CanCan BeautyBeauty PointPoint UsUs toto God?God?

AA PosterioriPosteriori Argument:Argument: ReasoningReasoning fromfrom beautybeauty backback toto GodGod www.prshockley.orgwww.prshockley.org

©© PaulPaul R.R. ShockleyShockley ConsiderConsider thethe followingfollowing Quote:Quote:

“Now if a man believes in the existence of beautiful things, but not of Beauty itself, and cannot follow a guide who would lead him to a knowledge of it, is he not living in a dream?" Plato's Republic , 476c.

Plato is the “father ” & fiercest critics of the philosophy of Aesthetics in Western thought & culture. AnAn Introduction:Introduction:

IsIs itit reasonablereasonable toto believebelieve thatthat beautybeauty pointspoints usus toto God?God? OrOr isis beautybeauty merelymerely inin thethe eyeeye ofof thethe beholderbeholder??

WhileWhile notnot discountingdiscounting thethe possibilitypossibility ofof aa subjectivesubjective aspectaspect toto beauty,beauty, subjectivitysubjectivity doesdoes notnot automaticallautomaticallyy meanmean thethe nonnon --existenceexistence ofof objectiveobjective beautybeauty oror thatthat objectivityobjectivity isis necessarilynecessarily oppositionaloppositional toto subjectivsubjectivity.ity. CouldCould itit bebe thatthat bothboth objectiveobjective beautybeauty andand subjectisubjectiveve beautybeauty areare coco --extensiveextensive (i.e.,(i.e., twotwo sidessides ofof aa coin)?coin)? Consider:Consider:

ArgumentsArguments andand evidencesevidences thatthat areare usedused fromfrom moralmoral lawlaw forfor GodGod ’’ss existenceexistence maymay bebe translatedtranslated intointo aestheticaesthetic argumentsarguments andand evidencesevidences forfor GodGod ’’ss existence.existence.

ForFor example:example: Consider: We have a standard of validity:

How had I got this idea of beauty and ugliness? A man does not call a line crooked unless he has some idea of a straight line. What was I comparing object X with when I called it ugly?

Straight Line = Standard Consider the following relationship:

1.1. MoralMoral lawslaws implyimply BeautyBeauty impliesimplies aa aa MoralMoral LawLaw MindMind ofof beauty.beauty. Giver.Giver.

2.2. ThereThere isis anan ThereThere isis objectiveobjective objectiveobjective moralmoral beauty.beauty. law.law.

3.3. Therefore,Therefore, therethere Therefore,Therefore, therethere isis aa MoralMoral LawLaw isis anan objectiveobjective Giver.Giver. MindMind ofof beauty.beauty. Outline:Outline:

Eight Types of Arguments & Evidences from Beauty for God ’s Existence:

I. Logical Arguments II. Aesthetic Value Judgment Argument III. Intuition Argument IV. Aesthetic Experience Argument V. Practical Argument VI. Existential Desire Argument VII. Cultural Argument VIII. Evidences of universal Signatures of Art Against Relativism and Subjectivism ConsiderConsider thethe followingfollowing LogicalLogical ArgumentsArguments fromfrom BeautyBeauty forfor GodGod ’’ss existence:existence:

A. Argument from Aesthetic Normativity B. Argument from Universal Signatures of Beauty C. Argument from Aesthetic Order D. Argument from objectivity for the Existence of God E. Argument from Objective Beauty to an Absolute Mind F. Idealist Argument from the Human mind to Infinite Mind G. Argument from Aesthetic Norms of Beauty for God ’s Existence: ArgumentArgument fromfrom AestheticAesthetic NormativityNormativity forfor GodGod ’’ss Existence:Existence:

1.1. ItIt appearsappears toto humanhuman beingsbeings thatthat aestheticaesthetic normativitynormativity (i.e.,(i.e., aa transculturaltranscultural standardstandard ofof validity)validity) exists.exists.

2.2. TheThe bestbest explanationexplanation ofof aestheticaesthetic normativitynormativity isis thatthat itit isis groundedgrounded inin God.God.

3.3. ThereforeTherefore GodGod exists.exists. ArgumentArgument fromfrom UniversalUniversal SignaturesSignatures ofof BeautyBeauty forfor GodGod ’’ss Existence:Existence:

1. Universal signatures of beauty exists (e.g., symmetry, proportion, unity, complexity, intensity)

2. Universal signatures have the properties of being objective.

3. The best explanation for the existence of universal signatures of beauty is provided by theism.

4. Therefore the existence of universal signatures of beauty provides good grounds for thinking theism is true. ConsiderConsider thethe followingfollowing byby ThomasThomas Aquinas:Aquinas: ““BeautyBeauty demandsdemands thethe fulfillmentfulfillment ofof threethree conditions:conditions: thethe firstfirst isis integrityintegrity ,, oror perfectionperfection ,, ofof thethe thing,thing, forfor whatwhat isis defectivedefective is,is, inin consequenceconsequence ugly;ugly; thethe secondsecond isis properproper proportionproportion ,, oror harmony;harmony; andand thethe thirdthird isis clarityclarity -- thusthus thingsthings whichwhich havehave glowingglowing colourcolour areare saidsaid toto bebe beautiful.beautiful. ”” Frederick Hart (1943-99) Three Soldiers at Vietnam Memorial ArgumentArgument fromfrom AestheticAesthetic OrderOrder forfor GodGod ’’ss Existence:Existence:

1. Beauty is a rational enterprise.

2. Beauty would not be a rational enterprise if there were no aesthetic “order ” in the world (e.g., unity, intensity, complexity).

