“Seth material” search engine (Jane Roberts)

I am saying that it is far better to look on the most hoped-for solution to any situation, and to voice that attitude rather than to expect the poorest outcome, or express the most dire of attitudes. (Long pause.) There are some issues highly vital to health and happiness, that are quite difficult to describe. They are felt intrinsically. They are a part of the esthetics of nature itself. Flowers are not just brightly colored for man’s enjoyment, for example, but because color is a part of the flowers’ own esthetic system. They enjoy their own brilliance, and luxuriate in their own multitudinous hues.

(4:20.) The insects also appreciate flowers’ profusion of color, and also for esthetic reasons. I am saying, therefore that even insects have an esthetic sense, and again, that each creature, and each plant, or natural entity, has its own sense of value fulfillment, seeking the greatest possible fulfillment and extension of its own innate abilities.

This sense of value fulfillment, once more, benefits not only the individual, but its species and all other species. In a manner of speaking, then, the picture of nature is painted by its own consciously vital, esthetic portions. Each portion of nature is also equipped to react to changing conditions, and therefore deals with its own kind of predictive behavior, so that it can grow today into tomorrow’s condition.

[...] All creatures of whatever degree have their own appreciation of esthetics. They possess the capacity to enjoy esthetic behavior. [...]

Now: The spider spins his web, and the spider’s web is a combination of art, craft, esthetics, and utility. [...]

Art is not a specifically human endeavor, though man likes to believe that this is so, and no scientist is going to grant a spider or a bee any sense of esthetic appreciation, certainly, so what you have is art in its human manifestations, and art is above all a natural characteristic. [...]

[...] They have an esthetic appreciation of their own colors—a different kind, of course, than your perception of color. [...]

[...] He was in almost all cases an esthetic personality, four times a woman; two of these times a priestess, and once as a nun in the Middle Ages. [...]

[...] The esthetic nature inherent in Roarck’s personality will equip him to follow along very well. [...]

[...] The eyes brimming with tears represent his eyes as they have often been, esthetic, compassionate and overwhelmed. [...]

—laughing, I must say, in overwhelming mirth at this esthetic nature of its own personalities, that so often closes out joy and freedom, and the pleasures of nature on your plane.

Ruburt receives esthetic pleasure from looking at the clean rugs or windows—a pleasure which actually encourages his creativity. [...]

[...] Your house is perfectly set up, however, so that if you wanted to it can be expanded to suit further needs: the large center portion (gesturing) serving as your communal living quarters—this area—and with some creative extensions you could have quite appropriate separate working wings at either end, providing you both with more work space, feelings of privacy, and esthetic pleasure. [...]

[...] The whole idea of the esthetics of nature is forgotten — a subject that we will touch upon further as we continue our discussion.

[...] The end products—your foliage, landscapes and skies for example, are of the highest esthetic nature: as esthetic productions they are unequalled.

[...] But many of these actions are also mental manipulations, or esthetic realizations and even esthetic performances. [...]

“All creatures of whatever degree have their own appreciation of esthetics. [...]

[...] They have an esthetic appreciation of their own colors—a different kind, of course, than your perception of color. [...]

[...] In all cases the letters were of the cleanest simplicity, both for esthetic reasons and ease in carving and casting.

[...] Poetry and painting were both functional in ways that I will describe in our next book (humorously, elaborately casual), and “esthetic.” [...]

[...] There was not a technological organization however as you know it, so that the technological achievements were considered somewhat in a fashion that your society now considers fine art—esthetic, to be collected by the wealthy, delightful, good for collectors but not particularly practical. [...]

[...] He was an esthetic in workingman’s clothes, despite himself, espousing the old Protestant virtues of diligence, hard work, and no nonsense and no frills.

[...] It involves not being fleshy in voluptuous terms, a kind of esthetic discipline that morally disapproves of others. [...]

[...] Jane is against the whole thing on esthetic and invasion-of-privacy grounds, not monetary ones so much, and I guess my feelings about it all are too ambiguous. [...]

[...] The actual work involved in the selection of data is still made according to the beliefs in the artist’s conscious mind as to who he is, how good an artist he is, what kind of artist he is, what “school” of artistic beliefs he subscribes to, his ideas of society and his place in it, and esthetic and economic values, to name but a few.

[...] Protestant work ethics do not produce great art, and they can finally undo the good that they have done, by turning all work into a meaningless performance in which the product itself becomes a means to an end, and loses any esthetic value.

He realized that at another house he might receive more money or more publicity, or possibly another more esthetically-presented package, yet against the other uncertainties and vicissitudes he felt he had an acceptable framework of operation. [...]

[...] Now his own background, with its self-denial and early religious esthetic training, also played its part, you see.

[...] Your society has emphasized and exaggerated the objective characteristics of life to such an extent, however, that art seems to be an esthetic, fairly remote phenomenon, quite divorced from physical time. [...]

(“Also—Tam’s....esthetic integrity slips in my estimation in what I understand as his own writing intents.” [...]