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22 December 2007

The Season

Oftentimes we forget hope. We forget that every bad moment has its point and purpose in time. We are mesmerized by facts and uncertainties. The result is a wash of disappointment and empty wishes. To me, it looks a bit like this:



I love this video, sincerely I do. Radiohead produces some of the best music that you could ever plug into your ears. But they only show half the picture. They do an excellent job of displaying that half picture, but it is still only half the picture. What good is it to grasp the pain and suppression of reality if you are going to dismiss the hope? Hope is not defined by the ephemeral things of simple happiness. Hope supercedes happiness, for it is the forerunner of joy. Life is a balancing act between pain and joy, longing and relief. And if we ever give over to either one extreme or the other, our days will be measured by dissatisfaction and grief. For if you place all your wages on the side of joy and relief, you'll never quench your longing as long as you live this side of heaven. Then of course the other hand follows that you cannot depend on everlasting sadness, catering to the expectations of all that is and can be bad. Recognizing hope does not alleviate pain, but it does give strength to endure. By default, we must learn to cope with reality by embracing the notion of love. Love operates as grounds for hope and pain to coexist. Now, unfortunately it cannot go without saying that this love is not the "yucky-mushy" kind of love that we sometimes expect it to be. This love is not even necessarily romantic. It is real love. Love as defined by perfection. Obtained in glimmers and flashes of time, but altogether withstanding throughout all of existence. "It bears all things, hopes all things, believes all things, endures all things" (I Cor. 13:7). Although films like "Moulin Rouge" push to create a love as beautiful and powerful as this love, the love that they prescribe to is unsubstantial in reality. True love equates with grace. And with some hope this Christmas season, may grace be the lesson we remember. May we remember the relationship of sacrifice and celebration. Why is it that the holidays have become a time of stress and anxiety and depression and loneliness and hurt feelings? Why is it that families and friends go bounding and leaping from one extreme to the other, during this time of year even more than usual? Why is it that we either forget hope and grip pain or clutch happiness and bypass sacrifice? We need balance and truth. We need Christ.


For this reason, I will continue to enjoy and appreciate Radiohead (and a large palette of other music as well) with an ever-discerning ear; but I will do so in line with a love for truth. Below are the lyrics to my increasingly favorite song, "Oh Holy Night." This Christmas carol came from the composer Adolphe Adam in 1847. The French poet, Placide Cappeau, wrote the poem "Minuit, chrétiens" which inspired the song. The music is beautiful. Its smooth, provoking verses and climactic, powerful choruses makes the song definitively enthralling. The minor chords are so touching that when the song carries into each new chorus, you feel utterly attached to the words and depictions of the piece. It’s emotional, yet without loosing its grounding. This Christmas carol captures both hope and grief, both grace and sacrifice. In this carol, we get a glimpse of truth, the whole picture. It is but a glimpse of the whole picture, for that is all we seem to be able to handle for now. But better a glimpse of the whole truth than an obsession with halve truths. Here is “Oh Holy Night”:

Oh holy night! The stars are brightly shining,
It is the night of our dear Savior’s birth.
Long lay the world in sin and error pining,
Till He appear'd and the soul felt its worth.
A thrill of hope the weary world rejoices,
For yonder breaks a new and glorious morn.
Fall on your knees! Oh, hear the angels' voices!
Oh night divine, Oh night when Christ was born;
Oh night divine, Oh night, Oh night Divine.

"Led by the light of Faith serenely beaming,
With glowing hearts by His cradle we stand."
So led by light of a star sweetly gleaming,
Here come the wise men from Orient land.
The King of Kings lay thus in lowly manger;
In all our trials born to be our friend.
He knows our need, to our weakness is no stranger,
Behold your King! Before Him lowly bend!
Behold your King, Behold your King.

Truly He taught us to love one another;
His law is love and His gospel is peace.
Chains shall He break for the slave is our brother;
And in His name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise His holy name.
Christ is the Lord! O praise His Name forever,
His power and glory evermore proclaim.
His power and glory evermore proclaim.

03 December 2007

Lift Up Your Hearts, by Walter Russell Bowie

Poise
Almighty and everlasting God, Lord of lords and Light of light, who art revealed in the unfathomable heavens and in the quiet of hurried stars. Let our restlessness find rest in thee. May our wills become obedient to thy greater will, so that we may move, as the stars move, in the orbit of eternity; and without confusion and without haste, but with shining steadfastness, go on our appointed ways; through Christ Jesus our Lord. Amen.

A Peaceful Heart
O God, from whom the awful forces of the universe proceed, but at whose heart is peace ineffable, help us in the midst of action to find peace. Deliver us from shallow brawling and from unsure haste. Make our purpose so profound that all our powers may be as the flowing of great waters, too deep for noise, too strong to be turned aside. When obstacles confront us, may there be in us a quiet rallying of the force that shall break through; and when opportunities open, may we move forward with the sureness of the river that finds its destined channel to the sea. Amen.

In Time of Sickness
O God my Father, hold me in thy keeping. Thou hast made my body and hast meant it to be whole. Be with me when I am bewildered by sickness and by pain. Let me trust the power of thy healing; and above all and through all let me trust thy love that does not fail. Give me back, I pray thee, health and vigor, that I may set my hands again with gladness to the unhindered tasks of life; but if this may not be, then teach me still to serve as best I can with bent or broken tools. May any suffering I must undergo teach me sympathy with all who suffer; and may every gift of life renewed send me forth with a thankful heart to greater consecration; through Jesus Christ my Lord. Amen.

18 November 2007

Prone to Wander, Chris Rice


On the surface not a ripple
Undercurrent wages war
Quiet in the sanctuary
Sin is crouching at my door

How can I be so prone to wander
So prone to leave You
So prone to die
And how can You be so full of mercy
You race to meet me and bring me back to life

I wake to find my soul in fragments
Given to a thousand loves
But only One will have no rival
Hangs to heal me, spills His blood

How can I be so prone to wander
So prone to leave You
So prone to die
And how can You be so full of mercy
You race to meet me and bring me back to life

Curse-reversing Day of Jesus
When you finally seize my soul
Freedom from myself will be the
Sweetest rest I’ve ever known

How can I be so prone to wander
So prone to leave You
So prone to die
And how can You be so full of mercy
You race to meet me and bring my back to life

04 November 2007

Hall’s Characters of Virtues and Vices


He is an happy man, that hath learned to read himself, more than all books; and hath so taken out this lesson, that he can never forget it: that knows the world, and cares not for it; that, after many traverses of thoughts, is grown to know what he may trust to; and stands now equally armed for all events: that hath got the mastery at home; so as he can cross his will without a mutiny, and so please it that he makes it not a wanton: that, in earthly things, wishes no more than nature; in spiritual, is ever graciously ambitious: that, for his condition, stands on his own feet, not needing to lean upon the great; and can so frame his thoughts to his estate, that when he hath least, he cannot want, because he is as free from desire, as superfluity: that hath seasonably broken the headstrong restiness of prosperity; and can now manage it, at pleasure: upon whom, all smaller crosses light as hailstones upon a roof; and, for the greater calamities, he can take them as tributes of life and tokens of love; and, if his ship be tossed, yet he is sure his anchor is fast. If all the world were his, he could be no other than he is; no whit gladder of himself, no whit higher in his carriage; because he knows, that contentment lies not in the things he hath, but in the mind that values them.