3. Only the existence of God traditionally conceived could support the hypothesis that there is an aesthetic order in the world.

4. Therefore, there is a God. AnAn ArgumentArgument fromfrom ObjectiveObjective BeautyBeauty forfor GodGod ’’’’’’ss Existence:Existence:

1.1.1.1. ThereThere mustmust bebe objectiveobjective beauty.beauty.

2.2.2.2. ObjectiveObjective beautybeauty isis beyondbeyond individualindividual personspersons andand bbeyondeyond humanityhumanity asas aa whole.whole.

3.3.3.3. ObjectiveObjective beautybeauty mustmust comecome fromfrom anan objectiveobjective MindMind ooff beautybeauty because.because.

4.4.4.4. Therefore,Therefore, therethere mustmust bebe aa beautiful,beautiful, personalpersonal MindMind behindbehind objectiveobjective beauty.beauty.

Let ’s further unpack this powerful argument: AnAn argumentargument fromfrom ObjectiveObjective BeautyBeauty toto God:God:

1. There must be objective beauty; otherwise : (a) There would not be such great transcultural agreement on its meaning. (b) No real disagreements of beauty would ever have occurred, each person being right from his own perspective. (c) No value judgment of beauty would ever have been wrong, each being subjectively right. (d) No question of beauty could ever be discussed, there being n o objective understanding of beauty (e) Contradictory views would both be right, since opposites cou ld be equally correct. AnAn ArgumentArgument fromfrom BeautyBeauty toto God:God:

2.2. ObjectiveObjective beautybeauty isis beyondbeyond individualindividual personspersons andand beyondbeyond humanityhumanity asas aa wholewhole : (a) It is beyond individual persons, since they often sense a conflict with beauty/ugliness;

(b) It is beyond humanity as a whole, for they collectively f all short of beauty and measure the progress of civilization by its art -forms in terms of beauty. AnAn ArgumentArgument fromfrom BeautyBeauty toto God:God: 3. Objective beauty must come from an objective Mind of beauty because:

(a) Beauty has no meaning unless it comes from a mind; only minds emit meaning.

(b) Beauty is meaningless unless it is a meeting of mind with mind, yet people inherently desire to experience beauty.

(c) Hence, discovery of and desire for beauty make sense only if there is a Mind or Person behind it.

4. Therefore, there must be a beautiful, personal Mind behind objective beauty . 77 EvidencesEvidences forfor ObjectiveObjective Beauty:Beauty:

Let ’s pause and further explore this argument by considering 7 evidences for objective beauty.

These evidences were translated from moral law evidences in I Don ’t Have Enough Faith to be Atheist by Norman Geisler and Frank Turek , pg. 172. 77 EvidencesEvidences forfor ObjectiveObjective Beauty?Beauty?

1. We know what is beautiful and what is ugly by the manner we react to what we see.

2. We would not know what is Simeon’s Moment ugly if there was no absolute sense of what is beautiful (you only no something is ugly by comparing it to an unchanging standard of what is beautiful).

Kopi Luwak Coffee Beans WhatWhat evidencesevidences dodo wewe have?have?

3. Real disagreements over beauty would not be possible without some reference to objective beauty. Every issue of beauty would merely be a matter of opinion. Star-filled sky

In terms of beauty, there would not be a significant difference between a clear, star starry- filled night and a trash dump.

Trash Dump WhatWhat evidencesevidences dodo wewe have?have?

4. Beauty cannot strictly be subjective. There must be some independent standard. Otherwise, no one can criticize beauty. There would really be no substance to one’s argument. WhatWhat evidencesevidences dodo wewe have?have?

5. We would not make excuses for making something ugly if we didn’t have some conception on what is objectively beautiful. In fact, it is naturally difficult to desire to produce something ugly whether it is a landscape, a painting, or musical medley. WhatWhat evidencesevidences dodo wewe have?have? One can’t listen extensively to the random sounds off John Cage as compared to Bach or Mozart.. I can stare at Van Gogh’s Starry Nights for hours as compared to a toddler’s drawing off a bug.. Sure, some John Cage creations take on a particular significance to us because of their meaning to our lives…like my daughter’ s drawing or my son’s painting. Nevertheless, we might have different art work on our walls across the world, but we generally sweep the trash off the floor… Van Gogh’s Starry Nights WhatWhat evidencesevidences dodo wewe have?have?

6. We would not substantively know if an artist’s work is getting worse or better if there was no conception of an objective standard of beauty.

7. Since we know what is absolutely ugly, there must be an absolute standard or basis of what is beautiful.

Beauty must come from a perfect mind of beauty. ConsiderConsider ……

When we attribute aesthetic value to a work of art we are attributing value to the work itself. We are saying that it has aesthetic value and that is value is grounded in the NATURE OF THE OBJECT ITSELF, not in the fact that most observers favor it (this would be a consequent of the fact).

