FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 126 Will Provine, Killer of the myth of Optimistic Humanism Part D (Featured artists are Elena and Olivia Ceballos )

I was sad when I learned of Will Provine’s death. He was a very engaging speaker on the subject of Darwinism and I think he correctly realized what the full ramifications are when accepting evolution. This is the fourth post I have done on Dr. Provine and the previous ones are these links, 1st, 2nd and 3rd. In the article below I read these words:

In a 1994 debate with Phillip Johnson, a leading figure in the intelligent design movement, the late evolutionary biologist William Provine insisted: “No ultimate foundations for ethics exist, no ultimate meaning in life exists, and free will is merely a human myth. These are all conclusions to which Darwin came quite clearly.”

Starry_Night_at_La_Silla.jpg

In a video on YouTube, University of Chicago evolutionary biologist Jerry Coyne states that science has demonstrated that

the universe and life are pointless….Pointless in the sense that there is no externally imposed purpose or point in the universe. As atheists this is something that is manifestly true to us. We make our own meaning and purpose.

He went on:

Evolution is the greatest killer of belief that has ever happened on this planet because it showed that some of the best evidence for God, which was the design of animals and plants that so wonderfully matched their environment could be the result of this naturalistic, blind materialistic process of natural selection.

Coyne is by no means alone in claiming Darwinism, with its insistence that all organisms have arisen through chance events (mutations) without plan or purpose, leads logically to the position that human life has no meaning or purpose. In my book The Death of Humanity: And the Case for Life, I provide many examples of evolutionary biologists and other intellectuals who argue Darwinism sweeps away the benighted notion that human life has meaning.

DeathofHumanity3D.jpgIn a 1994 debate with Phillip Johnson, a leading figure in the intelligent design movement, the late evolutionary biologist William Provine insisted: “No ultimate foundations for ethics exist, no ultimate meaning in life exists, and free will is merely a human myth. These are all conclusions to which Darwin came quite clearly.”

However, as I also explain in detail in my new book, many Darwinists are unable to really live in accord with their own philosophy. For instance, Coyne has stated that evolution “says that there is no special purpose for your life, because it is a naturalistic philosophy. We have no more extrinsic purpose than a squirrel or an armadillo.” But, in a different blog post, Coyne waxed indignant at those who have blamed mass shootings, such as those at Columbine, on Darwinism. (Coyne will likely be enraged that I explain Eric Harris’s Darwinian motivations in The Death of Humanity.) But why does Coyne care about these people, whose lives — according to his philosophy — have no meaning or purpose? He evidently recognizes that the lives of those teenagers gunned down at Columbine did have some point or purpose after all, greater than squirrels or armadillos.

Duke University philosophy professor Alex Rosenberg shows the same inconsistency. He co-authored an article in 2003, “Darwin’s Nihilistic Idea: Evolution and the Meaninglessness of Life,” in which he dismissed morality as an illusion. However, Rosenberg assured us that we have nothing to fear, because nihilism has no effect on our behavior, since “Most of us just couldn’t persistently be mean, even if we tried.” Rosenberg needs to take some of my history courses — or just read the news — if he doesn’t think many people could be mean to each other.

In a 2013 debate with William Lane Craig, Rosenberg objected to some of Craig’s arguments as “morally offensive,” because some of his relatives were murdered in the Holocaust. But if life is meaningless and morality is an illusion, why does it matter if Hitler killed millions? That would be just another meaningless event in the meaningless flow of history. Rosenberg apparently knows better.

Despite what they may say, many Darwinists are fully aware that human lives have meaning and purpose, no matter how loudly they deny it.

Dr. Weikart is professor of history at California State University, Stanislaus, and Senior Fellow with Discovery Institute’s Center for Science & Culture; his new book, The Death of Humanity: And the Case for Life, has just been released.

Photo credit: ESO/H. Dahle [CC BY 4.0], via Wikimedia Commons.

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

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Woody Allen on Ingmar Bergman and the death.

Woody Allen et Marshall McLuhan

Woody Allen et Marshall McLuhan : « If life were only like this! »

What Makes Life Worth Living? – Answered by Woody Allen.

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Diane Keaton et Woody Allen dans "Annie Hall"

Diane Keaton et Woody Allen

What Makes Life Worth Living?

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How Should We then Live Episode 7 small (Age of Nonreason)

#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer

10 Worldview and Truth

Two Minute Warning: How Then Should We Live?: Francis Schaeffer at 100

Francis Schaeffer Whatever Happened to the Human Race (Episode 1) ABORTION

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

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Diane Keaton et Woody Allen dans "Annie Hall"

Woody Allen – Sleeper (final scene)

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I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopelessmeaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.