02 November 2007

Death.

                                                Klimt, "Death and Life"


                               O mortal folk, you may behold and see

                               How I lie here, sometime a mighty knight;
                               The end of joy and all prosperity
                               Is death at last, thorough his course and might:
                               After the day there cometh the dark night,
                               For though the day be never so long,
                               At last the bells ringeth to evensong.
                                                    ~ “An Epitaph,” by Stephen Hawes
                                                        (64 Quiller-Couch)

     As human beings, we examine the psychology in death. As Christians, we marvel over the theology in death. As academics, we revel in the eschatology in death. But as individuals, we step into the big picture ideas and correlate those theories with our personal worldviews. Generalities become manifest. They translate in a plethora of emotions. They are defined by a list of memories. They are realized through changing, or rather, growing life-perspectives. Life as well becomes a term of utmost importance; for, death cannot be understood without life. To grasp the notion of death, we can look to the scores of literature devoted to this subject, directly or indirectly. Three significant points of view concerning death can be found in the works of Ibsen’s Hedda Gabler, Baudelaire’s “The Flowers of Evil,” and Tolstoy’s The Death of Ivan Ilych.

      The first view worthy of examination is the one presented in Hedda Gabler. This first choice may seem a bit out of place considering that the heart of this story focuses on a weak woman playing courageous. However, in this story, the character Hedda outlines two important concepts of death that are easily dismissed: one being death’s relationship with a life poorly lived, the second being death as an escape. Although the story does not delve into death like you might see in some of the works of famously darker authors like Poe, it tells the tale of a living person dead to reality. Hedda, frustrated with the submissive role of being a woman, puts on the mask of courage and strength. She demeans others in the process of attempting to define herself as thick-skinned, harsh, independent, beyond the need of correction, and overall stereotypically masculine. These character traits are made clear through the demanding requests and orders that she expects everyone else to follow. As a result of her efforts to create a world according to her terms and the circumstances that evolve from her behavior and choices, her life has no meaning. She explains to Judge Brack, “this shabby little world I’ve ended up in […] That’s what makes life so contemptible, so completely ridiculous.” She also states, “I often think I only have one talent, one talent in all the world […] Boring the life right of me” (1434, 5 Lawall). As the story comes to a close, it turns out that Judge Brack gains control over her through the knowledge of her role in the death of a character named Eilert. Hedda tells Brack, “So I’m in your power now, Judge […] Totally subject to your demands—And your will. Not free at all […] No, that’s one thought I just can’t stand. Never!” (1465). Her husband has no need of her. In fact, no one has a desire to be in her presence at all except for Brack, the one who has total power over her. Since her whole life was wrapped up in forcing others and herself to see her as this image of strength, she was left with a notion much worse than empty boredom. She was left with limitation. Visible inferiority. Weakness. Now, life was death. It was the epitome of everything she had fought so hard against. Now, physical death was but an escape from her metaphysical death. Hedda defined death as the only chance for freedom, freedom from the controls of ennui and weakness.
      The second example is Baudelaire’s “The Flowers of Evil: To the Reader.” In the discussion of death, Baudelaire offers a great deal of imagery and insight into the culture of the majority of Modernity. His work “The Carcass,” in fact is an entire poem dedicated to the depiction of guilt and punishment as they adhere to one morose reflection of death after another. But to continue with the theme of death in living, “To the Reader” offers another profound insight into the concept of death. Baudelaire begins with a sort of shock and awe of words. He hits his audience with a list of sins which command day-to-day life. He explains that not only is sin declared acceptable through justifications; it is also deemed appropriate through rationalizations. In life, many have found comfort in empty and ephemeral forms of satisfaction. The attempts of humanity to create a world and context void of the entire reality will only lead to confusion and erroneous self-individualism. That sin becomes a prison. Life is reduced to a continuous cycle of excuses and emptiness, leading to death. Baudelaire treats death as the outcome of the disease of sin. Despite its religious characterization, this poem is not necessarily “Christian.” Mostly, this piece is meant to be a societal mirror so that we might see the dead and dreary heart of modern culture. Baudelaire explains in appalling tone but exacting word choice:
     Like the poor lush who cannot satisfy,
     we try to force our sex with counterfeits,
     die drooling on the deliquescent tits,
     mouthing the rotten orange we suck dry.
Harsh, crude, and dooming. However, this piece shows the author’s view perfectly. Death is not just what happens when breath leaves us. Death is the marriage of life and emptiness. It is when lies define reality. He states,
     It’s BOREDOM. Tears have glued its eyes together.
     You know it well, my Reader. This obscene
     beast chain-smokes yawning for the guillotine—
     you—hypocrite Reader—my double—my brother!
The notion of ennui, or “melancholy, paralyzing boredom,” recurs throughout his works (1550). In order for physical life to be truly “alive,” it requires meaning, purpose, and calling. This analysis begs the reader to read in between the lines, but this idea appears quite clear in this work.
      The last view of death deals with the same issues, but has quite a different result. In Tolstoy’s The Death of Ivan Ilych, we are shown the same dilemma of death in life. The difference from both of the perspectives illustrated in “The Flowers of Evil” and Hedda Gabler is hope. With Hedda, the reader is left with resentment, frustration, and restlessness. Baudelaire offers guilt, despondency, and agitation. Tolstoy takes you through the bleakness of a life barely lived but then realizes the hope of reality. This realization only came in the face of death. Ivan Ilyich lived an empty life, one defined by the look of his home and status. It was terribly empty and without purpose. He says, “I was going up in public opinion, but to the same extent life was ebbing away from me. And now it is all done and there is only death” (1363). His wife was despicably cold-hearted. His daughter was wrapped up in selfishness. His son had yet to come to face the light of truth; although in this family, the son did seem the most likely to find graciousness. The only light in Ivan’s life was Gerasim, the nurse who cared for Ivan in the calamity of his health. Although much of the story simply covers the poor tale of Ivan’s life and only the beginning and ending portion speak of his death, the whole tale is about death. It is present in every word. The emptiness that he lived by was death. The refusal to recognize death oncoming in Ivan’s sickness spoke silent volumes about death. In its seeming absence and forced dismissal, death is overwhelmingly present. The greatest instance where we can see life, and life actually, was in Ivan’s death. Not only did he find relief from pain, but he also found forgiveness for himself and others. Tolstoy explains his relief from death as such,
     And suddenly it grew clear to him that what had been oppressing him and
     would not leave him was dropping away all at once from two sides, from ten
     sides, and from all sides. He was sorry for them, he must act so as not to hurt
     them: release them and free himself from these sufferings. “How good and how
     simple!” he thought. “And the pain?” he asked himself. “What has become of
     it? Where are you, pain?” He turned his attention to it. “Yes, here it is. Well,
     what of it? Let the pain be. And death…where is it?” He sought his former
     accustomed fear of death and did not find it. “Where is it? What death?” There
     was no fear because there was no death. In place of death there was light.
     (1368)
Like with Hedda, physical death was release from death in living. Although the difference here is that although his body was dying, he was actually turning himself over to life, life that he had denied throughout his whole existence. Ivan’s death was escape like Hedda’s, but her escape only brought freedom from the moment, not freedom from death itself. Ivan was able to finally begin living, and for him it was enough.
     Through the examples of Ivan, Baudelaire, and Hedda, we can see an interesting perspective on death that is worthy of our examination. From this point, we should learn to ask ourselves now a question that Ivan Ilych had to face: Have I lived my life rightly? Have I done all that I needed to do? Or rather, let us not shy away from the question: am I even living? Are we alive? That is how we must respect and come to understand death. We must define death by looking at life and never define life by the terms of death.
                                 For though the day be never so long,
                                 At last the bells ringeth to evensong.
                                 (64 Quiller-Couch)



                                                Selected Bibliography

Lawall, Sarah, ed. The Norton Anthology of Western Literature. Norton: NY,
      2004.
Quiller-Couch, Arthur, ed. The Oxford Book of English Verse. Oxford: NY, 1955.