What object X demands from the observer is his considered judgment of its merit, and this judgment is based upon the work ’s properties alone, not on the properties of any observer or relation to it. Consider the following theories of objective value: ConsiderConsider AristotleAristotle ’’ss commentscomments ……

Beauty is a real property of things ( Metaphysics 1072b32 -35). Aristotle writes:

“Those who suppose, as the Pythagoreans and Speusippus do, that supreme beauty and goodness are not present in the beginning, because the beginnings both of plants and of animals are causes, but beauty and completeness are in the effects of these, are wrong in their opinion. For the seed comes from other individuals which are prior and complete, and the first thing is not seed but the complete being, e.g., we must say that before the seed there is a man, -not the man produced from the seed, but another from whom the seed is produced. ” ConsiderConsider AristotleAristotle ’’ss commentscomments ……

Moreover, in Parts of Animals , 645a23 -25, Aristotle relates beauty to design:

“Absence of haphazard and conduciveness of everything to an end are to be found in nature ’s works in the highest degree, and the end for which those work are put together and produced is a form of the beautiful. ”

So, while Aristotle ’s view of beauty may be vague, it is clear that he believed beauty to be objective; beauty is derived from the nature of the beautiful object; it is related to size and proportion; it is related to design. ConsiderConsider AristotleAristotle ’’ss commentscomments ……

While Aristotle doesn ’t provide offer a robust account of philosophical aesthetics whereby he deals with the problems of defending aesthetic judgments, we are able to conclude the following from Aristotle:

– Aesthetics involves objective reality; it is cognitively perceived and can be imitated.

– Aesthetics is pedagogically valuable and serious.

– Beauty is a real property; He is an empiricist who believed all knowledge begins in the senses. Argument from Objective Beauty to an Absolute Mind: Beginning with the objectivity of beauty, one may reason to an absolutely perfect Mind:

1. AnAn absolutelyabsolutely perfectperfect idealideal ofof beautybeauty existsexists (at(at leleastast psychologicallypsychologically inin ourour minds).minds). 2.2.2.2. AnAn absolutelyabsolutely perfectperfect ideaidea ofof beautybeauty cancan existexist onlyonly ifif therethere isis anan absolutelyabsolutely perfectperfect MindMind ofof beauty:beauty: (a)(a) IdeasIdeas cancan existexist onlyonly ifif therethere areare mindsminds (though(thoughtsts dependdepend onon thinkers).thinkers). (b)(b) AndAnd absoluteabsolute ideasideas dependdepend onon anan absoluteabsolute MindMind ((notnot onon individualindividual [finite][finite] mindsminds likelike ours).ours). 3.3.3.3. Hence,Hence, itit isis rationallyrationally necessarynecessary toto postulatepostulate anan aabsolutebsolute MindMind asas thethe basisbasis forfor thethe absolutelyabsolutely perfectperfect ideaidea ooff beauty.beauty. IdealistIdealist ArgumentArgument fromfrom BeautyBeauty toto GodGod ’’ss Existence:Existence:

1. ThereThere isis objectiveobjective beautybeauty thatthat isis independentindependent ofof huhumanman consciousnessconsciousness ofof itit andand thatthat existsexists inin spitespite ofof humhumanan lacklack ofof conformityconformity toto it:it:

(a)(a) PersonsPersons areare consciousconscious ofof beautybeauty beyondbeyond themselvthemselves;es; (b)(b) PersonsPersons admitadmit itsits validityvalidity isis priorprior toto theirtheir rerecognitioncognition ofof it;it; (c)(c) PersonsPersons acknowledgeacknowledge itsits claimclaim onon them,them, eveneven whiwhilele notnot yieldingyielding toto it;it; (d)(d) nono finitefinite mindmind completelycompletely graspsgrasps itsits significansignificance;ce; (e)(e) allall finitefinite mindsminds togethertogether havehave notnot reachedreached compcompletelete agreementagreement onon itsits meaning,meaning, nornor conformityconformity withwith itsits iideal.deal. AnAn IdealistIdealist ArgumentArgument fromfrom BeautyBeauty toto GodGod ’’ss Existence:Existence:

2.2. ButBut ideasideas existexist onlyonly inin minds.minds.

3.3.3.3.3.3. Therefore,Therefore, therethere mustmust bebe aa supremesupreme MindMind (beyond(beyond allall finitefinite minds)minds) inin whichwhich thisthis objectiveobjective beautybeauty exists.exists. ArgumentArgument fromfrom AestheticAesthetic NormsNorms ofof BeautyBeauty forfor GodGod ’’ss Existence:Existence: 1.1. CertainCertain aestheticaesthetic normsnorms ofof beautybeauty havehave authorityauthority (e.g.,(e.g., exactexact imitation,imitation, representation,representation, depiction,depiction, proportion,proportion, unity,unity, complexity,complexity, intensity).intensity). 2.2. IfIf theythey havehave authority,authority, therethere mustmust bebe aa reliablereliable motivemotive forfor humanhuman beingsbeings toto strivestrive toto followfollow thesethese normsnorms ofof beauty.beauty. 3.3. NoNo suchsuch motivemotive couldcould exist,exist, unlessunless therethere isis aa GodGod toto attachattach sanctionssanctions toto behaviorbehavior underunder aestheticaesthetic normsnorms ofof beauty.beauty. 4.4. ThereThere isis aa God.God. II. An Argument from Value Judgments: This argument is rooted in the idea that a naturalistic worldview entails skepticism.