My interest in Woody Allen is so great that I have a “Woody Wednesday” on my blog www.thedailyhatch.org every week. Also I have done over 30 posts on the historical characters mentioned in his film “Midnight in Paris.” (Salvador DaliErnest Hemingway,T.S.Elliot,  Cole Porter,Paul Gauguin,  Luis Bunuel, and Pablo Picassowere just a few of the characters.) Francis Schaeffer also discussed Woody Allen several times in his writings on modern culture. Here is a section that again mentions the nihilistic conclusions that Schaeffer says that Woody Allen has come to and Schaeffer salutes Allen for being consistent with his Godless worldview unlike many of the optimistic humanists that I have encountered.

Materialistic Humanism: The World-View of Our Era
What has produced the inhumanity we have been considering in the previous chapters is that society in the West has adopted a world-view which says that all reality is made up only of matter. This view is sometimes referred to as philosophic materialism, because it holds that only matter exists; sometimes it is called naturalism, because it says that no supernatural exists. Humanism which begins from man alone and makes man the measure of all things usually is materialistic in its philosophy. Whatever the label, this is the underlying world-view of our society today. In this view the universe did not get here because it was created by a “supernatural” God. Rather, the universe has existed forever in some form, and its present form just happened as a result of chance events way back in time.
Society in the West has largely rested on the base that God exists and that the Bible is true. In all sorts of ways this view affected the society. The materialistic or naturalistic or humanistic world-view almost always takes a superior attitude toward Christianity. Those who hold such a view have argued that Christianity is unscientific, that it cannot be proved, that it belongs simply to the realm of “faith.” Christianity, they say, rests only on faith, while humanism rests on facts.
Professor Edmund R. Leach of Cambridge University expressed this view clearly:
Our idea of God is a product of history. What I now believe about the supernatural is derived from what I was taught by my parents, and what they taught me was derived from what they were taught, and so on. But such beliefs are justified by faith alone, never by reason, and the true believer is expected to go on reaffirming his faith in the same verbal formula even if the passage of history and the growth of scientific knowledge should have turned the words into plain nonsense.78
So some humanists act as if they have a great advantage over Christians. They act as if the advance of science and technology and a better understanding of history (through such concepts as the evolutionary theory) have all made the idea of God and Creation quite ridiculous.
This superior attitude, however, is strange because one of the most striking developments in the last half-century is the growth of a profound pessimism among both the well-educated and less-educated people. The thinkers in our society have been admitting for a long time that they have no final answers at all.

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Take Woody Allen, for example. Most people know his as a comedian, but he has thought through where mankind stands after the “religious answers” have been abandoned. In an article in Esquire (May 1977), he says that man is left with:
… alienation, loneliness [and] emptiness verging on madness…. The fundamental thing behind all motivation and all activity is the constant struggle against annihilation and against death. It’s absolutely stupefying in its terror, and it renders anyone’s accomplishments meaningless. As Camus wrote, it’s not only that he (the individual) dies, or that man (as a whole) dies, but that you struggle to do a work of art that will last and then you realize that the universe itself is not going to exist after a period of time. Until those issues are resolved within each person – religiously or psychologically or existentially – the social and political issues will never be resolved, except in a slapdash way.
Allen sums up his view in his film Annie Hall with these words: “Life is divided into the horrible and the miserable.”
Many would like to dismiss this sort of statement as coming from one who is merely a pessimist by temperament, one who sees life without the benefit of a sense of humor. Woody Allen does not allow us that luxury. He speaks as a human being who has simply looked life in the face and has the courage to say what he sees. If there is no personal God, nothing beyond what our eyes can see and our hands can touch, then Woody Allen is right: life is both meaningless and terrifying. As the famous artist Paul Gauguin wrote on his last painting shortly before he tried to commit suicide: “Whence come we? What are we? Whither do we go?” The answers are nowhere, nothing, and nowhere.