08 October 2007

The Mad Farmer Liberation Front by Wendell Berry



Love the quick profit, the annual raise,
vacation with pay. Want more
of everything ready-made. Be afraid
to know your neighbors and to die.
And you will have a window in your head.
Not even your future will be a mystery
any more. Your mind will be punched in a card
and shut away in a little drawer.
When they want you to buy something
they will call you. When they want you
to die for profit they will let you know.

So, friends, every day do something
that won't compute. Love the Lord.
Love the world. Work for nothing.
Take all that you have and be poor.
Love someone who does not deserve it.
Denounce the government and embrace
the flag. Hope to live in that free
republic for which it stands.
Give your approval to all you cannot
understand. Praise ignorance, for what man
has not encountered he has not destroyed.

Ask questions that have no answers.
Invest in the millennium. Plant sequoias.
Say that your main crop is the forest
that you did not plant, that you will not live to harvest.
Say tht the leaves are harvested
when they have rotted into the mold.
Call that profit. Prophesy such returns.

Put your faith in the two inches of humus
that will build under the trees every thousand years.
Listen to carrion -- put your ear
close, and hear the faint chattering
of the songs that are to come.
Expect the end of the world. Laugh.
Laughter is immeasurable. Be joyful
though you have considered all the facts.
So long as women do not go cheap
for power, please women more than men.
Ask yourself: Will this satisfy
a woman satisfied to bear a child?
Will this disturb the sleep
of a woman near to giving birth?

Go with your love to the fields.
Lie down in the shade. Rest your head
in her lap. Swear allegiance
to what is nighest your thoughts.
As soon as the generals and the politicos
can predict the motions of your mind,
lose it. Leave it as a sign
to mark the false trail, the way
you didn't go. Be like the fox
who makes more tracks than necessary,
some in the wrong direction.
Practice resurrection.

05 September 2007

Languages are intellectual candies.

~ Emperor Charles V is reputed to have said, "I would like to address God in Spanish, women in Italian, men in French, and my horse in German."
And I do think I must agree aside from a slight correction....Men get Old English. Yes, Chaucer for the men. Or should it be a deep, rich Scottish dialect? Hmmm, so much beauty in culture. And with that said, I wouldn't find a classic, sweet southerner accent out of order for women.
And the Spanish spoken to God would be of a Peruvian dialect--clear and smooth. Then in the quiet moments, I would need sign language...unto dance.
I do believe that I would like to dream in a rich dialect of the Kenya region. I don't think could pick only one. They would have to identify individually with each genre of dreams that swarm my mind day and night.
If I had a cat, French may come into play. Dogs would need an active and bright accent, like that of Australia.
My dearest friends and family might be best placed in the realm of a Cambridge, England accent--endearing, thoughtful, intelligent.
Aquaintances would converse in Dutch. Then strangers would require Russian.
My personal writings might vary from Quechua to the Spanish of the Gitanos, while my public work would be the Spainish of formal Spain.
Languages are intellectual candies (I think something like that statement was said by Chalmers--but I'm likely to be way off there). There is much more here to this rant, but I know yet too little. I do so love the notion of languages though.

31 July 2007

Controversy Report, Abortion: The Correct Response to Overpopulation in Mexico City?

The Controversy Report below is a rather simplistic examination of the legalization of abortion as a response to overpopulation, specifically in Mexico City. This report is set-up in the format required by my Environmental Biology teacher. I would much rather have gone into greater depths, but according to my Biology teacher, I should not "think and do so much." In the midst of many issues I had throughout this course, I was finally able to get this report to the teacher. Hopefully my efforts were effective, as slight as they may have been. In the end, I got a 75 out 80 on this report. My PowerPoint on this subject wouldn't even load for the class, but at least I got the truth out. So here it is...


Controversy Report
Abortion: The Correct Response to Overpopulation in Mexico City?



THE CONTROVERSY: Should abortion have been legalized in Mexico City as a response to overpopulation and if so, should more cultures, such as India, be following in line?

THE PLAYERS: Pro-Abortion v Pro-Life, specifically those with environmental concerns; Pro-UNFPA v Anti-UNFPA

IMPORTANT FACTS:
Necessary definitions:
-Abortion: 1 "Also called voluntary abortion, The removal of an embryo or fetus from the uterus in order to end a pregnancy [...]"; 2 "Also called spontaneous abortion, miscarriage [...]" (Dictionary.com).
-Overpopulate: "to fill with an excessive number of people, straining available resources and facilities" (Dictionary.com).
-Malthusian Growth: "A population explosion followed by a population crash; also called irruptive growth" (Principles of Environmental Science, 387)
-Carrying capacity: "The maximum number of individuals of any species that can be supported by a particular ecosystem on a long-term basis" (Principles of Environmental Science, 384).
-Population Doubling Time: approximately 70 years divided by the growth percentage (Principles of Environmental Science, 77).
-Quality of life: also "well-being" or "standard of living," "It is measured by many social and economic factors." (Wikipedia).
-Life: 1. "the condition that distinguishes organisms from inorganic objects and dead organisms, being manifested by growth through metabolism, and the power to adaption to environment through changes originating internally."; 2. "a corresponding states, existence, or principle of existence conceived of as belonging to the soul." (Dictionary.com).
-Family planning: 1. natural--"Also known as fertility awareness, periodic abstinence and the rhythm method, this approach entails not having sexual intercourse on the days of a woman's menstrual cycle when she could become pregnant or 2. using a barrier method (such as a condom, the diaphragm or a cervical cap) for birth control on those days" ("MedTerms").
-Religion: "any and every worldview; any set of standards, beliefs, or suppositions" (Grant).
-Culture: "religion externalized" (Grant).
-Thomas Malthus:
Malthus came to the conclusion that resources were growing arithmetically while the population was growing exponentially. He came across this notion in 1798 and wrote upon his reasoning in An Essay on the Principle of Population.
-The legalization of abortion in Mexico City
After many years of a predominately Catholic stance on abortion, Mexico City approved the bill for legalizing abortion, 46 to 19. The decision was wildly controversial and everyone seemed to have a firm stance on either side of the matter (Roig-Franzia). The new law allows "women to have an abortion up to 12 weeks into their pregnancy if having the child 'would negatively affect their life project.'" With that said, "opinion polls show that Mexico City residents support abortion rights up to the 12-week limit, although national polls show a near-equal split." (Lliff). The passing of this bill abolished a "seven-decade-old law that levied criminal penalty against women who have abortions" (Roig-Franzia).
-The UNFPA
UNFPA stands for the United Nations Population Fund. "UNFPA supports countries in using data for policies and programmes to address the complex linkages between population dynamics, poverty and sustainable development." The goal of UNFPA is to diminish overpopulation throughout the globe by utilizing abortion, sterilization, and the common forms of "family planning," etc.
-China and Easter Island are two cultures that have each responded very differently to the onset of overpopulation.
--On Easter Island, an entire civilization disappeared once they surpassed their said "carrying capacity." They destroyed their vegetation ecosystems; they ate more of their food resources than could be replaced naturally; they desolated their environment; and therefore they transformed and lost their cultural identities. Before dying out, the civilization was forced to turn to cannibalism and a continuous state of war. Their once thriving environment dwindled down to skin and bones, literally.