1.1. AestheticsAesthetics valuevalue judgmentsjudgments isis aa rationalrational enterpriseenterprise.. 2.2.2.2. ValueValue judgmentsjudgments wouldwould notnot bebe aa rationalrational ifif skepticiskepticismsm werewere true.true. 3.3.3.3. ThereThere isis tootoo muchmuch unresolvedunresolved disagreementdisagreement forfor usus toto supposesuppose thatthat skepticismskepticism cancan bebe avoidedavoided ifif humanhuman sousourcesrces ofof aestheticaesthetic valuevalue judgmentsjudgments areare allall thatthat wewe have.have. 4.4.4.4. ThereforeTherefore wewe mustmust assumeassume thatthat therethere isis anan extraextra ----human,human, divinedivine sourcesource forfor aestheticaesthetic valuevalue judgments.judgments. III.III. IntuitionIntuition Argument:Argument:

TheThe followingfollowing isis anan argumentargument fromfrom thethe IntuitionIntuition TraditionTradition ofof G.G. E.E. Moore.Moore. WithinWithin thisthis traditiontradition wewe willwill examineexamine C.C. E.E. M.M. JoadJoad ’’ss statementstatement andand thenthen frameframe itit intointo anan argument.argument.

JoadJoad contendscontends thatthat beautybeauty isis notnot anan objective,objective, naturalnatural propertyproperty (e.g.,(e.g., symmetry).symmetry). Rather,Rather, objectiveobjective beautybeauty isis aa nonnon --naturalnatural property,property, oneone thatthat isis altogetheraltogether unique.unique. Thus,Thus, objectiveobjective beautybeauty isis anan unun --analyzableanalyzable propertyproperty thatthat isis discoverablediscoverable whenwhen wewe invokeinvoke nonnon --naturalnatural powerspowers ofof detection,detection, namely,namely, thethe facultyfaculty ofof intuition.intuition. C.C. E.E. M.M. JoadJoad ’’ss conceptionconception ofof nonnon --naturalnatural ““objectiveobjective ”” beauty:beauty:

Beauty is a simple, un - analyzable property whose presence can only be intuited but not determined by any empirical tests. He writes, “Beauty is directly apprehended by the mind in just the same way that shape is directly apprehended .”

~ “The Limits of Psychology in Esthetics ” in Proceedings of the Aristotelian Society , Supplementary Vol. XI, 1932, 209 -10.

It is still an objective property (though non - natural) IntuitionIntuition Argument:Argument: ArgumentArgument forfor ObjectiveObjective BeautyBeauty fromfrom GodGod ’’ss existenceexistence basedbased uponupon IntuitedIntuited recognitionrecognition ofof unun --analyzableanalyzable PropertyProperty ofof Beauty:Beauty:

1. Beauty is a simple un -analyzable property intuited by the human mind.

2. The best explanation for this objective un -analyzable property intuited by the human mind is that it is that it is grounded in God.

3. Therefore God exists. ForFor JoadJoad ,, objectobject XX hashas thethe objectiveobjective propertyproperty ofof beautybeauty thatthat isis uniquelyuniquely estheticesthetic andand differentdifferent fromfrom allall otherother propertiesproperties inin thethe universe:universe:

““EstheticEsthetic emotionemotion isis aa mentalmental processprocess whichwhich accompaniesaccompanies thethe apprehensionapprehension ofof beauty,beauty, asas fearfear isis aa processprocess whichwhich accompaniesaccompanies thethe apprehensionapprehension ofof aa tigertiger [Ibid].[Ibid]. ”” ConsiderConsider T.T. E.E. JessopJessop ’’ss assertion:assertion:

““WhenWhen II attributeattribute propertyproperty toto anan objectobject thethe tributetribute seemsseems toto bebe wrungwrung fromfrom meme byby thethe object,object, andand ifif onon reflectionreflection II concludeconclude thatthat II havehave misapprehendedmisapprehended thethe object,object, II amam unableunable toto retainretain thethe attributionattribution …… II cannotcannot atat pleasurepleasure givegive it,it, withholdwithhold it,it, oror changechange it.it. UnderUnder thethe influenceinfluence ofof moodmood beautybeauty maymay loselose itsits savor,savor, butbut notnot itsits beauty;beauty; inin aa reflectivereflective personperson thethe judgmentjudgment remainsremains thethe samesame asas longlong asas thethe objectobject does.does. ””

““TheThe DefinitionDefinition ofof Beauty,Beauty, ”” ProceedingsProceedings inin AristotelianAristotelian SocietySociety ,, Vol.Vol. 33,33, 19321932 --3)3) 161,161, 165.165. IV.IV. ArgumentArgument fromfrom AestheticAesthetic Experience:Experience: ArgumentArgument fromfrom NormativeNormative AestheticAesthetic ExperienceExperience forfor GodGod ’’ss Existence:Existence:

1.1. ItIt appearsappears toto humanhuman beingsbeings thatthat normativenormative ((transculturaltranscultural )) aestheticaesthetic experiencesexperiences occur.occur.

2.2. TheThe bestbest explanationexplanation forfor aestheticaesthetic normativenormative experiencesexperiences (( transculturaltranscultural )) isis thatthat itit isis groundedgrounded inin God.God.