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The humanist H. J. Blackham has expressed this with a dramatic illustration:
On humanist assumptions, life leads to nothing, and every pretense that it does not is a deceit. If there is a bridge over a gorge which spans only half the distance and ends in mid-air, and if the bridge is crowded with human beings pressing on, one after the other they fall into the abyss. The bridge leads nowhere, and those who are pressing forward to cross it are going nowhere….It does not matter where they think they are going, what preparations for the journey they may have made, how much they may be enjoying it all. The objection merely points out objectively that such a situation is a model of futility.79
One does not have to be highly educated to understand this. It follows directly from the starting point of the humanists’ position, namely, that everything is just matter. That is, that which has existed forever and ever is only some form of matter or energy, and everything in our world now is this and only this in a more or less complex form. Thus, Jacob Bronowski says in The Identity of Man (1965): “Man is a part of nature, in the same sense that a stone is, or a cactus, or a camel.” In this view, men and women are by chance more complex, but not unique.
Within this world-view there is no room for believing that a human being has any final distinct value above that of an animal or of nonliving matter. People are merely a different arrangement of molecules. There are two points, therefore, that need to be made about the humanist world-view. First, the superior attitude toward Christianity – as if Christianity had all the problems and humanism had all the answers – is quite unjustified. The humanists of the Enlightenment two centuries ago thought they were going to find all the answers, but as time has passed, this optimistic hope has been proved wrong. It is their own descendants, those who share their materialistic world-view, who have been saying louder and louder as the years have passed, “There are no final answers.”
Second, this humanist world-view has also brought us to the present devaluation of human life – not technology and not overcrowding, although these have played a part. And this same world-view has given us no limits to prevent us from sliding into an even worse devaluation of human life in the future.
So it is naive and irresponsible to imagine that this world-view will reverse the direction in the future. A well-meaning commitment to “do what is right” will not be sufficient. Without a firm set of principles that flows out of a world-view that gives adequate reason for a unique value to all human life, there cannot be and will not be any substantial resistance to the present evil brought on by the low view of human life we have been considering in previous chapters. It was the materialistic world-view that brought in the inhumanity; it must be a different world-view that drives it out.
An emotional uneasiness about abortion, infanticide, euthanasia, and the abuse of genetic knowledge is not enough. To stand against the present devaluation of human life, a significant percentage of people within our society must adopt and live by a world-view which not only hopes or intends to give a basis for human dignity but which really does. The radical movements of the sixties were right to hope for a better world; they were right to protest against the shallowness and falseness of our plastic society. But their radicalness lasted only during the life span of the adolescence of their members. Although these movements claimed to be radical, they lacked a sufficient root. Their world-view was incapable of giving life to the aspirations of its adherents. Why? Because it, too – like the society they were condemning – had no sufficient base. So protests are not enough. Having the right ideals is not enough. Even those with a very short memory, those who can look back only to the sixties, can see that there must be more than that. A truly radical alternative has to be found.
But where? And how?

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Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.” 

Many modern artists are left in this point of desperation that Schaeffer points out and it reminds me of the despair that Solomon speaks of in Ecclesiastes.  Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.” THIS IS EXACT POINT SCHAEFFER SAYS SECULAR ARTISTS ARE PAINTING FROM TODAY BECAUSE THEY BELIEVED ARE A RESULT OF MINDLESS CHANCE.

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Francis Schaeffer pictured below:

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God and Carpeting: The Theology of Woody Allen by David Mishkin of Jews for Jesus

March 1, 1993

This is an archived article. It originally appeared on March 1, 1993. Some information may be outdated.

A red-haired boy sits next to his mother in the psychiatrist’s office. She is describing her son’s problems and expressing her disappointment in him. Why is he always depressed? Why can’t he be like other boys his age? The doctor turns to the boy and asks why he is depressed. In a hopeless daze the boy replies, “The universe is expanding, and if the universe is everything…and if it’s expanding…someday it will break apart and that’s the end of everything…what’s the point?”

His mother leans over, slaps the kid and scolds: “What is that your business!”

This scene from Annie Hall typifies Woody Allen’s quest for understanding! Allen touches on various topics and themes in all his cinematic works, but three subjects continually resurface: the existence of God, the fear of death and the nature of morality. These are all Jewish questions or at least theological issues. Woody Allen is a seeker who wants answers to the Ultimate Questions. His movie characters differ, yet they are all, in some way, asking these questions he wants answered. They are all “Woody Allens” wrestling with the same issues. He explains:

Maybe it’s because I’m depressed so often that I’m drawn to writers like Kafka, Dostoevski and to a filmmaker like Bergman. I think I have all the symptoms and problems that their characters are occupied with: an obsession with death, an obsession with God or the lack of God, the question of why we are here. Almost all of my work is autobiographical—exaggerated but true.1

But Woody Allen does not allow himself to dwell too long on these universal problems. The mother’s response to her red-haired son’s angst is typical of the comedic lid the filmmaker presses over his depressing outlook to close the issue. True, Woody Allen has made his mark by asking big questions. But it is the absence of satisfactory answers to those questions that causes much of the angst—and humor—we see on the screen. Off screen we see little difference.

