“Seth material” search engine (Jane Roberts)

As to facial expression, this again is somewhat the same matter, for in this case matter does not matter. Physical expression, facial expression, is again the result of the personality’s characteristic method of manipulating the physical organism, and when I operated primarily as such I had my own characteristic way of doing so.

(The pace was now even faster, and occasionally I omitted a word in the notes to keep up; this did not alter any meanings. Seth was most amused and pleased at the exchange. Jane sat with her eyes still closed; her movements and facial expressions were active.)

([Bill:] “And does this include Ruburt’s facial expressions also?”)

(Jane was making many facial expressions now, along with her uneven strength of the voice effects. [...]

[...] (The facial difference was now quite marked; Jane looked older.) The symbol to help you identify a sphere with lines like rays. [...]

(Jane said she had felt her facial expression change, as described; at this time the data began to change, she said, from the abstract into an emotional personality who was responsible for it. [...]

[...] The woman told Jane that Jane had the same kind of facial skin that she had — with all of its negative suggestions.

[...] His facial expressions are fairly well his own. [...]

(I was watching as best I could for any effect of transposition or facial change, but had noted none.)

(Bill Gallagher said that in his opinion Jane, when speaking as Jane, doesn’t move her facial muscles the same as Seth does. [...]

(Peggy said that she watched me rather than Jane during the test, and that I did not betray by facial movement anything about whether Jane was doing well on the test, or not well.

Your lack of verbal communication of your exact feelings, plus your learned facility for facially expressing disapproval, only allowed him to reinforce his ideas.

(9:42 P.M. Seth’s references to my facial changes while sleeping touched upon a subject Jane and I had meant to ask him about several times; she’d referred to it again today. [...]

[...] She went through a number of facial gestures as she tried to begin speaking fast enough—I’d seen her go through the same effects in some of her “massive” experiences. [...]

[...] To observers, Seth’s otherness from me is apparent in the way the open eyes are used, in the gestures and rearrangement of facial patterns. [...]

[...] Sometimes I am distantly aware that my facial muscles are being rearranged as they mirror Seth’s emotions rather than mine. [...]

[...] (Pause.) And tell him to smile as he goes to sleep, and if he wakens to relax the facial muscles and smile. [...]

[...] She also said that when speaking as Seth, Jane tended to use the same gestures and facial wrinkles shown in the portrait I have painted of Seth. [...]

(In Volume 1, see the 68th session for some material on facial changes in Jane.

[...] I believe her facial planes appeared to be somewhat older to me. [...]

[...] In being so preoccupied with noting the great voice effects, I had been, I realized, less observant of the facial changes I had been aware of earlier; but there had been no doubt of the emotional interchange.

[...] She also said that when speaking as Seth, Jane tended to use the same gestures and facial wrinkles shown in the portrait I have painted of Seth.

[...] When Jane spoke the word “wars,” above, her tone of voice and her facial expression had a “wouldn’t you know it” connotation.)

In usual circumstances you may remember the emotions that you felt at the time a picture of yourself was taken, and to some extent those emotions may show themselves in gestures or facial expression. [...]

[...] The other is a rearrangement of her facial muscles; a tautness resulting, I believe, from an infusion of energy — or of consciousness. [...]

“This includes the facial muscles?” Bill asked.

As to facial expression, this again works in the same way, for in this case, matter does matter! [...]

[...] I believe a mole here (Jane touched her right cheek); though it may not be a mole but some facial characteristic here, you see. [...]

[...] She went through a variety of facial expressions, mostly smiling or quizzical, and changed her physical position several times. [...]

(She now began to use a different facial expression. [...]