3.3. ThereforeTherefore GodGod exists.exists. V.V. AA PracticalPractical ArgumentArgument fromfrom ObjectiveObjective BeautyBeauty forfor GodGod ’’ss Existence:Existence:

1.1. ItIt wouldwould bebe demoralizingdemoralizing notnot toto believebelieve therethere isis objectiveobjective beauty.beauty. 2.2. DemoralizationDemoralization isis morallymorally undesirable.undesirable. 3.3. ThereThere isis aa moralmoral advantageadvantage inin believingbelieving thatthat therethere iiss objectiveobjective beauty.beauty. 4.4. TheismTheism providesprovides thethe bestbest theorytheory ofof thethe sourcesource ofof beauty.beauty. 5.5. ThereforeTherefore therethere isis aa moralmoral advantageadvantage inin acceptingaccepting theism.theism. WhyWhy isis DemoralizationDemoralization undesirable?undesirable?

1.1. MoralMoral valuesvalues havehave supremacysupremacy overover allall otherother values.values.

2.2. ArtArt ““infectsinfects ”” thethe directiondirection ofof communitiescommunities && cultures.cultures.

“The Scream” by Edvard Munch, 1893 VI.VI. ExistentialExistential HungerHunger forfor Beauty?Beauty?

Why aren ’t we satisfied with the mundane? Why aren ’t we satisfied with monotomy ? Why aren ’t we satisfied with “colorless ” surroundings? Why do we anticipate an encounter with the sublime? Why are we in “awe ” when we encounter something that is truly beautiful and are “repulsed by what is “ugly. ” Why do we hunger for beauty (e.g., partner, spouses, home, perso nal presentation, accessories, vehicle). Why do want to be around “beautiful ” people?

Could the sublime be anticipatory to Him who is the Ultimate Sub lime, the Sum -total of His Infinite Perfections (Revelation 1; 21-22) VI.VI. ExistentialExistential HungerHunger forfor Beauty?Beauty?

Why are we not satisfied with those things that are “ugly. ” Why aren ’t we satisfied with what is ugly, out of proportion, random, and chaotic? Moreover, why do we respond negatively to that which is random, not proportional, etc?

When we seek to depict or represent something, why do we seek to make it beautiful in terms of arrangement, order, shape, and color?

We will even call an object beautiful if the artist is able to recreate the object perfectly -even if the object itself is ugly.

Aquinas puts it this way: Famous “Ugly Dog” ThomasThomas Aquinas:Aquinas:

““EveryoneEveryone whowho representsrepresents oror depictsdepicts somethingsomething doesdoes soso inin orderorder toto produceproduce somethingsomething beautiful.beautiful. ””

~ In De dvi . Nom. C. IV lect. 5 ( Mandonnet , 366).

But why do we seek to produce something beautiful? Because we take pleasure in harmony, symmetry, complexity, intensity, etc. Consider the following argument from Aquinas: ConsiderConsider thisthis argumentargument fromfrom Aquinas:Aquinas: AestheticAesthetic andand biologicalbiological pleasure:pleasure: ““TheThe lionlion rejoicesrejoices whenwhen hehe seessees oror hearshears aa stag,stag, becausebecause ofof thethe promisepromise ofof food.food. AndAnd manman experiencesexperiences pleasurepleasure withwith thethe otherother sensessenses andand notnot onlyonly becausebecause ofof food,food, butbut alsoalso becausebecause ofof thethe harmonyharmony ofof sensesense impressions.impressions. AndAnd sincesince sensesense impressionsimpressions derivingderiving fromfrom thethe otherother sensessenses givegive pleasurepleasure becausebecause ofof theirtheir harmonyharmony -- forfor instance,instance, whenwhen aa manman delightsdelights inin wellwell harmonizedharmonized soundssounds --thenthen thisthis pleasurepleasure isis notnot connectedconnected withwith keepingkeeping himhim alive.alive. ””

~~ SummaSumma TheolTheol .,., IIII --aa IIII --aeae q.q. 141141 a.a. 44 ad.ad. 3.3. ExistentialExistential DesireDesire forfor TheThe HighestHighest FormForm ofof BeautyBeauty byby BlaiseBlaise Pascal:Pascal:

"Man"Man doesdoes notnot likelike toto remainremain alone;alone; andand asas hehe loves,loves, hehe mustmust looklook elsewhereelsewhere forfor anan objectobject forfor hishis love.love. HeHe cancan findfind itit onlyonly inin beauty.beauty. Since,Since, however,however, hehe isis himselfhimself thethe mostmost beautifulbeautiful creaturecreature thatthat GodGod hashas createdcreated [Genesis[Genesis 1:261:26 --27],27], hehe mustmust findfind withinwithin himselfhimself aa modelmodel forfor thethe beautybeauty hehe seeksseeks beyondbeyond himself."himself."

~~ BlaiseBlaise Pascal,Pascal, DiscoursDiscours sursur lesles passionspassions d'armoud'armou rr,, OeuvresOeuvres completescompletes (ed.(ed. dede lala PleiadePleiade ,, 1954,1954, 539539 --40).40). VII.VII. CulturalCultural ApologeticApologetic ArgumentArgument ## 1:1:

WhatWhat happenshappens whenwhen humanityhumanity isis oppressedoppressed byby humanistichumanistic doctrinesdoctrines suchsuch asas Marxism?Marxism? WhyWhy dodo somesome artistsartists strivestrive toto constructconstruct "shock"shock artart ““??