Allen’s (authorized) biography, published in 1991, sheds some light on his life and times. Woody Allen, whose given name was Allan Konigsberg, was born and raised in Brooklyn, New York. Allen describes his Jewish family and neighborhood as being from “the heart of the old world, their values are God and carpeting.”2 While he did not embrace the religion of his youth, his Jewishness is ever present in his characters, plots and dialogue. Jewish thought is intrinsic to his life and work.

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One can see this in the 1977 film Annie Hall, where Allen’s character, Alvy, is put in contrast to his Midwestern, gentile girlfriend. In one scene he is visiting Annie’s parents. Her grandmother stares at him, picturing him as a stereotypical Chasidic Jew with side locks, black hat and a long coat. The screen splits as Alvy imagines his family on the right and hers on the left. Her parents ask what his parents will be doing for “the holidays”:

“We fast, to atone for our sins,” his mother explains.

Annie’s mother is confused. “What sins? I don’t understand.”

Alvy’s father responds with a shrug: “To tell you the truth, neither do we.”

Nothing worth knowing can be understood by the mind.3

Allen suggests that the greatest thinkers in history died knowing no more than he does now.

In Crimes and Misdemeanors Woody Allen tackles the issue of morality on a much more serious level. Wealthy ophthalmologist Judah Rosenthal has been having an extramarital affair for two years. When he attempts to end his illicit relationship, his mistress threatens to tell his wife. When backed into an impossible corner and offered an easy way out, Judah finds himself thinking the unthinkable.

Judah’s moral confusion is presented against a backdrop of the religion of his youth. Though he has long since rejected the Jewish religion, he is continually confronted with memories that activate his conscience. He remembers the words of his childhood rabbi:

“The eyes of God are on us always.”

Judah later speaks with another rabbi, a contemporary of his. The rabbi remarks on their contrasting worldviews:

“You see it [the world] as harsh and empty of values and pitiless. And I couldn’t go on living if I didn’t feel with all my heart a moral structure with real meaning and forgiveness and some kind of higher power and a reason to live. Otherwise there is no basis to know how to live.”

These words are ultimately pushed aside, as Judah succumbs to the simple solution of hiring a hit-man to murder his demanding lady in waiting. After the crime, Judah experiences gut-wrenching guilt. Judah Rosenthal finds the case for morality so strong that after the murder he blurts out:

“Without God, life is a cesspool!”

His conscience pushes him to great despair as, again, he examines the situation from a past vantage point. He envisions a Passover seder from his childhood. The conversation becomes a family debate over the importance of the celebration. Some of the relatives don’t believe in God and consider the ritual a foolish waste of time. The head of the extended family stoutly defends his faith, saying, “If necessary, I will always choose God over truth.”

Perhaps this is why Judah rejected his religion—he could not see faith as anything other than some sort of noble delusion for those who refuse to accept life’s ugly truths. As Judah continues to dwell on his crime, he has another vision in which his rabbi friend challenges him with the question: “You don’t think God sees?”

“God is a luxury I can’t afford,” Judah replies. There is a final ring to the statement as Judah decides to put the entire incident behind him.

Judah almost turns himself in; however, the price is too high and so he chooses denial, the most common escape. “In reality,” he says in the last scene, “we rationalize, we deny or else we couldn’t go on living.”

Another character, Professor Levy, speaks on morality in one of the film’s subplots. Levy is an aging philosopher much admired by the character played by Woody Allen, a filmmaker. The filmmaker is planning a documentary based on Levy’s life, and we first see the professor on videotape, discussing the paradox of the ancient Israelites:

“They created a God who cares but who also demands that you behave morally. This God asks Abraham to sacrifice his son, who is beloved to him.…After 5,000 years we have not succeeded to create a really and entirely loving image of God.”

Levy eventually commits suicide. Despite his great learning, his final note discloses nothing more than the obvious: “I’ve gone out the window.”

Professor Levy’s suicide leaves Allen’s character stunned. Still, his humor ameliorates the situation as the filmmaker protests,

“When I grew up in Brooklyn, nobody committed suicide; everyone was too unhappy.”

The final comment on Levy’s suicide is a surprising departure from Allen’s security blanket of humor:

“No matter how elaborate a philosophical system you work out, in the end it’s gotta be incomplete.”

