31 May 2012

The Bank of England ruined

Earlier this evening I attended a lecture in which a picture of this painting was shown.

It is by an architectural artist called Joseph Gandy. The image really grabbed me. Some of what grabbed me I found  picked up in a Guardian article about the artist.
Gandy painted a fantasy view of the Bank of England - Soane's proudest work - in ruins. The City of London is imagined as a swampy wilderness, as desolate as the Roman Forum in the dark ages. It is the earliest example in Europe of a drawing in which an architect imagines a structure he has built as a ruin. At one level, it is a meditation on the future of the British Empire. Babylon and Memphis, Carthage, Athens, and Rome ... why not London?
This picture is beautiful in its craftsmanship but it also appeals to the part of me that loves the 'what if...' that lies behind much sci-fi. But I noted that the slide told us that it was painted in 1830 when the British Empire was really getting into its swing -the financial heart would be this building. But then I realised that this picture does something else that I tend to appreciate in a good sci-fi story: it relativises human pretensions; we are confronted with the reminder that 'this too shall pass'; that all our grand achievements are insignificant, transitory; vanitas vanitorum; kol hebel. And as Empire gains strength, this painting seems to say, prophetically, "Fallen is Babylon ..."

GloboChrist

GloboChrist: The Great Commission Takes a Postmodern Turn (Church and Postmodern Culture): Carl A. Raschke: Amazon.co.uk: Books

30 May 2012

Body image problems -not so new, perhaps

I don't doubt that there are a lot of people many of them young who have emotional difficulties which are related to the attitudes of peers, parents, and what they pick up of such attitudes in the media they access. And I am truly concerned that there are young children who feel really badly about their bodies. We, as a society, need to consider how best to order our life together to minimise this kind of message becoming something that leads to self-harming. It was on the BBC news this morning and also here -
Girls aged five worry about their body image, say MPs | Society | The Guardian and follows the publication of a parliamentary report.

One of the report's authors says: "It's clear there's something seriously wrong in society when children as a young as five are worrying about their appearance, based on the messages they are seeing all around them. The findings of the report are shocking – body image has become more important in our culture than health and children are mimicking their parents' concerns about appearance. We all have a responsibility to act now to bring about the attitudinal and behavioural change that's necessary to prevent damage to future generations"
What I would like to question (and I've not yet read the report which may deal with this) is whether this is more an intensification of something that has been going on for a long time. Perhaps the new thing about it could be how 'predatory' it has become. I mean predatory in the sense of a targetting by advertisers and other opinion formers of younger people with age-inappropriate stuff.

What makes me think that it isn't so new in principle is my own experience. As an 8-year old boy I can distinctly remember two interacting issues being a part of my life. One was reading comics of the superhero genre; especially Spider-Man. The other issue was that I was very thin (mostly as a result of having thin bones). The problem I had with these two things together was that I was taking in images on a regular basis of male bodies which were well muscled, though not body-builder beefy, and graceful (lovingly drawn?) This male body shape filled my imaginative space and what I take to be my mimetic instinct drew me towards a desire to be something like that image. But it was never going to happen -I realised eventually but before it did too much damage to me physically or mentally (some may question this!) that I was simply not made of the right basic physical architecture to have a body like that. I spent time in my own head working on compensatory thinking and coping mechanisms.

I realise that not every child is able -for a variety of reasons- to do what I did or to do it effectively. And perhaps the saturation of our cultural environment with such images makes it just more statistically likely that the coping threshold of a greater proportion of children will be breached.

Add to that peer pressure: my experience again was being about the thinnest kind of body type possible while remaining healthy attracted quite a lot of negative comment from peers and could occasion being bullied. Add to that my inability to tan and reddish hair and I had some really quite unpleasant insults and negativity thrown my way. I believe that this did dent my self-esteem and I compensated by finding things that I could do better than most and by realising (which stood me in good stead in later study) that there was an arbitrariness to the values placed on various aspects of appearance and that I could choose to value things about myself even if lots of other people didn't appear to appreciate them. Again, I don't think that this is a strategy that may be easy for many nowadays.

I suppose what I'm hypothesising is that body image concern amongst young people are not uncommon but that this makes it more important that we don't make something so prevalent and intimately personal yet socially visible more difficult to navigate through to reasonably healthy conclusions involving self-acceptance and being able to make healthy choices. We need to make a cultural intervention which works on several fronts. I would agree that tackling the torrent of images poured into public spaces and media would be one thing. However, I'd also say we need to be prepared to coach people to be able to reprogramme their own valuings of body images and their own self-acceptance. Then there is the issue of encouraging and enabling social environments of acceptance, valuing of difference, respect and care for others. To many kids the taunts of peers are a big thing -we should not belittle the hurt and harm they can do.

