FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 313 Letter to Richard Dawkins concerning the two pieces of evidence did Darwin wrestle with! Featured Artist is Gillian Wearing

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Richard Dawkins and Ricky Gervais

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Francis Schaeffer below:

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Richard Dawkins vs John Lennox | The God Delusion Debate

Ben Stein vs. Richard Dawkins Interview


XXXX Peter Singer – The Genius of Darwin: The Uncut Interviews – Richard Dawkins

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Science Confirms the Bible with Ken Ham

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August 31, 2019

Richard Dawkins c/o Richard Dawkins Foundation, 
Washington, DC 20005

Dear Mr. Dawkins,

i have enjoyed reading about a dozen of your books and some of the most intriguing were The God DelusionAn Appetite for Wonder: The Making of a Scientist, and Brief Candle in the Dark: My Life in Science.

On August 28, 2019 you tweeted:

Beethoven’s heiliger Dankgesang: lunchtime listening inspired by Aldous Huxley’s Spandrell who tries to persuade Rampion (the DH Lawrence character) that the music proves God. Rampion demurs, but on spurious aesthetic grounds rather than because art can’t deliver such a proof

I tweeted back:

Darwin’s life played out like Romans 1: that which is known about God is evident within them [in their inner consciousness] For ever since the creation of the world His invisible attributes, have been clearly seen, being understood through His workmanship 

Now let us look at Charles Darwin, and let me start by quoting Francis Schaeffer from his talk In the spring of 1968 which centered on Charles Darwin’s autobiography:

Darwin in his autobiography  Darwin, Francis ed. 1892. Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published letters[abridged edition]. London: John Murray, and in his letters showed that all through his life he NEVER really came to a QUIETNESS concerning the possibility that chance really explained the situation of the biological world. You will find there is much material on this [from Darwin] extended over many many years that constantly he was wrestling with this problem. Darwin never came to a place of satisfaction. You have philosophically ONLY TWO possible beginnings. The first would be a PERSONAL beginning and the other would be an IMPERSONEL beginning plus time plus CHANCE. There is no other possible alternative except the alternative that everything comes out of nothing and that has to be a total nothing and that has to be a total nothing without mass, energy or motion existing. No one holds this last view because it is unthinkable. Darwin understood this and therefore until his death he was uncomfortable with the idea of CHANCE producing the biological variation. 

Darwin, C. R. to Graham, William 3 July 1881 (letter written less than a year before Darwin’s death and less than 40 years before your birth, Dr Barlow):

Nevertheless you have EXPRESSED MY INWARD CONVICTION, though far more vividly and clearly than I could have done, that the Universe is NOT THE RESULT OF CHANCE.* But THEN with me the HORRID DOUBT ALWAYS ARISES whether the convictions of man’s mind, which has been developed from the mind of the lower animals, are of any value or at all trustworthy. Would any one trust in the convictions of a monkey’s mind, if there are any convictions in such a mind?

Francis Schaeffer comments:

Can you feel this man? He is in real agony. You can feel the whole of modern man in this tension with Darwin. My mind can’t accept that ultimate of chance, that the universe is a result of chance. He has said 3 or 4 times now that he can’t accept that it all happened by chance and then he will write someone else and say something different. How does he say this (about the mind of a monkey) and then put forth this grand theory? Wrong theory I feel but great just the same. Grand in the same way as when I look at many of the paintings today and I differ with their message but you must say the mark of the mannishness of man are one those paintings titanic-ally even though the message is wrong and this is the same with Darwin.  But how can he say you can’t think, you come from a monkey’s mind, and you can’t trust a monkey’s mind, and you can’t trust a monkey’s conviction, so how can you trust me? Trust me here, but not there is what Darwin is saying. In other words it is very selective. 

Evidently Darwin was telling his friends that he was an agnostic and that he did not think that God had anything to do with it but it was all left to the hands of chance. Is that the way you are reading this?

What two pieces of evidence did Darwin wrestle with?

(Charles Darwin)

If you want evidence then you will only be given the same evidence that Charles Darwin had. I am going to quote 2 passages, and they both have a common message. That message has 3 points: 1) The conscience tells us of God’s existence. 2) Creatioon tells us the same. 3) If we reject both of those then God will eventually remove conviction from our hearts. 

Don’t hold this against me, but I got this first passage out of the current issue of CREATION MAGAZINE:

At the present day the most usual argument for the existence of an intelligent God is drawn from the deep [#1] inward conviction and feelings which are experienced by most persons...Formerly I was led by feelings such as those…to the firm conviction of the existence of God, and of the immortality of the soul. In my Journal I wrote that [#2] whilst standing in the midst of the grandeur of a Brazilian forest, ‘it is not possible to give an adequate idea of the higher feelings of wonder, admiration, and devotion which fill and elevate the mind.’ I well remember my conviction that there is more in man than the mere breath of his body. [#3] But now the grandest scenes would not cause any such convictions and feelings to rise in my mind. It may be truly said that I am like a man who has become colour-blind…(Life and Letters of Charles Darwin, D. Appleton and Co., New York, 1911, Vol. a, page 29).

