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DEaVF2 Chapter 7: Session 913, May 5, 1980 4/45 (9%) Steffans Mrs woodcuts David heroic
– Dreams, "Evolution", and Value Fulfillment: Volume Two
– © 2012 Laurel Davies-Butts
– Chapter 7: Genetics and Reincarnation. Gifts and “Liabilities.” The Vast Sweep of the Genetic and Reincarnational Scales. The Gifted and the Handicapped
– Session 913, May 5, 1980 9:02 P.M. Monday

[... 15 paragraphs ...]

People could physically only see what was presently before their eyes—no postcards with pictures of the Alps, or far places. Visual data consisted of what the eye could see—and that was indeed a different kind of a world, a world in which a sketched object was of considerable value. Portraits [were] possessed only by the priests and nobility. You must remember also that the art of the great masters was largely unknown to the poor peasants of Europe, much less to the world at large. Art was for those who could enjoy it—who could afford it. There were no prints to be passed around,4 so art, politics, and religion were all connected. Poor people saw lesser versions of religious paintings in their own simple churches, done by local artists of far lesser merit than those [who] painted for the popes.

[... 4 paragraphs ...]

Later, as man insisted upon more objectivity of a certain kind, he determined that images of men should look like men—human beings, with weaknesses and strengths. The heroic mold began to vanish. Artists decided to stick to portraying the natural world as they saw it with their natural eyes, and to cast aside the vast field of inner imagery. Some of da Vinci’s sketches already show that tendency, and he is fascinating because with his undeniable artistic tendencies he also began to show those tendencies that would lead toward the birth of modern science.

(9:57.) His notebooks, for example, dealt with minute observations made upon aspects of nature itself. He combined the forces of highly original, strong imagination with very calculated preciseness, a kind of preciseness that would lead to detailed sketches of flowers, trees, the action of water—all of nature’s phenomena.

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.

[... 21 paragraphs ...]

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