ConsiderConsider anan acuteacute observationobservation mademade byby JohnJohn DeweyDewey inin hishis classicclassic workwork ArtArt asas ExperienceExperience :: CulturalCultural ApologeticApologetic ArgumentArgument ## 1:1:

"Industry has been mechanized and an artist cannot work mechanically for mass production.... Artists find it incumbent... to betake themselves to their work as an isolated means of 'self'self -expression.' In order not to cater to the trend of economic forces, they often feel obliged to exaggerate their separateness to the point of eccentricity." Positively, when art is generated from a Christian worldview we personally and sociologically illustrate and explore what it mea ns to truly be human (creatively, imaginatively, intellectually, emotionally, spiritually, personally, & collectively):

"Art"Art isis communication,communication, thethe announcementannouncement ofof observedobserved beauties,beauties, thethe callingcalling ofof attentionattention toto humahumann values,values, thethe bestowingbestowing uponupon one'sone's fellowfellow humanhuman beingsbeings ofof beauty,beauty, singingsinging andand testifying,testifying, rejoicingrejoicing andand praising,praising, openingopening eyeseyes andand buildingbuilding anan outlookoutlook trulytruly worthworth ofof humanhuman being."being."

Hans Rookmaaker in "Norms for Art and Entertainment," The Complete Works of Hans Rookmaaker , 6 vols , 3:77. CulturalCultural ApologeticApologetic ArgumentArgument ## 2:2:

In his Gifford Lecture series, William Temple makes an interesti ng statement: "It takes a considerable time for a secure aesthetic judgment to be formed, and with regard to contemporary art there is much debate. But wh en a common judgment is reached after long periods of discussion, it is secure as scientific theories never are. Many may be uncertain in this second quarter of the twentieth century about the aesthetic rank of Eps tein as a sculptor or T.S. Eliot as a poet. But there is no serious disput e about Pheidias or Aeschylus, about Giotto, or Piero , or Botticelli, about Velasquez or Rembrandt, about Dante or Shakespeare. No doubt I ' date' myself by the precise list which I select; Beethoven to Bach; bu t every name thus mentioned is securely established in the list of Maste rs; and the actual works of the earliest touch us now they touched the heart s of those who knew them first.... It takes longer for the aesthetic judgme nt to become stable than for the scientific, but when it reaches stability it also achieves finality as the other does not." ~ Nature, Man, and God (Macmillan, 1956), 158 -9. WhatWhat typetype ofof artart isis veneratedvenerated andand veneratedvenerated transtrans --culturally?culturally? Ready -made art?

Shock art (art made with fecal matter, animal remains, pornography, etc)?

Anti -art art (philosophically subversive?) WhatWhat typetype ofof artart ennoblesennobles andand enrichesenriches society?society? Art serves a moral aim. Even ancient Greeks realized this: Consider the following quotes from Aristophanes:

“Answer me, for what reasons ought one to admire a poet? For ability and advice, because we make the inhabitants of the various cities better men [ Ranae , 1008].

“But a poet at any rate ought to conceal what is base and not bring it forward and put it on stage. For mere boys have a schoolmaster to instruct them, grown men have poets. From every point of view it is our duty to speak of good things [Ranae , 1053 -1056]. WhatWhat typetype ofof artart ennoblesennobles andand enrichesenriches society?society? Art reflects a moral aim. Consider this observation by Sextus Empiricus :

“In sum, music is not only a sound of rejoicing, but is heard also in sacred hymns and feasts and sacrifices to the gods; and because of this it incites the mind to emulate the Good. ” ~ Adv. Mathem . VI. 18

In contrast, “degenerative arts ” incites the mind to emulate what is corrupt. How does this impact us personally and collectively as a community? InIn hishis famousfamous work,work, ““WhatWhat isis Art?Art? ”” TolstoyTolstoy observedobserved thatthat ……

Great and true art are those pieces that express/conforms with the highest religious perceptions of our age: the Christian ideal of the union and brotherhood of man as opposed to art which is socially divisive or elitist fails in its true function and so is counterfeit/bad art. Art that promotes hedonism does not survive this test.

Lev Nikolaevich Tolstoy, 1828-1910 What is Art? (1897) CelebratedCelebrated AmericanAmerican sculptorsculptor FrederickFrederick Hart:Hart:

““IfIf artart isis toto flourishflourish inin thethe 21st21st century,century, itit mustmust renewrenew itsits moralmoral authorityauthority byby rededicatingrededicating itselfitself toto life.life. ItIt mustmust bebe anan enriching,enriching, ennoblingennobling andand vitalvital partnerpartner inin thethe publicpublic pursuitpursuit ofof civilization.civilization. ””

““ArtArt mustmust touchtouch ourour lives,lives, ourour fearsfears andand carescares –– evokeevoke ourour dreamsdreams andand givegive hopehope toto thethe darkness."darkness."

www.frederickhart.comwww.frederickhart.com VIII.VIII. EvidencesEvidences ofof UniversalUniversal SignaturesSignatures ofof ArtArt AgainstAgainst RelativismRelativism andand Subjectivism:Subjectivism:

InIn hishis article,article, ““AestheticAesthetic Universals,Universals, ”” inin TheThe RoutledgeRoutledge CompanionCompanion toto AestheticsAesthetics ,, DenisDenis DuttonDutton brilliantlybrilliantly contendscontends thatthat therethere areare universaluniversal featuresfeatures ofof artart thatthat everyoneeveryone shares.shares. TheThe evidencesevidences countercounter relativisticrelativistic andand exclusiveexclusive subjectivesubjective notionsnotions ofof art.art. TheseThese featuresfeatures transcendtranscend ourour culturalcultural boundariesboundaries becausebecause theythey areare ““rootedrooted inin ourour commoncommon humanity.humanity. ”” HeHe writes:writes: Consider:Consider:

““AA balancedbalanced viewview ofof artart willwill taketake intointo accountaccount thethe vastvast andand diversediverse arrayarray ofof culturalcultural elementselements thatthat makemake upup thethe lifelife ofof thethe artisticartistic creationcreation andand appreciation.appreciation. AtAt thethe samesame timetime suchsuch aa viewview willwill acknowledgeacknowledge thethe universaluniversal featuresfeatures thethe artsarts everywhereeverywhere share,share, andand willwill recognizerecognize thatthat thethe artsarts traveltravel acrossacross culturalcultural boundariesboundaries asas wellwell asas theythey dodo becausebecause theythey areare rootedrooted inin ourour commoncommon humanityhumanity ”” ““DenisDenis Dutton,Dutton, ““AestheticAesthetic Universals,Universals, 213].213]. EvidencesEvidences ofof AestheticAesthetic NormativityNormativity ::

WhileWhile II appreciateappreciate DuttonDutton ’’ss insights,insights, II disagreedisagree withwith hishis startingstarting pointpoint forfor thesethese universaluniversal signaturessignatures ofof art:art: evolutionaryevolutionary theory/theory/ HumeanHumean worldview.worldview. InIn fact,fact, II findfind DuttonDutton ’’ss assumptionassumption toto bebe nonnon --convincingconvincing givengiven bothboth thethe absenceabsence ofof anyany convincingconvincing nonnon --designdesign explanationexplanation forfor thesethese universaluniversal featuresfeatures ofof aestheticsaesthetics andand thethe growinggrowing amountamount ofof empiricalempirical studiesstudies thatthat justifiablyjustifiably arguesargues forfor aa divinedivine Creator.Creator. EvidencesEvidences ofof AestheticAesthetic NormativityNormativity :: GivenGiven bothboth (1)(1) thethe growinggrowing amountamount ofof studiesstudies demonstratingdemonstrating ““informationinformation asas designdesign ”” (evident(evident inin ourour humanhuman DNA),DNA), ““specifiedspecified complexity,complexity, ”” andand ““irreducibleirreducible complexitycomplexity ”” inin biology,biology, andand cosmologycosmology (e.g.,(e.g., BigBig Bang;Bang; AnthropicAnthropic principle)principle) thatthat pointpoint toto aa divinedivine Creator,Creator, andand (2)(2) moralmoral laws,laws, duties,duties, andand accountabilityaccountability thatthat transcendtranscend cultures,cultures, itit isis nono surprisesurprise toto seesee universaluniversal featuresfeatures thatthat flowflow fromfrom ourour GodGod -- createdcreated humanity.humanity. InIn fact,fact, thesethese universaluniversal featuresfeatures ofof aestheticsaesthetics pointpoint usus backback toto ourour Creator.Creator. EvidencesEvidences ofof AestheticAesthetic NormativityNormativity ::

Therefore,Therefore, II proposepropose thatthat thethe reasonreason whywhy wewe havehave thesethese universaluniversal signaturessignatures ofof artart existexist isis notnot becausbecausee ofof evolutionevolution butbut becausebecause wewe areare createdcreated byby God.God. HeHe assumesassumes thatthat evolutionevolution isis thethe answeranswer forfor thesethese features.features. However,However, II findfind DuttonDutton ’’ss assumptionassumption toto bebe nonnon --convincingconvincing givengiven thethe growinggrowing amountamount ofof empiricalempirical studiesstudies thatthat pointpoint toto anan intelligentintelligent desidesignergner whowho isis morallymorally good!good!

ConsiderConsider thethe followingfollowing universaluniversal signaturessignatures adaptedadapted fromfrom DenisDenis DuttonDutton ’’ss article,article, ““UniversalUniversal SignaturesSignatures ””:: UniversalUniversal SignaturesSignatures Include:Include:

1.1. ExpertiseExpertise oror virtuosityvirtuosity ,, namely,namely, specializedspecialized andand technicaltechnical skills,skills, areare noticednoticed inin societiessocieties andand areare generallygenerally admired;admired; certaincertain individualsindividuals standstand outout byby virtuevirtue ofof theirtheir talentstalents andand areare honoredhonored forfor itit [Dutton,[Dutton, ““AestheticAesthetic Universals,Universals, ”” 210].210]. UniversalUniversal SignaturesSignatures Include:Include:

2.2. NonNon --utilitarianutilitarian pleasurepleasure .. WhetherWhether story,story, object,object, visual,visual, music,music, oror finefine artart performances,performances, objectobject XX isis viewedviewed asas aa sourcesource ofof pleasurepleasure inin itself,itself, ratherrather thanthan (or(or notnot merely)merely) asas aa practicalpractical tooltool oror sourcesource ofof knowledgeknowledge [Ibid.,[Ibid., 210].210]. UniversalUniversal SignaturesSignatures Include:Include:

3.3. StyleStyle .. ArtArt objectsobjects andand performancesperformances includingincluding fictionalfictional oror poeticpoetic narratives,narratives, areare mademade inin recognizablerecognizable styles,styles, accordingaccording toto rulesrules ofof formform andand compositioncomposition [Ibid.,[Ibid., 211].211]. UniversalUniversal SignaturesSignatures Include:Include:

4. Criticism . Dutton observes:

“There exists some kind of indigenous critical language of judgment and appreciation, simple or elaborate, that is applied to arts. This may include the shop talk of art produces or evaluative discourse of critics and audiences. Unlike the arts themselves, which can be immensely complicated, it has often been remarked that this critical discourse is in oral cultures sometimes rudimentary compared to the art discourse of literate European history. It, can however, be elaborate even there. (The development of a critical vocabulary and discourse, including criteria for excellence, mediocrity, competence/incompetence, and for failure, is intrinsic to almost all human activities outside of art.) [Ibid., 211]. ” UniversalUniversal SignaturesSignatures Include:Include:

5. Imitation . Hutton states:

“In widely varying degrees of naturalism, art objects, including sculptures, paintings, and oral narratives, represent or imitate real and imaginary experience of the world. The differences between naturalistic representation, highly stylized representation, and non -imitative symbolism is generally understood by artists and their audiences. (Blueprints, newspaper stories pictures, passport photographs, and road maps are equally imitations or representations. While imitation is important to much art — notable exceptions being abstract painting and music — its significance extends into all areas human intellectual life.) [Ibid., 211]. ” UniversalUniversal SignaturesSignatures Include:Include:

6. “Special ” focus . Hutton writes:

“Works of art and artistic performances are frequently bracketed off from ordinary life, made a special and dramatic focus of experience ….These objects or performance occasions are often imbued with intense emotion and sense of community. They frequently involve the combining of many different art forms, such as chanting, dancing, body decoration, and dramatic lighting in the case of New Guinea sing -sings. (Outside of art, or at its fringes, political rallies, sporting events, public ceremonies such as coronations and weddings, and religious meetings of all sorts also invoke a sense of specialness) ” [Ibid., 211 -12]. UniversalUniversal SignaturesSignatures Include:Include:

7. Imaginative Experience :

“The experience of art is an imaginative experience for both producers and audiences. The carving may realistically represent an animal, but as a sculpture it becomes an imaginative object. The same can be said of any story well told, whether ancient mythology or personal anecdote. A passionate dance performance has an imaginative element not to be found in the group exercise of factory workers. Art of all kinds happens in the theatre of the imagination: it is raised from the mundane practical world to become an imaginative experience. (At the mundane level, imagination in problem - solving, planning, hypothesizing, inferring the mental states of others, or merely in day -dreaming is practically co -extensive with normal human conscious life) [Ibid., 212]. InIn hishis discussiondiscussion ofof relativismrelativism versusversus universalismuniversalism DuttonDutton observes:observes:

“Aesthetic relativism, although adopted with the best intentions, has blinded investigators to the elements arts have in common worldwide. Not ever putative cross -cultural misunderstanding can be turned into a general denial of the possibility of universal aesthetic values. It is important to note how remarkably well t he arts travel outside their home cultures: Beethoven and Shakespeare a re beloved in Japan, Japanese prints are adored by Brazilians, Gree k tragedy is performed worldwide, while, much to the regret of man y local movie industries, Hollywood films have made wide cross - cultural appeal. As for sitar concert, anyone who has set throu gh the tedious tuning of a sitar might well want to applaud when th e music was finally set to begin. And even Indian music itself, w hile it sounds initially strange to the Western ear, can be shown to rel y on rhythmic pulse and acceleration, repetition, variation, and surp rise, as well as modulation and divinely sweet melody: in fact, all t he same devices found in Western music ” [Ibid., 213]. ConcludingConcluding Thought:Thought:

““ThereThere areare twotwo kindskinds ofof beauty,beauty, oneone ofof whichwhich isis spiritualspiritual andand consistsconsists inin properproper orderingordering andand abundancesabundances ofof spiritualspiritual goods;goods; andand thethe otherother isis externalexternal beauty,beauty, whichwhich consistsconsists inin thethe properproper orderingordering ofof thethe bodybody andand anan abundanceabundance ofof externalexternal propertiesproperties pertainingpertaining toto thethe body.body. ””

~ Thomas Aquinas, Contra impugn ., c. 7 ad 9 (Mandonnet , Opuscula , vol. IV). Bibliography:Bibliography:

Peter Byrne, “Moral Arguments for the Existence of God ” in Stanford Encyclopedia of Philosophy (2004, 2007): http://plato.stanford.edu/entries/moral -arguments -god/

Norman Geisler & Frank Turek , I Don ’t Have Enough Faith to be An Atheist (Wheaton: Crossway, 2004).

Norman Geisler , Baker ’s Encyclopedia of Christian Apologetics (Grand Rapids: Baker, 1998).

Frederick Hart, www.frederickhart.com

Dennis Hutton, “Aesthetic Universals ” in Routledge Companion to Aesthetics , edited by Berys Gaut and Dominic McIver Lopes (New York: Routledge , 2001).