Romans 1:18-21 Amplified Bible:

18 For [God does not overlook sin and] the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men who in their wickedness suppress and stifle the truth, 19 because that which is known about God is [#1] evident within them [in their inner consciousness], for God made it evident to them. 20 For ever since the creation of the world His invisible attributes, His eternal power and divine nature, have been clearly seen, [#2] being understood through His workmanship [all His creation, the wonderful things that He has made], so that they [who fail to believe and trust in Him] are without excuse and without defense. 21 For even though [a]they knew God [as the Creator], they did not [b]honor Him as God or give thanks [for His wondrous creation]. On the contrary, they became worthless in their thinking [godless, with pointless reasonings, and silly speculations], and their [#3] foolish heart was darkened.

Charles Darwin became an agnostic because he chose to reject the two pieces of evidence God gave him. 

The answer to find meaning in life is found in putting your faith and trust in Jesus Christ. The Bible is true from cover to cover and can be trusted.

Thank you again for your time and I know how busy you are.

Everette Hatcher, everettehatcher@gmail.comhttp://www.thedailyhatch.org, cell ph 501-920-5733, Box 23416, LittleRock, AR 72221, United States

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Schaeffer with his wife Edith in Switzerland.


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Richard Dawkins and John Lennox

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Francis and Edith Schaeffer seen below:

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Dawkins, Hitchens, Dennett, Harris 

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Canary Islands 2014: Harold Kroto and Richard Dawkins

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Francis Schaeffer pictured below:

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The Basis of Human Dignity by Francis Schaeffer

Richard Dawkins, founder of the Richard Dawkins Foundation for Reason and Science. Credit: Don Arnold Getty Images

Francis Schaeffer in 1984

Christian Manifesto by Francis Schaeffer

Francis Schaeffer in 1982

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Whatever Happened to the Human Race? Episode 1

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Garik Israelian, Stephen Hawking, Alexey Leonov, Brian May, Richard Dawkins and Harry Kroto

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Dark History of Evolution-Henry Morris, Ph.D.

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Featured artist is Gillian Wearing 

[ARTS 315] Contemporary Laments: An Update on the Human Condition – Jon Anderson

Published on Apr 5, 2012

Contemporary Art Trends [ARTS 315], Jon Anderson

Contemporary Laments: An Update on the Human Condition

November 11, 2011

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Gillian Wearing from 6:27 onward in video above.

Photo by Courtesy the artist and Tanya Bonakdar Gallery, New York  
Blake Gopnik

Blake Gopnik

06.05.11

Gillian Wearing: One of Today’s 10 Most Important Artists

Wearing has redefined portraiture by photographing herself in rubber masks she’s cast from other people’s faces. In this piece created for Newsweek, she dons a mask of her own face. She may be better known than any other artist today. Or rather, the look of Gillian Wearing’s art must be known by more people. It’s at the root of all those ads in which “average people” are photographed holding hand-scrawled signs revealing what they really want from a bank or a car.

But in Wearing’s artworks, which launched her to stardom in 1993, the words have truly been scrawled by the subjects, and are often poignant. A cheery young banker type in suit and tie has made a sign reading “I’m desperate.” An attractive young woman who looks like a boy scribbled “I don’t want to look like a boy.”

“I think it’s important to listen to people,” says Wearing, who is 47 and slim, with fine Nordic features, straight black hair and the hunched shoulders of classic British reticence, as though by stooping she might take up less space in the world. She is sitting in a back room at Tanya Bonakdar Gallery in New York, the day of her May opening there. She was born into the humblest of Birmingham neighborhoods, to a mother who had been a butcher and a TV-salesman dad. She fell into art, and art school, almost by accident, and she’s still not used to center stage. She speaks quickly and nervously, often looking down.

“In Britain, we’re a bit scared of showing our emotions in public,” says Wearing, who believes her art is about “people opening up, and saying things they’ve never said before.” Instead of buying the old cliché that her portraits peer into souls, Wearing lets her sitters decide what to reveal.

Often that’s only part of the story. For one of her best pieces, titled “2 into 1,” Wearing asked a middle-class mother to talk about the virtues and vices of her two 11-year-old sons and also got the boys to dish about Mum. Then she videotaped the boys lip-syncing to their mother’s taped words, and the mother doing the same to her sons’. All three protagonists are thus conveying someone else’s opinions of them–often cruel ones. It’s confusing, compelling and unnerving. Gallery: Gillian Wearing

In another excellent video, called simply Drunk, there’s not much talking by anyone, since the subjects Wearing taped are too smashed for words. She simply brings a number of alcoholics in off the street, puts them in front of a tidy white background, Avedon-style, and lets us watch as they rant and collapse.

“I hope that some of it is cathartic—for both the viewer and the people in the work,” Wearing says. But often her work is more about withholding and concealing than letting loose. It’s about identities we assume rather than hearts we expose.

One of her most striking, most disturbing projects is a series of photos in which she has cast masks of other people’s faces, then photographed herself wearing them, leaving a seam where her eyes peer through the rubber. She’s donned the face of her adult brother, and of herself at 17. In her latest suite of photos, on show at Bonakdar, we see her assuming the personas of Andy Warhol, Robert Mapplethorpe, and Diane Arbus. Or rather, not assuming their personas, but only peeking out through their skin, revealing her own wary eyes.

And, in a new image made specially for NEWSWEEK, she’s created a mask of what she looks like today, then put that on as an assumed persona. “At the heart of my work is portraiture,” Wearing says. But her art is as much about resisting that genre as embracing it.

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