--Contrarily, the Chinese culture took notice of their ever growing population and the government took action. In China, it is against the law to have more than one child, unless you can afford the extensive taxation. It is also illegal to give your child up for adoption or abandonment. The only option for parents, obviously aside from the prevention of conception, is abortion. Unlike many Western cultures, when a child is born in China, they are already considered to have lived for nine months (or however long the impregnation lasts). When a child is aborted in China, the entire culture considers the fetus "alive." These two cultures outline two possible consequences for those specific responses to overpopulation.



PRO-ABORTIONIST SIDE: We find that the use of abortion in response to overpopulation is a wise decision and other cultures should certainly follow.
-Abortion helps ease the strain of overpopulation; for resources especially in Mexico are sparse and waining.
Mexico City Legislator, Jorge Diaz Cuervo, "'a key supporter of the abortion bill for the Alternative part' said that [...] legal abortion also means that there will be fewer unwanted children in the future and a reduction in the social problems associated with them, like crime" (Lliff). The economy in Mexico is terribly poor and the resources available are quickly fading.
Rapid economic growth in developing countries has typically been accompanied by serious environmental degradation. Mexico is no exception. According to a recent World Bank study, 40% of the country's aquifers are overdrawn, less than 10% of its municipal waste water is treated, air quality in a number of large cities is dangerously poor, and deforestation rates are among the highest in Latin America" (Blackmen, 1).
These statistics are only the beginning. And as the rate of population increases, the well-being of the country is sure to dissipate as well.
-The fetus is not a living being, so abortion is best as a whole for cultural growth.
Having an abortion does not kill anything. It is capable of saving a mother's life and by terminating unwanted pregnancies, future generations may receive a better existence. It is more important to protect the life of the mother and her endeavors than the mess of tissue and matter within her body.
-If abortion is not utilized, then eventually overpopulation would force civilization into an Easter Island like defeat with cannibalism and war.Since Mexico City has instigated a potentially saving move of action, the fate of Easter Island is less likely to be the fate of Mexico. Now those who need to have an abortion will be able to do so without endangering themselves. The culture of Easter Island killed itself off by not practicing wise decisions and allowing overpopulation take control of everything.
-These evidences identify the reasons why legalized abortion was a wise choice for Mexico City in response to overpopulation.As a result of intelligent planning, we are likely to see a better, stronger Mexico in the years to come. In effect, other cultures should plan on taking on these same laws. Impoverished cultures, specifically, like that of India, are in dire need of instituting a plan like that of Mexico City. UNFPA deserves more funding in order to help propitiate the advancements occurring in Mexico City and onto the utter most (Hovde, 2).

PRO-LIFE SIDE: We understand that abortion is always a poor choice and it will always propitiate a culture of death rather than life.
-Overpopulation is not the issue many portray it to be and abortion does not lend aid to the problem. Malthus had personal intents that interfered with his studies and as we are beginning to see, population and resources are growing at a reasonably consistent and linear rate. In the past 100 years, resources have been growing steadily and some scientists now believe that resources currently appear to be levelling off (BIO 105IN, "Soil and Foods"). However, many scientists agree that this is simply the cyclical pattern of the world. In addition,
"over the last 20 years, Mexico has made enormous progress in developing the capacity to better protect its environment. In the 1990s, it passed three major national environmental laws and began in earnest the difficult process of building environmental regulatory capacity at the state and municipal levels. Mexico also strengthened its federal environmental regulatory agency by, among other things, consolidating a number of national institutions with related missions, and separating standard setting and enforcement functions. These and similar efforts have already become fruit. Perhaps the most visible sign of progress has been a substantial improvement in Mexico City's notorious air pollution" (Blackmen, 1).
It is evident that the legalization of abortion was made all to quickly, for its existence is all too unnecessary. Legalizing abortion will only add a plethora of new problematic issue for the struggling, but progressing environment of Mexico.
-The fetus is a life and killing it in order to supposedly save other lives is not a wise choice.Life is not a subjective term that can be manipulated for convenience. The courts do not have the power to define the point at which life begins, for it is a precious commodity that we cannot truly measure with dates and data. An unborn child is simply not a gathering of tissues, an object of conception. From a biological stance, a life is "viable" if that subject is growing, developing, reproducing at a cellular level. A living creation exists within the womb. An intentional abortion is the forced ending of that life. (Willke, 1-4). Yet, abortion activists often refute these facts, opting for a philosophical definition of life and life is seen as little more than a fulfillment of conditions and standards. The motivation to avoid over population and save lives should not result in the subjugation of life and truth.
-If abortion is put into practice, then we would be forced to deal with a culture like that of China, where life's value is diminished and the environment would be tainted with a deathly mentality.
In China, parents are forced to terminate their children. There is a group of people who, after adopting from China, moved there for the sole purpose of catching, reviving, and aiding the babies whose parents have thrown over a certain bridge located outside of a large city. After interviewing a couple from this group, who asked to remain anonymous, the fact was made clear, that the notion of whether or not one believed abortion did terminate a life is irrelevant; for the limitations put into place by the Chinese government has cultivated a culture of death. Worldview analyst and author, James Baldwin explains,
"[If] truths change, we can expect that things that were once censured to be embraced, and vice versa. But if truth changes, it opens up the whole slippery slope: How do we know that it's okay to kill babies in the womb but it's wrong to kill babies outside the womb?" (141)
-These evidences identify the reasons why legalized abortion was an unwise choice for Mexico City.
Abortion will only cause devastation, not only immediate devastation to its sufferers, but permanent cultural devastation. Funds to organizations such as UNFPA would be better placed somewhere else.

MY OPINION AND RATIONALE:
-Abortion stimulates a bad environment and does not increase a quality of life.
-Many people might go to Mexico City just to get an abortion, which will take away from Mexican culture and add undesirable novelty to the issues at hand.
-Examples of other cultural responses to overpopulation, like China and Easter Island, outline my understanding of the issue.In the biology course I took last semester, after we discussed both the consequences of Easter Island and China, one student affirmed that we are at a catch-22. He believed that abortion and the culture of China may be preferable to that of the cannibalistic and war-like tendencies of Easter Island. I find this mentality despicable, unrealistic, and ridiculous. Are these really our options? Either we stimulate a culture that throws the innocent from bridges or we result to eating one another and killing? This is a pathetic way to live and think. Rather than obsess over death, we should look to propitiate life. We should first dedicate our efforts to taking good care of the resources we have. We need to practice good stewardship and discontinue the use of excuses, like that of abortion.

