How theological materialism unites religion, art, science, and politics

Theological materialism brings back the lost religious, ethical, conservative, view of civilization without placing the spiritual world over the material world. Theological materialism denies the non-material spiritual God and affirms ascending levels of a material Godhood evolved to in the material and supermaterial world. Theological materialism includes the sociobiological view of human nature which affirms the biological origin of social behavior. Human nature developed many thousands of years ago and remains in general kin-centered, gender defined, age-graded, heterosexual marriage-making, hierarchical, ethnocentric, even xenophobic, among other things, with group-selection as the primary unit of selection followed by individual selection.

In theological materialism religion, art, science , and politics can legitimately unite, we can indeed immanentize the eschaton, attain Godhood directly within nature and evolution, when we affirm that evolution moves inevitably in a pattern, even though it has its random elements, and the pattern has a discernible direction, in spite of instances of stagnation and retreat, toward higher and higher more effective living forms, all the way toward ascending levels of Godhood. A true natural rights or civil rights movement would harmonize with real human nature and the Godhood pattern of evolution and promote an ethnopluralism of ethnostates for all groups, black, white, brown, yellow, or red, with each ethnostate protected from marauding imperialists, global businesses, supremacists, Marxists, etc., defended by a defensive federalism.

Artists can express more of real genetically derived human nature. This expression might actually exhume a more classic kind of evolutionary realism, poetic realism, not unlike ancient idealistic classical realism yet steeped in naturalism as studied by sociobiology, that is, real nature, real human nature, but with the subjects infused with the upward climb of evolution toward Godhood, and with Godhood portrayed as the beautiful supermaterial zenith of material evolution. This way religious art, ultimately the highest form of art, can remain as it has always been, an affirmation of the sacred.