Remember, all of the dialogue is written by Woody Allen. Though his own character supplies comic relief to this dark film, his conclusions are just as bleak. Everyone is guilty of something whether it’s considered a crime or a misdemeanor.

Yet, Allen’s theological questions rarely address the nature of that guilt. The word “sin” is reserved for the grossest offenses—the ones that make the evening news—or would, if they were discovered. Judah Rosenthal’s crime is easily recognizable as sin, while various other infidelities and compromises are mere misdemeanors.

Sin against God is not something Allen appears to take seriously in any of his films. When evangelist Billy Graham was a guest on one of Allen’s 1960s television specials, the comedian was asked (not by Graham) to name his greatest sin. He responded:

“I once had impure thoughts about Art Linkletter.”24

However, when he distances himself from the personal nature of sin and looks to crimes or sins against humanity, Allen speaks with a passion.

In Hannah and Her Sisters the viewer is introduced to the character of Frederick, an angry, isolated artist who is disgusted with the conditions of the world. Of Auschwitz, Frederick remarks to his girlfriend:

“The real question is: ‘Given what people are, why doesn’t it happen more often?’ Of course, it does, in subtler forms.…”

In Allen’s theology, all have fallen short to a greater or lesser degree, but ironically, his view of human imperfection never appears in the same discussion as his thoughts about God.

He does admit to being disconnected with the universe:

“I am two with nature.”25

But he doesn’t mention a connection with a personal God because he doesn’t see a correlation between human failures and the question of connectedness to God.

While Allen is a unique thinker, he seems to be pedestrian when it comes to wrestling with problems of immorality and even inhumanity. While he calls the existence of God into question, he does not deal with our responsibility in acknowledging God if he does exist.

It is simple to analyze sin on a human level. The more people get hurt, the bigger the sin. But the biblical perspective is quite different: Any and all sin causes separation from God. One cannot view such a cosmic separation as large or small based on degrees of sin. Ironically, one of Allen’s short stories underscores the foolishness of comparison degrees of sin:

“Astronomers talk of an inhabited planet named Quelm, so distant from earth that a man traveling at the speed of light would take six million years to get there, although they are planning a new express route that will cut two hours off the trip.”26

The biblical perspective of separation from God is similar. Having “better morals” than the drug pusher, the rapist or the ax murderer makes a big difference—in our society. We should all strive to be the best people we can be, if only to improve the overall quality of life. But in terms of a relationship with God, doing the best one can is like being two hours closer to Quelm. God is so removed from any unrighteousness that the difference between “a little unrighteous” and a lot is irrelevant.

The question his films and essays never ask is: Could being alienated from God be the root cause of our alienation from one another…and even our alienation from our own selves?

“It’s hard to get your heart and your head to agree in life. In my case they’re not even friendly.”27

Woody Allen has a unique way of expressing the uneasy terms on which many people find their heads and their hearts. Perhaps that is why he has received 14 Academy Award nominations. Allen will shoot a scene as many as twenty times, hoping to capture the actors and scenery perfectly. His biographer says “he doesn’t like to go to the next thing until what he’s working on is perfect—a process that guarantees self-defeat.”28

Is filmmaking Woody Allen’s escape from the world at large? His biographer notes, “He assigns himself mental tasks throughout the day with the intent that not a moment will pass without his mind being occupied and therefore insulated from the dilemma of eschatology.”29

It is a continual process—writing takes his mind off of the ultimate questions, yet the characters he creates are always obsessed with those very same questions. Allen determines their fate, occasionally handing out a happy ending. And he seems painfully aware that he will have little to say about the ending of his own script.

There is much to be appreciated and enjoyed in Woody Allen’s humor, but it also seems as if he uses jokes to avoid taking the possibility of God’s existence very seriously. Maybe Woody Allen is afraid to find that God doesn’t exist, or on the other hand maybe he’s afraid to find that he does. In either case, he seems to need to add a comic edge to questions about God to prove that he is not wholehearted in his hope for answers.

Will Woody Allen tackle the problem of his own halfhearted search for God in a serious way in some future film or essay? Maybe, but if the Bible can be believed, it’s an issue that God has already dealt with. The prophet Jeremiah quotes the Creator as saying: “You will seek me and find me when you seek me with all your heart.” (Jer. 29:13).