LITERATURE CITED:
1. Aronson, Raney. PBS Frontline: "The Last Abortion Clinic." http://www.washingtonpost.com/wp-dyn/content/discussion/2005/11/01/DI2005110100955_pf.html.
2. Baldwin, J.F. The Deadliest Monster: An Introduction to Worldviews. New Braunfels: Fishermen, 1998.
5. "Dictionary.com." http://dictionary.reference.com/.
6. Exposing the Overpopulation Myth. http://www.whatyouknowmightnotbeso.com/overpop.html.
7. Grant, Dr. George. Franklin Classical School. Humanities Studies. 2000-2005.
8. Hovde, Elizabeth. Population Connection: The Columbian. "Population aid mired in controversy." http://www.populationconnection.org/Press_Releases/press163.html.
9. Lliff, Laurence. "Proposed Law to Legalize Abortion Roils Mexico City." The Dallas Morning News. 20 March 2007. http://www.truthout.org/issues_06/033007WA.shtml.
11. "Mission for Population Control: India." http://www.populationcontrol.org/mission.asp.
12. National Geographic: Eye in the Sky. "Human Impact: Overpopulation." http://www.nationalgeographic.com/eye/overpopulation/overpopulation.html.
13. "Quality of Life." Wikipedia. http://en.wikipedia.org/wiki/Quality_of_life.
14. Roig-Franzia, Manuel. "Mexico City's Legislature Votes to Legalize Abortion." The Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2007/04/24/AR2007042400803.html.
15. Roig-Franzia, Manuel. "Mexico City's Legislature Votes to Legalize Abortion: Comments" The Washington Post. http://www.washingtonpost.com/ac2/wp-dyn/comments/display?contentID=AR2007042400803.
16. Stanley K. Monteith, M.D. "The Population Control Agenda." http://www.radioliberty.com/pca.htm.
17. UNFPA. "Population Issues Overview." http://www.unfpa.org/issues/index.htm.
18. William Jefforson Clinton Memorial Library: "Population Control." http://www.clintonmemoriallibrary.com/population-control.html.
19. Willke, Dr. and Mrs. J. C. Abortion: Questions and Answers. Cincinnati: Hayes, 1988.
20. World Population Awareness. http://www.overpopulation.org/.

06 July 2007

Kipling and Jeremiah, Today




Looking in on Palmer's Rudyard Kipling
The task of the Anglo-Indian administrator is, indeed, the finest opportunity for that heroic life to the celebration of which Mr Kipling has devoted so many of his tales. This hero has a task which taxes all his ability, which promises little riches and little fame, and is known to be tolerably hopeless. It offers to him a supreme test of his virtue--a test in which the hero is accountable only to his personal will; whose best work is its own reward and comfort.
"Gentlemen come from England," writes Mr Kipling in one of his famous Indian tales, "spend a few weeks in India, walk round this great sphinx of the Plains, and write books upon its ways and its work, denouncing or praising it as their ignorance prompts. Consequently all the world knows how the Supreme Government conducts itself. But no one, not even the Supreme Government, knows everything about the administration of the Empire. Year by year England sends fresh drafts for the fighting-line, which is officially called the Indian Civil Service. These die, or kill themselves by overwork, or are worried to death, or broken in health and hope, in order that the land may be protected from death and sickness, famine and war, and may eventually become capable of standing alone; but the idea is a pretty scary one, and men are willing to die for it, and yearly the work of pushing and coaxing and scolding and petting the country into good living goes forward. If an advance be made, all credit is given to the native, while the Englishmen stand back and wipe their foreheads. If a failure occurs, the Englishmen step forward and accept the blame. (Palmer 38, 39)

Although I hear the tinge of an anti-war yet effectually anti-peace mindset (which exists only in extremes of acceptance), I feel Kipling, and in effect Palmer as well, was in many ways prophetic, if not in actuality then at least in application. And while he recognized that the country of his focus could never stand alone, we must also understand that, of course, no country may stand alone. The foundation of success cannot be due to any man. In addition, the faults and failures of men and mice must be due to us all. We must adopt responsibility for all the flaws of mankind, yet still never live in guilt. We must take on the mentality of Jeremiah as seen in Lamentations 5:16-17,
"The crown has fallen from our head;
Woe to us, for we have sinned!
Because of this our heart is faint;
Because of these things our eyes are dim"

Although Jeremiah was one of God's chosen, he was accountable for the sins of his people. We must be always accountable yet remain living in constant grace. As in all things, there is a precious balance. It is grace in an antithetical reality. Black and white, no grey; yet forever grace for those who accept that gift. This is what it means to be balanced AND antithetical. No extremes, yet still a duality of light vs dark. It is not yin and yang. It is right vs wrong plus grace and mercy. Our people have sinned, and we diminish the efforts of our modern heroes. We have forgotten our history and are therefore condemned to failure. But there is hope yet. We have needs to be wise and discerning. Our choices in these upcoming days, and all days to come, must be balanced and antithetical. We must take on the charge. We must progress, not digress. Our eyes are still dim, but through the recognition of our calling and an understanding of our past, we can clean our worldview eyeglasses and correct our vision. Perhaps this is obvious. Perhaps this is unlikely. Perhaps this is difficult. But just maybe, this is truth. And truth is worth the struggle.

28 June 2007

From the dear Vander Kodde's




"The men who have done the most for God in the world have been early on their knees. He who fritters away the early morning, its opportunity and freshness, in other pursuits than seeking God will make poor headway seeking Him the rest of the day. If God is not first in our thoughts and efforts in the morning, He will be in the last place the remainder of the day."

E.M. Bounds


"Spirit filled souls are ablaze for God. They love with a love that glows. They serve with a faith that kindles. They serve with a devotion that consumes. They hate sin with a fierceness that burns. They rejoice with a joy that radiates. Love is perfected in the fire of God."

Samuel Chadwick


"If sinners be damned, at least let them leap to hell over our bodies. If they will parish, let them parish with our arms about their knees. Let no one go there unwarned and un-prayed for."

C.H. Spurgeon

23 June 2007

An Impaired Worldview


My summer psychology course is discussing the following prompt from the teacher:

"A survey among college students indicated that 80% of male assailants and 70% of female victims were drinking before sexual assaults. In another survey of almost 90,000 students, researchers learned that alcohol or drugs were involved in 79% of unwanted sexual intercourse experiences. The fact is that most college students don't believe they have an alcohol problem, but they, on average, drink more alcohol than their non-student peers and many meet the criteria for alcohol abuse. What are three to five ideas you would propose for conducting a specific alcohol education program that would impact the college student and stop alcohol abuse?"
I responded as such:
An Impaired Worldview, Nursing It Today, Healing It Tomorrow
There needs to be a three-pronged focus here. We need to first understand the mentality that is going on when college students everywhere allow themselves to succumb to this depressant, then we need to deal with this situation as it is, and finally we need to deal with the future of this situation. We needs to implement certain tricks and rules that will help tend to the wounds of alcoholism in colleges today while simultaneously driving home a future oriented call for discernment and wisdom.
1. To deal with this situation as a whole, we need to understand the mentality behind it. I believe a quote from Dane Cook says something like, "Enjoy it now because after college it's called alcoholism." There is this idea floating around that we as students have to "live it up." We have to be outrageous and we have to out-do each other's outrageous-ness. It is due to us. Why? Because we have worked off the shackles and chains that the parents put on us and now, we must alter our minds with the power and strength of our god-like elixirs. Why am I so extreme? Why so seemingly melodramatic and expressive? First, I'm optimistic. I want the world to change and change big. I believe that real change is impossible until we change the little things. So the seemingly little things must receive all their due drama so that we may know them to be the because hazards that they truly are. And second, I know too many friends who've been specifically hurt by their own alcohol abuses. So we must see alcohol as students have chosen to see it, then we can change the errors in the view as students have chosen to accept it. Author, JF Baldwin explains that a worldview is like a pair of eyeglasses, the smudges on the glasses are unrealized, and then those smudged glasses put us in a greater plight than the blind man. For we think we seen things clearly when in reality our vision is severely distorted. The average college students has some filthy eyeglasses on when it comes to alcohol. And we must recognize that impaired worldview as the culprit for all those impaired drunks.
2. To deal with the situation right now, we can do all that we know to do in order to teach college students (already much too much like  "old dogs") how to make wiser decisions ("new tricks" which in the end are much more akin to old tricks, only we've forgotten them and the world has become a place where we think we need to reinvent the old tricks). So we punish, we expel, we deny, we refuse, and we beware. We finds ways to put light into the dark, because only in the dark do cockroaches find refuge. And we all, yes all, make a stand and work ardently to bring the dark to light. Then when need be, we praise, we reward, we congratulate, we welcome, and we celebrate. We make the light a desired place to be. We find ways to make alcohol abuse look wretched compared to life outside of alcohol abuse. We know how these things may be done, but we often fail to implement these charges. Rules, laws, regulations. Punishment, fines, humiliation. And rewards, acclamations, success. This is how we deal with the problems now. And in all these efforts, we do what is possible to teach discernment.
3. To deal with this situation (and others like it as well) for the future, we teach our children discernment. Spurgeon once said that "Discernment is not a matter of simply telling the difference between right and wring; rather it is telling the difference between right and ALMOST right." We must recognize the power of this in all of life and know that this is how we are to form an intelligent and wise worldview for ourselves. In addition to teaching our children about the fears and failures of alcohol, we should teach the the ability to think. It's not just about WHAT we should think, but rather HOW we are to think. At any given moment, we all find cause to deny what we believe to know for we can justify our problems away. My close friend did so, and now she is part of the statistics; she got drunk and slept with a guy, which, in her better judgement, she NEVER would have done. She hates it. She never got an STD or birthed a child; but despite being taught those fears and denying the things she was taught to think, she hates what happened to her. She was able to deny the things she was taught to think. Yet if she was taught how to think, although she might fail at some point, she would have the discernment to make wise choices. We all lack discernment at times. But in this case, we cannot afford to make an error. And since we cannot afford to pay these faults, our college students everywhere are constantly living in debt.
I just hope that this response will be enough for my modern-minded, revolution-loving, truth-despairing teacher.

30 April 2007

More than the Surface, Please

More Than the Surface, Please.

Unwilled observation is soon satiated and goes to sleep. Willed observation, vision with executive force behind it, is full of discernment and is continually making discoveries which keep the mind alert and interested. Get a will behind the eye and the eye becomes a searchlight, the familiar is made to disclose undreamed treasure. –Robert Traina (Grant, 1985, p. 140)


It was four in the morning. I pulled back my hair from my face and looked intently upon the photograph in hand. I knew at that moment, as I corrected an angle, darkened a shadow, and perfected a shape, that I was about to pull an all-nighter. I was completing a rather important art project, due in the afternoon of that same day. The stress was mounting and the picture was overwhelming. Yet despite all the pain of pressure, the sketch of my grandmother, standing before a Spanish-influenced cathedral, angled in such a way that the distant, neo-classic, modern buildings were included, was speaking to me. Pushed by more than the oncoming deadline, I was moved. At some point, the thick paper before me became a pallet of emotion and reality, all at once. At some point, the manipulations of lead became more than smudged powders and hard lines. At some point, the rushed manifestations of my creative thought process became art. But I had to ask myself, what is art? Was I coming close to creating something worthy of that title "art"? When does a simple vision of creativity and communication become art? Art is a powerful commodity. It has the rare capacity to envelop humility and pride. It tells stories, unveils cultures, communicates ideas, and reveals the human heart (Day, 1992, p. 34). In all its greatness, art has its flaws. Occasionally, art is little more than “pretty,” “interesting,” “shocking,” or downright “ugly.” All in all, none of those adjectives are bad, none communicate disaster, and all are viable characteristics of a culture (Henley, 2004, p. 79). Yet when they stand alone, they fall short of certain greatness. They fall short of substance. They fall short of something called true art.


 

Thank you, Mr. Stossel 

Not what man knows but what man feels, concerns art. All else is science. –Bernard Berenson (Kren, 2006)
John Stossel. Known for telling it like it is. He certainly rides a high horse; but oftentimes, his opinions are waist-high in ethos, logos, and pathos. On 11 March 2005, Stossel broadcast yet another Give Me a Break story, this one begging the question, “You Call That Art?” His argument is as simple and as complex as the question details. Who decides where to draw the line between that which is art and that which is junk? “How do they determine that Damien Hirst's embalmed shark and sliced cow carcasses are art?” (2005, ¶10). Stossel’s angle of persuasion was represented through a quiz available in this article, which was an excellent way to argue with the intent to find truth and make a point, rather than simply fight to be right. Stossel inquires:Do people really know what's art and what's just stuff? We ran a test. On ABCNews.com, we showed four reproductions of art works that are considered masterpieces of modern art along with six pieces that will never make it into any museum. We asked viewers to decide which work was art and which was not (2005, ¶3-5).

The pieces shown covered everything from the work of four year olds to a five dollar find at the thrift store to Willem de Kooning’s “A Tree in Naples.” The thrift-store-find won out as the most likely to be considered art. Even the professionals, artists and art historians, could not hit the nail on the head. The article clarifies, “One artist, Victor Acevedo, described one of the children's pieces as ‘a competent execution of abstract expressionism which was first made famous by de Kooning and Jackson Pollock and others. So it's emulating that style and it's a school of art’” (2005, ¶19). Sometimes a search for answers leads to more questions, as exemplified when Stossel came to the notion that maybe, “it's just all in the eye of the beholder?” (2005, ¶14). Art historian, Hoover explains, "I wouldn't say it's all in the eye of the beholder […] you need to know the story behind the work to understand its full impact and meaning” (2005, ¶15). In which case, Stossel had yet to arrive at a definition for modern art. Then he came across one artist’s definition of art. He states, “An artist who calls himself Flash Light told me, ‘The function of art is to make rich people feel more important’” (2005, ¶26). Which led Stossel to conclude his argument with the idea that “whether you think it's art or junk, the real deal is that you're contributing your money too. The politicians may say they're starved for funds, but they're still giving your hard earned tax dollars to museums that exhibit these kinds of things” (2005, ¶29-30).
The main objective of Stossel’s argument was to address two issues: 1. To point out that much artwork, specifically modern artwork, is lacking definable and substantive signs as to its qualification to be considered “art”, 2. And to make known that taxpayer dollars are funding these illusive “masterpieces.”
Stossel’s argument was lacking, but fitting for his purposes. Art ought to be definable. “Look art” bases everything on emotionality. The story is lacking, while emotions abound. Purpose is unfounded, while action sets forth. Relief is void, while longing continues. True art is not just feeling. True art is not just knowing. True art is balance. Stossel faced the argument of when and where art becomes art, but he only stopped at your wallet. When you face down the totality of art, you should be able to reach right down into the soul.
 



