“Seth material” search engine (Jane Roberts)

(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. She saw this white as very bright. See my notes on page 109. When the ultraviolet lights were turned on in the discotheque, some colors were activated more than others. The light was actually quite dim, but the ultraviolet made anything white appear to be blinding white-paper, socks, white shirts, etc. The effect was very striking. The napkin was of white paper.

(“yellow, as in sunlight,” is as interesting to us as the snow-white data listed above. Jane wore a white blouse to the discotheque. When the ultraviolet lights were turned on however, we were surprised to see a large, bright yellow stain on the front of her now brilliantly-white blouse. This stain was invisible in ordinary light. In addition, we discovered more similar yellow stains on both of Jane’s palms. We never did discover the source of the stains.

A turn up, something turned up. A photograph. I think of white, snow white. A house. A connection with the past, and with your parents.

(“The feeling of a fluid dark color, broken by white shapes that appear like blocks.” [...] Seth now uses the block data to refer to the whites scattered through the object on the original. Some of the whites are of a block shape, roughly, but more often simply irregular just as the pigment is.

(“A film connection, black and white.” [...] It comes up again, as does the black and white data. [...]

[...] The whole pattern was made up of lines and white spots which do not show very well in my tracing. [...]

[...] The list is handwritten, on a white paper that is tinged with blue, that is, bluish-white paper. [...]

[...] The photo has a white border. [...] It is invisible at the photo’s top, the sky merging into the white paper. [...]

(“Blue and white.” [...] Jane said this is when she had the mental image of white notepaper with blue lines on it. [...]

[...] Death is viewed in terms of value judgments of good and evil and black and white — the annihilation of consciousness being perceived as black, and its resurrection as white.

Now: You equate the color white with brilliant consciousness, good, and youth, and the color black with the unconscious, old age and death.

[...] There was always a great fear that the blacks as a race would escape their bounds — given an inch they would take a yard — simply because the whites so greatly feared the nature of the inner self, and recognized the power that they tried so desperately to strangle within themselves.

[...] A large pennant or such with red, white, blue. Another with gold and blue and either green or white. [...]

[...] A white sequined dress.

Now: Using this analogy of the white hole and the black hole: To make this clearer, the white hole is within the black hole. [...]

[...] A black hole is a white hole turned inside out, in other words. The electromagnetic “matter” may reemerge through the same “hole” or “point” which is now a white hole.

Some of my readers may be familiar with “black” and “white holes” in space, that your scientists have recently discovered.

A seven o’clock appointment at a place with mainly white decor, white tablecloths, white waiter’s uniforms. [...]

The Jesuit (Bill) thinks strongly how computers could change the islands and discusses this with some heat or enthusiasm with another man, I believe, who wears a gray or white jacket and a sporty hat.

(I glued a square of the burlap to a wood panel with a very white acrylic gesso that is used to prime artists’ canvas, then used a razor blade to trim off the excess around the edges after drying. [...] Also along the bottom edge of the object a coating of the white gesso was to be seen, residue from the panel itself. [...]

[...] The color white and four lines, perhaps with white between them.

[...] Red color, surrounded by white. Perhaps by a white square. [...]

Here we have a system of belief in which it is wrong to be white, American, or wealthy, or even at all well-off in financial terms. [...] Here, though, wealth and a white skin are not only bad, but obvious symptoms of moral deterioration. [...]

[...] If you are instead white and wealthy and hold such beliefs, you will think yourself quite inferior indeed, and do everything in your power to show how picturesque, and liberal and open-minded, and black or brown you can be, while still being white, fairly well-off, and perhaps secretly addicted to your Christianity.

Many believe — using the first diagram — that it is “good” and morally superior to be Christian, white, wealthy and in excellent health. [...]

(“And now the wrist—see how it thickens and turns white?” Jane’s wrist did thicken. [...] The cold white light spread up over the thickening wrist, up the forearm to the sweater. [...]

[...] Our rooms have white walls also, so we could still see fairly well once our eyes became adjusted.

[...] flesh with a cold white light; there was no radiant effect, merely the changing color of the flesh itself.

It is the conscious mind as it is trained in your society that deals with black and white thinking, apropos of one of your questions. The connection between black and white thinking and creativity is legitimate, but it exists the other way around: as a rule the artist or creative person is (underlined) creative to the extent that he or she escapes black and white thinking, for the creative person deals with syntheses, original versions of reality and the consideration of different groups of probabilities—groups that appear otherwise very unlikely together from the standpoint of black and white thinking. [...]

(At 9:00 she told me she thought Seth would discuss my questions #5 and 6, about black-and-white thinking, and touch upon “that article” about micro metal-bending, or psychokinetic metal bending. [...]

(Pause.) In your creativity you both largely avoid black and white thinking, and automatically leap out of that framework. [...]

[...] A large pennant or such with red, white and blue. Another with gold and blue, and either green or white. [...]

(“The colors gray and/or white.” [...] The art is to be done in shades of black to white, without other colors, and will be so printed.

(“A rectangular package, covered with white tissue paper, and divided in fours by a slim blue ribbon.” Jane had an image here. She saw mentally the four divisions, and had the feeling of blue—of a white package with blue lines or ribbons dividing it.

(“I do have the impression of dark color and white, small handwriting perhaps on the back, in ink.” [...] The object does contain small dark handwriting on white. [...]

[...] On a sheet of white paper torn from a pad, same color ink as the tracing on page 189, folded as indicated, placed between two pieces of Bristol and then sealed in double envelopes. [...]

Also a white border. [...]

(“Plus white, and very dark.” I made the handprint on white paper identical with this page, and the print itself is very dark.

[...] The lines in the palm, indicated by black lines, are in actuality in white on the original print, so that the effect is the interesting one of a hand in reverse, or perhaps a map or plan printed in reverse. [...]

[...] Following the instructions in the book, I traced the outline of my hand in pencil while pressing the inked surface against the white paper. [...]

[...] I did give him the white table, but he confused it with the white table in your room, knew that this was not the table to which I referred, made the correct distinction, but thought that the white indication did not belong.

[...] She said she had an impression of a table while speaking for Seth; not only this, but of a white table. In the envelope photo it can be clearly seen that my drawing table is covered with white paper, for cleanliness while working. [...]

(However, we also have a small coffee table in our apartment, and it is painted white. [...] To avoid confusion in speaking the data she omitted the adjective white.

White paper with small implied border. [...]

I have the impression of a solid-appearing rectangular shape, in the center of a larger white object. [...]

(“White paper with small implied border. [...]

Now spontaneously he would give more sessions for others, quite happily and easily, but in the framework of the situation, the black or white aspect holds back such expression. (Pause.) He would probably see more groups, as you both did at 458 together, were it not for the black or white thinking, but this would be in response to quite spontaneous urgings to do so. [...]

[...] The new snow covered the bare ground evenly and whitely.

(Pause at 10:20.) It goes without saying that this is all black and white thinking. [...]

[...] Our walls are white, so we could see fairly well once our eyes were adjusted.

[...] It seemed to be an internal suffusing of the flesh with a cold white light. [...]

[...] See it thicken and turn white?’

[...] Bordered in white, I believe. Darker in the center, or at least outside of the white portions. [...] Bordered in white can be a reference to the rough white watercolor paper on which I did the painting. I painted only the two leaves and their cast shadows, and left the rest of the paper white. Thus the leaves are darker in the center of the painting, outside of the white portions.

[...] Bordered in white, I believe. Darker in the center, or at least outside of the white portions. [...]