

Vertical objects close together, as a woods. [...]

[...] During this session, part of it at least, I seemed to be viewing a classroom, presumably Pat’s; at first I looked down upon the room from above, then moved to a vertical position, searching for a particular seat. [...]

[...] It was folded once horizontally as indicated, although there were vertical fold marks in it also. [...]

[...] It was folded once horizontally in the double envelopes, as indicated, although there were also vertical fold marks in it.

[...] The object also bore earlier crease marks from a vertical fold. [...]

[...] Some strong verticals, having to do with two people, and a fall or fall.

(There could be strong verticals, depending on how Jane held the envelope; I do not remember. [...]

[...] But vertical and perhaps cone shaped.

(The photo does have verticals in it, and the dog’s form can be seen as cone shaped. [...]

[...] The mass rising vertically mainly. [...]

[...] rising vertically.”

(“A vertical format.” [...] Due to its nature a beer can would bear a vertical format. [...]

[...] A vertical format. [...]

[...] Horizontal rather than vertical, in the position in which I hold this.” [...] This is most interesting, for the envelope object itself contains neither vertical or horizontal lines or masses. [...]

[...] Horizontal rather than vertical, in the position in which I hold this.

[...] Jane, while holding the envelope, and the object inside it, horizontally, made a vigorous crossing and vertical motion with an arm. [...]

(There is a less clear vertical division to be seen on the object while in the horizontal position, although the brush marks in the upper left corner help to mark off a portion. [...]

[...] The scroll object can be used vertically or horizontally. [...]

[...] This effect rises above her head, vertically. [...]

(From the sketch on page 250 it can be seen that parallel lines, both horizontal and tall, or vertical, are present; these are the customary wavy lines of cancellation. [...]

[...] There are four objects that seem to be connected, four vertical wooden polelike objects, with one horizontal bar approximately in the middle. [...]

[...] (Pause.) The top portion of the vertical objects moves. [...]

I speak in terms of vertical and horizontal only to make things easier for you. As far as the immediately-previous material is concerned, I let Ruburt in on the vertical so to speak. [...]

You read your own consciousness now in a kind of vertical fashion, identifying only with certain portions of it, and it seems to you that any other organization of perception, any other recognition of identity, would quite necessarily negate your own or render it inoperable. [...]

[...] Truth does not exist on the vertical. [...]