True Art

Truth in art does not mean doing accurate copies, but that the artist’s insight is rich and full, that he really has a good view of reality, that he does justice to the different elements of the aspect of reality he is representing. Truth has to do with the fullness of reality, its scope and meaning […] It is artistic truth! –H.R. Rookmaaker (1971, p. 237)

One of the most beautiful aspects of art is the portrayal of truth. The unique thing about truth is its multifaceted antithesis. Truth can be painful and precious. Truth can be coarse and courtly. Truth can be emotional and tangible. The portrayal of that truth all depends on the worldview of the artist. Everyone, whether or not they know, like or understand it, responds and behaves in accordance to a personal worldview. The author, J. F. Baldwin explains:
Your worldview is your framework for understanding existence—the way you look at the world […] Your worldview is like an invisible pair of eyeglasses—glasses you put on to help you see reality clearly. If you choose the right pair of glasses, you can see everything vividly and can behave in sync with the real world […] But if you choose the wrong pair of glasses, you may be in a worse plight than the blind man—thinking you see things clearly when in reality your vision is severely distorted. (1998, p. 29)


There exists a balance between the right to question art and the right to create art. With those rights comes the need for understanding. No matter how subjective art is capable of being, the reality portrayed in art is the same reality despite its portrayal, despite the worldview glasses of its portray-er.
Modern art often places a strong focus on “me, myself, and I” and sometimes altogether dismisses the objective of art. Art should express a balance between the fatality and the hope of humanity. It should both delve into the imperfection and the longing for perfection. It is the good and the bad. An excellent standard for the balance between the hurt and the hope of reality is Jan van Goyen’s "Landscape" done in 1646. Jan van Goyen was “possibly the greatest of all landscape painters” (Rookmaaker, 1971, p.19). In this specific painting, now held in Groninger Museum voor Stad en Lande, Holland, Goyen portrays a beautifully peaceful sea stretched out beside the coast, interrupted only by distant boats and harbor jetties. The piece is more or less simple, but the abilities to create a substantive statement of truth, as displayed in this picture, are astounding. This vast sky radiates great light while simultaneously yielding to dark storm clouds. The painting shows true art because, first, it does not picture reality as only that which we can tangibly know while. At the same time, it does not dismiss tangible reality by vying for a solely emotional reality. Second, since "Landscape" places the calm sea together with the violent storm clouds all as the arena in which the sailors live out day-to-day life, the piece makes a clear connection with reality. The brooding sky, the peaceful waters, the depiction of individuals living out life, every aspect of the painting speaks to the connection of the ephemeral with the physical sides of reality. (1971, p. 20). 

He paints reality with a fullness, rather than how perhaps another artist would like it to be or would hate it to be. Much of modern art deals with either emotions or physical realities alone. In addition to only displaying one side of the coin as it pertains to the physical and metaphysical, it is often void of a balance between the two realities of pain and hope. Much of modern art focuses on only one aspect of life, either pain or hope. There are two realities that, when combined, make our world. Although these two realities are both real apart from each other, they cannot be truth apart from each other. There are times where an artist only realizes the hope of a moment and forgets despair. And other times, artists cannot see past the despair of a moment and bypasses hope. Although both understandings of reality are valid and real and worth understanding, they cannot fulfill the whole of reality. They cannot be truth.
After deciphering which pieces of reality a piece of is embracing or ignoring, another important issue is recognizing the audience. Modern art is often depicted as being in touch with the common man, but that is not necessarily the case. Unless a common person knows the complexities of the history behind the piece of work or the complexities of the style, content, skill, creativity, et cetera of the piece of work, then the only use a modern artwork has for the common person is how it looks. Onlookers may respond, “That’s pretty; that’s ugly; that’s weird; that’s a black circle, etc.” All one can do is state the obvious and maybe hypothesize what it could possibly mean. And if it could possibly mean anything to any person, then what if, just what if, it could mean nothing altogether. Beauty is more than canvas deep. If all the “beauty” retrieved from a piece of art is found on the surface alone, then can it be true beauty? The surface alone cannot properly identify the artwork (Sylva, 1988, p. 5). Art comes with a strong legacy. Art comes with a past. Art comes with a drum role. The history of art is vital. (Yates, 1998, p. 3). When looking at any piece of art, the artwork should be held against the standards of time, through all cultures from Antiquities and on. Then and only then can Modernity come up to bat. The problem with much of modern art is that it is viewed without the breadth and depth from which it was born. Without its past, modern art is just “look art” and therefore misses out on great substance. Without an understanding of its history, it cannot be true art.



 
True Art Requires a True Artist
  
[…] we must not love in word or speech, but in deed and truth; that is how we will know we are of the truth –I John 3:18,19
 Rookmaaker defines creativity as “acting in love and freedom within given structures” (1971, p. 226). This notion is very different than how many modern day artists would be likely to define creativity. If you were to step into any museum of modern art you would see multiple pieces doing all that is possible in order to step “outside of the box.” The goal of modern art seems to be an attempt to out-do, out-shine, and out-shock the art of a metaphoric yesterday. If there is nothing new under the sun, then even the work of the avant-garde is simply a manipulated expression of feelings and ideas that existed at the onset of human culture. Looking at creativity as an act of love and freedom within given structures seems an ironic combination of terms. So perhaps art aficionado, Greg Wilbur, can lend some aid. In an excellent lecture on medieval art and its effects on art, past to present, Wilbur outlines six concepts that make way for true art. He states that these effects exemplify a standard for all art and makes the possibility of truth in art a realistic goal. He refers to artists as craftsmen. The first aspect a craftsman must live out in order to create true art is understanding truth. This seems a bit redundant, and at the same time it is so rare an occurrence that we as a people forget that in order to live out truth we must find a source of truth within life. Wilber understands truth as being the adherence to the Spirit of God. No one can tell an individual what to believe as truth, that is something that no one can simply reveal to another in an instance. It must be the result of a personal revelation of the truth. However, this does not mean that there are different truths for different people. If there is to be a truth that is true, it must be true beyond contest, despite how often it is in fact contested. That is the nature of truth verses simple facts, which are but accepted statements of information upon limited capabilities of research. (Rookmaaker, 1971, p. 234-237). We can utilize what we call facts in addition to experience in order to realize truth. It is a never-ending endeavor. But the closer to truth an artist or craftsman can arrive upon in his or her worldview, the closer that artist will get to creating true art. The second piece of the puzzle that Wilbur follows in defining true artists is ability. This talent is not exclusively something you are born with, but it is a gift that one can better through discipline. It is a gift that must be trained. Third is intelligence. The ability to reason and apply common sense allows for a backbone to deny irrationality. Wilber explains, “G.K. Chesterton spoke of the artist’s need to care for laws and limits. He said, ‘Art consists of limitation. The most beautiful part of every picture is the frame’” (Wilber, 2005). Limitation is not the constriction of creativity. It is the ability to be creative in such a way the artist invents progress without resorting to the ease of creating without limits. Creativity without guidelines is not nearly as masterful as creativity with. Forth is knowledge. The “pursuit of knowledge” is the “mandate for the artist.” This brings great substance into any work of art. Fifth is craftsmanship. The artist has dominion over the craft. It requires submission to the truth “in order to subdue the media.” And last is the artist’s ability to teach. A true artist is a teacher. This passing on of the baton divorces art and ego. The true artist exhibits a “desire to prepare the rising generation […] A true teacher desires his students to surpass his works.” (Wilber, 2005). This is the context for true art and the calling of the true artist. Under these pretenses, the artist can reach truth. And the artwork must find need to follow its creator. 


