What are the ideals of Western modernity? Liberty in at
least three senses: freedom of thought and method, as demonstrated
paradigmatically by scientists like Galileo, Newton, and Darwin; freedom from
oppressive, dogmatic institutions like the Church, as instituted, for example,
by the American democracy; and freedom to pursue earthly happiness, as enabled
chiefly by technological applications of science which tend to elevate living
standards. Also, modernists prize the originality of a Renaissance genius such
as Goethe or Leonardo da Vinci. Modernity is thus an anti-Christian affair.
Breaking with the past, including the doctrines of Christianity which dominated
Europe for centuries, modernists sought progress in all aspects of life.
Modernists overthrew stifling traditions, encouraging skepticism of dogmas and
trusting in the authority of facts as understood by each rational individual.
Modernists are thus humanists in that they posit natural human rights that
don’t depend on any official interpretation of a religious text. Our rights to
personal freedom and to pursue happiness are inherent, not conferred by a
deity. However the Church might have protected medieval Europe from chaos after
the collapse of the Roman Empire, the cure became worse than the disease,
according to modernists, and so progressives awakened to their curiosity and to
their pride as natural creatures who share the earth with other admirable animals.
The Elizabethan Chain of Being, which ranked humans above beasts and plants,
was replaced by the Darwinian continuum that takes morality to be less important
than biological function.
The modern cognitive ideal is enlightenment, the objectivity to see the world as it really is.
Modernists are methodologically naturalistic in that they understand that
supernaturalism and theism are vacuous as explanations of anything, and so they
ban references to gods or to divine intentions or purposes from their theories.
This leaves modernists with a monstrous pantheism, according to which natural orders form by themselves for no
reason. The world is thus undead:
ordered and intelligible, albeit fundamentally random and bizarre, as
represented by quantum mechanics—but also comprised of impersonal forces acting
on material systems. The universal energy and matter are thus as baffling as
the fictional zombie that shambles on with no intelligent direction. Mind,
intelligence, and consciousness are byproducts of natural processes, not their
first causes. Natural systems are beheld as having only aesthetic value as
amoral artworks that are mechanically assembled by impersonal forces.
When we see something as just art, we see it as arbitrary since it stands by
itself without the context supplied by the perceiver’s presuppositions or
social agendas. We don’t think of it as being useful, but simply as being; we see it as it really is, as a
physical appendage of the monstrous, decaying body of the cosmos. And the
awakened mind comprehends these grim truths by the method of depersonalization. For example, the
scientist subjects her pet hypotheses to the impersonal tribunal of the natural
facts as these are observed by multiple fellow scientists whose
personal agendas are canceled out by their variety. Personal preference counts
for nothing in this enlightenment. The facts are allowed to speak more or less
for themselves; logic and evidence carry the day as the modernist learns
to discount the cognitive weight of her intuitions and other feelings.
Paraphrasing Nietzsche, human nature is distinguished by its
ability to be overcome. The enlightened soul thus divests herself of her
personality, zombifying herself to become a fitting vessel for a vision of
natural reality in all its equal undeadness. Objectivity is self-zombification, and this is the only respect in
which the theory of truth as correspondence is valid. Symbols don’t magically agree with facts. Instead, the knower detaches from her emotions and instincts,
which tend to delude and flatter her; she renounces her ordinary personhood so
she can imagine what it’s like to be merely one material object in a universe
of other such objects. Instead of transcending her earthly form, acquiring a
spiritual body as in traditional monotheistic religions, the enlightened
individual regards her every distinguishing characteristic as a distraction if
not an outright illusion. Her position in history, her hobbies and nationality,
her limited experience—all such ephemera are like the myriad trees that can
prevent sight of the wood that hides in plain sight. The personal self in all
its particularities is a void compared to the stunning truth of nature’s
original undeadness, its self-creation and direction from nothing and no one. Instead
of ascending to heaven, the modern hero is submerged in the decaying plenum.