“Seth material” search engine (Jane Roberts)

The main issue, however, in that particular era, was a shared belief system, a system that consisted of, among other things, implied images that were neither here nor there—neither entirely earthly nor entirely divine—a mythology of God, angels, demons, an entire host of Biblical characters that were images in man’s imagination, images to be physically portrayed. Those images were like an entire artistic language. Using them, the artist automatically commented upon the world, the times, God, man, and officialdom.

This was an entirely different kind of art than you have now. It was an attempt to objectify inner reality as it was perceived through a certain belief system. Whether the artist disagreed with certain issues or not, the belief system was there as an invisible framework. That intense focus that united belief systems, that tension between a sensed subjective world and the physical one, and the rarity of images to be found elsewhere, brought art into that great flowering.

Now: Drawing of that nature flourishes in your times in an entirely different fashion, divorced to some extent from its beginnings—in, for example, the highly complicated plans of engineers; the unity of, say, precise sketching and mathematics, necessary in certain sciences, [with] the sketching [being] required for all of the inventions that are now a part of your world. In your world, technology is your art. It is through the use of technology and science that you have sought to understand your relationship with the universe.