 
Concluding Beauty

Integrity without knowledge is weak and useless, and knowledge without integrity is dangerous and dreadful. –The Astronomer (Johnson, 1985, p. 129)
It was ten in the morning. I rubbed my eyes to keep from squinting. The night had come and gone without my sleep. I took in deep breaths as I set my large sketch upright to compare it with its photographic predecessor. It was done. I took in my handiwork and recognized what had occurred. The past, the present, and the future. They all had a role to play in this little depiction of reality. There in my grandmother’s face, I saw hope, strength, frailty, failure, triumph, and truth. I saw the world before her, yet only through her forward-looking eyes. I saw the world behind her, yet only in a glimmer of architecture and culture. I saw myself in her shoes, yet only by the curiosity of my imagination. I saw life as it was, as it is, and as it could be. So again, what is art? Yes, art is a powerful commodity. It has the rare capacity to envelop humility and pride. It tells stories, unveils cultures, communicates ideas, and reveals the human heart (Day, 1992, p. 34). Once an artist understands this power, utilizing reality invokes knowledge and integrity. The two forces work in tangent to develop true art. Art can be done by anyone, but true art requires true artists. It leads to a sort of wonderful and traumatic responsibility, a responsibility wonderful in its aspirations and traumatic in its ardor. The author and artist H.R. Rookmaaker describes this responsibility as a calling:
Realizing one’s possibilities, acting in love and freedom within given structures, fighting against sin and its results, all this is also what creativity means […] We are called to be creative in this sense. And we are called to bear the cross that often goes with it, for mankind often prefers darkness to light […] (1971, p. 226).
Through this identity as an artist, the objective of portraying true art is an excellent fight. This is the source of passion in art, this is the source of legacies in art, and this is the source of power in art. The stories told, the realities illustrated, the cultures identified, the worlds made known, they are all the results of an excited warfare of the best kind, the kind in which right and wrong are antithetical (Rookmaaker, 1972, p. 21). Once the battle lines are drawn, the difference between art and true art is clear. As many onlookers are drawn away from true art for the temporary satisfaction of art without truth, as Rookmaaker said, preferring “darkness to light,” the great poet of Wales, Dylan Thomas offers stalwart advice. The calling of true artists to depict true art:
“Do not go gently into that good night. Rage, rage against the dying of the light.”











References

Baldwin, J.F. (1998). The Deadliest Monster: An Introduction to Worldviews. New Braunfels: Fishermen.
In The Deadliest Monster, Baldwin uses an analogy to address the issue of worldviews. Mr. Hyde symbolizes the character of a Christian worldview and Frankenstein symbolizes the character of all other worldviews.
This insightful book gives a brief explanation into many diverse worldviews. He defines the applicable terms and sets the stage for a brilliant review of culture, human nature, and the way by which one ought to form a worldview.

Day, M.D. (1992). Cultural Diversity and Discipline-based Art Education. Discipline-Based Art Education and Cultural Diversity, 34-36. Abstract obtained from ERIC database.
Day reports on the way by which we take in art, in the context of cultural diversity and fine art. He addresses the direction of his program DBAE as it directly adheres to the multifaceted identities of cultural differences.
He finds that art is driven by a past, one that will bring more clarity to art and the disciplined application of art.

Grant, G. (1985). Bringing in the Sheaves. Atlanta: American Vision.
This book delves into the issues and developments of poverty in the USA. Grant addresses the problems, the facts, the contexts, and the realities of modern poverty. He also brings up strong points of hope and possibility.
Throughout the work, Grant uses powerful quotes to make convincing connections. This book wraps around terms like discernment, worldview, culture, etc. and gives persuasive clarity to the issues of poverty.

Johnson, S. (1985) The History of Rasselas, Prince of Abissinia. London: Penguin Classics.
The History of Rasselas, Prince of Abissinia is an old classic. In this tale, the young and spoiled prince Rasselas begins to yearn for a normal life, one of adventure, disappointment, success, and failure.
In this story, the prince learns a great deal about life and sets an excellent stage for the communication of many philosophical, weighty theories, ideals, identities, and worldview questions.

Henley, D. (2004). Responding to Art from Preschool to Postmodernism. The Meaningful Critique, 22 (2), 79-87. Abstract obtained from ERIC database.
Henley deals with the personal effects of criticism in art. He uses multiple examples and experiences to express the fact that when judgment is passed on a piece of art, the artist is impressed with a personal attack. Despite the emotions of the artist, art criticism does not necessarily translate as a personal attack.
For a good criticism to take place, the judgments must be meaningful and based in a strong understanding of art.

Rookmaaker, H.R. (1971). Modern Art and the Death of a Culture. London: Inter-Varsity.
H.R. Rookmaaker is a talented artist, author, and philosopher. In this book, he deals with the relevancy of the past as it adheres to the visual art, the problematic character of modern art, the reality of art, the messages and meanings of artistic truths, and the foundation of Christian art.
With his brilliant understanding of art history and philosophy, he creates the perfect venue for delving to truth in art.

Stossel, John. (2006) Gimme a Break. ABCNews.
.
Stossel’s “Gimme a Break” article addresses the issue of what actually constitutes a piece of art. He runs an online test to find out what onlookers believe to be art. He checks with many professions, artists, art historians, etc. to arrive at some sort of conclusion. His journey results in more questions. In the end, he does not reach a true definition but does appease his own point of understanding with relevance to the taxpayer’s pocketbooks.

Sylva, R. (1988). The Parameters of Art. Abstract obtained from ERIC database.
Sylva discusses the four dimensions of art engagement: 1. creation, 2. response, 3. historical inquiry, and 4. philosophical inquiry. After which he describes nine aspects of these four arenas: 1. area (fine, environmental, pragmatic); 2. medium (immediate, technological, conceptual); 3. mindset (spontaneity, precision, ingenuity);4. dimensions (four, three, two); 5. process (manipulate, add, subtract, transform); 6. approach (juxtapose, realize, synthesize); 7. intention (interpretive, expressive, formalistic);8. imagery (realistic, abstract, non-objective); and 9. subject (people, surroundings, ideas, emotions). These definitions and classifications are the tools he uses to define art.

Wilber, Greg. (2001). Medieval Art: A Seamless Theme. Unpublished dissertation, Franklin Classical School.
Wilber does an excellent job outlining the basic foundation of medieval art and the influences that this period of art had and has on art today. He discusses the worldviews and mindsets of the times. The structure of his argument compares and contrasts art from different time periods and defines how art can better depict truth. His strong viewpoint, well-grounded discussion, and cogent support made for a persuasive, understandable, and powerful presentation.

Yates, C.A. (1998). A Procedural Model for Research. Regional Art History. Abstract obtained from ERIC database.
This article looks at a model for research specifically in the region of Central Ohio. Yates uses tables, research, and analysis to arrive at some conclusions concerning the way by which one can research and study regional art. While attending to the specifics of Central Ohio, he finds the utilization of historical context, literature reviews, analyses, and resourceful sampling of artworks (from 1945-95) imperative. His methods of research show the importance of context and content.