Part 2: Two Paths to
Secularism
The
following quotes from p.76 summarize my present longing.
“Art tries, literally, to picture things which philosophy
tries to put into carefully thought-out words.” Han Rookmaaker. And
contemporary architect David Gobel said that in art, “a worldview is made
tangible.”
People
don’t’ care so much about the technical expertise of an artist, but how they
convey some aspect of the world as they see it. Art is never a perfect copy of
nature, but is an illusion; an interpretation or perspective on the part of the
artist. The author makes a connection between the identity crisis of the art
world in the Modern era and its abandoning the concept of truth.
Contrary
to media opinion, the greatest minds in the world of science are Christians who
are scientists. Yet, the world continues to try to erase such facts and, like
the Empiricists, attempts to find solutions to man’s problems through the
achievements of science and industry. These same blind seers declare that art
should never contain any moral lesson or implication.
Impressionism
attempted to approach visual reality through the lens of science.
Post- Impressionists wanted to reclaim some deeper sense of reality in their
work. During the same time, rationalists emphasized mathematics as the tool for
understanding all things, as compared to the empiricists who believed that
understanding came from data acquired through the senses. The perfect art
movement to parallel the rationalists was cubism. Geometric abstraction, in
particular the work of Mondrian, epitomized the rationalist worldview.
“Art was no longer a portrayal of a subject but the
investigation of form.” (p.130)
Secular
worldviews are nothing more than substitutes for traditional religion. They
become a template for an individuals thinking, communication, and view of life.
In this, empiricists and rationalists have the same goal: to replace divine
revelation with an alternate authority which can be imposed on society. Secularists
think nothing of criticizing religious institutions for doing the very thing of
which they are guilty.
Pearcey
lays out a simple two–part test for any worldview: “1) Is it internally
logically consistent, 2) Does it fit the real world? That is, can it be applied
and lived out consistently without doing violence to human nature? The second
question suggest a biblical form of pragmatism. After all, the purpose of a
worldview is to explain the world – to provide a mental map for navigating
reality. If the map does not work in the real world, then it is not an accurate
guide.” (p.152)
The
proponents of alternative worldviews, especially the naturalists, may even
admit that their model is inconsistent and impossible to live by. But they
continue on because the biblical worldview is an unacceptable and threatening
option. It’s like the prideful child who refuses to accept the gift of a new
toy while insisting on playing with his own broken piece of junk.
And,
as was stated before, these alternative worldview advocates will be quick to
criticize others’ views but never scrutinize their own views with the same pair
of glasses.
Here’s
another specific example: Liberal logical positivism reclaimed Hume’s fork as a
standard for knowledge: 1) ideas are either derived from sensation or 2) come
out of logical necessity, like mathematics. Yet, their precepts were not
empirically verifiable…so, the movement self-destructed.
Secular
Humanism is constantly looking for ways to change the environment to change the
way people think and live. After all, they conclude, we are nothing more than
the product of our environment, whether selective evolution or behavioral
engineering…hence the application of Bauhaus architecture.
Pearcey
quotes Hans Rookmaaker in his criticism of minimalism while missing an
opportunity to make a worldview application. The meaningless or purely design
use of color is the artist’s
expression of the “deeper vision of the human condition”! I agree with Seerveld
when he states, modern art (Mondrian-like reductionism, in particular) “has
refined a brilliant alphabet but has nothing to say.” Yet, without that initial
contribution, there would be no alphabet of visual design.
(to be continued)