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Endnotes

  1. Eric Lax, Woody Allen, (New York: Knopf Publishing, 1991), p. 179.
  2. Ibid., p. 166.
  3. Manhattan, 1979.
  4. Lax, p. 141.
  5. Stardust Memories, 1980.
  6. Lax, p. 150.
  7. Sleeper, 1973.
  8. Hannah and Her Sisters, 1986.
  9. Woody Allen, “My Speech to the Graduates,” Side Effects, (New York: Random House Publ., 1980), p. 82.
  10. Sleeper.
  11. Lax, p. 183.
  12. Woody Allen, “Death (A Play),” Without Feathers, (New York: Random House Publ., 1975), p. 106.
  13. Woody Allen, “My Philosophy,” Getting Even, (New York: Warner Books, 1971), p. 25.
  14. Allen, “Early Essays,” Without Feathers, p. 108.
  15. Allen, “Selections From the Allen Notebook,” Without Feathers, p. 10.
  16. Allen, “My Apology,” Side Effects, p. 54.
  17. Stardust Memories.
  18. Allen, “My Speech to the Graduates,” Side Effects, p. 82.
  19. Sleeper.
  20. Allen, “Selections From the Allen Notebook,” Without Feathers, p. 8.
  21. Allen, “Examining Psychic Phenomena,” Without Feathers, p. 11.
  22. Lax, p. 41.
  23. Love and Death, 1975.
  24. Lax, p. 132.
  25. Ibid., p. 39.
  26. Allen, “Fabulous Tales and Mythical Beasts,” Without Feathers, p. 194.
  27. Crimes and Misdemeanors, 1989.
  28. Lax, p. 322.
  29. Ibid., p. 183.

Artists of the Day: Elena and Olivia Ceballos

Elena and Olivia CeballosElena and Olivia Ceballos are 19-year-old twin sisters from Georgia who work as visual development artists at Big Ideas Entertainment on the Veggie Talesfranchise. Their development as artists is as intertwined as the name they use online—Elioli—which is the first three letters of each of their names combined. The sisters work individually and together on projects; perhaps they have carried their collaborative habits into their professional work since they both are employed by the same company.

Elena and Olivia CeballosElena and Olivia CeballosThe sisters are notably prolific, even considering their advantage of being two people. Their constant output gives the impression that they are dedicated to self-improvement and studying the techniques of their art form.

Elena and Olivia CeballosElena and Olivia CeballosElena and Olivia CeballosElena and Olivia CeballosElena and Olivia CeballosElena and Olivia CeballosElena and Olivia CeballosYou can see more work from Elena and Olivia on their Tumblr and EliOliArt.com, where you can travel back in time and see work such as the drawing below by then-16-year-old Olivia, already showing burgeoning skills beyond her years:

Elena and Olivia Ceballos

Chris McDonnell

Chris McDonnell

Chris McDonnell is the editor of Cartoon Brew’s Artist of the Day feature. A founding member of the Meathaus comics/art collective, he has created animation for shows such as Yo Gabba Gabba and Tim and Eric Awesome Show Great Job! His books includeSasquatch’s Big Hairy Drawing Book and Unfiltered: The Complete Ralph Bakshi.

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Adrian Rogers – How you can be certain the Bible is the word of God Great article by Adrian Rogers. What evidence is there that the Bible is in fact God’s Word? I want to give you five reasons to affirm the Bible is the Word of God. First, I believe the Bible is the […]

The Old Testament is Filled with Fulfilled Prophecy by Jim Wallace

Is there any evidence the Bible is true? Articles By PleaseConvinceMe Apologetics Radio The Old Testament is Filled with Fulfilled Prophecy Jim Wallace A Simple Litmus Test There are many ways to verify the reliability of scripture from both internal evidences of transmission and agreement, to external confirmation through archeology and science. But perhaps the […]

Taking on Ark Times Bloggers on various issues Part M “Old Testament prophecy fulfilled?”Part 3(includes film DEATH BY SOMEONE’S CHOICE)

  I have gone back and forth and back and forth with many liberals on the Arkansas Times Blog on many issues such as abortion, human rights, welfare, poverty, gun control  and issues dealing with popular culture. Here is another exchange I had with them a while back. My username at the Ark Times Blog is […]

Evidence for the Bible

Here is some very convincing evidence that points to the view that the Bible is historically accurate. Archaeological and External Evidence for the Bible Archeology consistently confirms the Bible! Archaeology and the Old Testament Ebla tablets—discovered in 1970s in Northern Syria. Documents written on clay tablets from around 2300 B.C. demonstrate that personal and place […]

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