This much is congruent with Christian concerns.
However, I wonder too whether we should consider the maimed crucified body as a theological resource here too? The prophetic words 'He had no beauty or majesty to attract us to him, nothing in his appearance that we should desire him.' (Is.53.2) were applied by early Christians to Jesus. The incarnation was not marked by great beauty or 'comeliness'. Maybe that doesn't go quite as far as saying that the Incarnate One had body image problems, but it is to say that he may not have exacerbated them for others or alienated the not-so-comely like most of us are in fact. We should note, though, that in experiencing rejection, betrayal, taunting and so forth, he did experience the kinds of things that those who are denigrated for their bodily 'imperfections' experience. ...

27 May 2012

Pentecost and Babel: needs Ascension


The Babel story relates to Ascension/Pentecost but not straightforwardly: the tower of Babel is a story of an attempt to reach up to heaven. It results in the confusion of tongues. 
At the start of 2Theophilus (let the reader understand) Jesus ascends to heaven and this leads to the gift of tongues. Without considering the Ascension, trying to say that Pentecost is a kind of reversal of Babel seems a bit overblown. But seen through and from Ascension it can make some sense. In the Babel story, the attempt to Empire is resisted and undermined by diversity. In the Pentecost story, the diversity is affirmed. It results from a will not to dominate, but rather to co-operate.


In the Babel story it's interesting to ask who the 'we' are who wish to 'make a name for ourselves'. Certainly not the serfs and slaves living under a state whose mythology implicitly declares that this is their lot: they are made from the offal of defeated gods and have been made to work and particularly for the representatives of the gods (the kings and priests). This is Empire; co-opting the labour and resources of others for the aggrandisement of those at the centre; this is 'making a name for ourselves'. In such a context 'nothing will be impossible for them' becomes a chilling possibility of ever more demeaning and effective means to exploit and dehumanise. By contrast God's 'judgement' is one that de-centralises and re-humanises by forcing things to a smaller scale: Empire is cut down to size. God, it would seem, prefers subsidiarity. This gift of tongues in Genesis restores the trajectory towards diversity that Genesis traces to the command to fill the earth. This gift of tongues is actually blessing rather than curse. However, for those resisting God's purposes, a restoration of blessing may actually be felt as judgement.
Christ is given the name that is "above every name" (Phil. 2:9) and declared to be the ruler of heaven and earth. The Ascension is the seal and symbol of this. Jesus doesn't make a name for himself but is given the Name ... So: in Babel self-appointed representatives of humanity grasp at divine honours and control of humanity to the ill of the many. In the Ascension, a God-appointed representative of humanity is given the Name above all names in service of human welfare -of all.

Pentecost is not a restoration of a single tongue which would be what we'd expect if Pentecost was some kind of reversal of Babel. No, the pluriformity of tongues is affirmed and becomes the vehicle of the proclamation -to the ends of the earth (echoing Genesis). Pentecost is the redemption of Babel and the (re-)affirmation of the 'judgement' on it. Pentecost is an implicit critique of the project of Empire (Babylon -that is Babel) and its imposition of uniformity in pursuit of self-aggrandisement. Pentecost re-affirms that God is interested in all not just a few. "Now the whole earth had one language and few words. And as men migrated from the east, they found a plain in the land of Shinar and settled there. And they said to one another, 'Come, let us make bricks, and burn them thoroughly.' And they had brick for stone, and bitumen for mortar. Then they said, 'Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves, lest we be scattered abroad upon the face of the whole earth.' And the LORD came down to see the city and the tower, which the sons of men had built. And the LORD said, 'Behold, they are one people, and they have all one language; and this is only the beginning of what they will do; and nothing that they propose to do will now be impossible for them. Come, let us go down, and there confuse their language, that they may not understand one another's speech.' So the LORD scattered them abroad from there over the face of all the earth, and they left off building the city.' Therefore its name was called Babel, because there the LORD confused the language of all the earth; and from there the LORD scattered them abroad over the face of all the earth." (Genesis 11:1-9)

Further reading: The Liberating Image by Richard Middleton

Ash Nazg ....

It's a solar eclipse picture but somehow it puts me in mind of the Lord of the Ring.

Annular solar eclipse

from: http://static.guim.co.uk/sys-images/Guardian/Pix/online/2012/5/22/1337672561216/Annular-solar-eclipse--008.jpg

spotlight heart cross

Another photo from Marygate House on Lindisfarne.

Barking camouflage


Tree bark -what's it need camouflage for?

Pretty in pink


I don't normally like pink, but there are exceptions...

Bric-a-brac in Brixham

What a shop window!

From dark into light in Newcastle




Wall art world


On my way to work -and from- I often see this interesting piece of grafitti art.

Light box 'window'

From the chapel at Marygate House on Lindisfarne.

An apparatus is a Power?

I'm back into more actively building on the notion of the Powers in a way that could or should help chaplains in institutional ministry (and others). Partly this is because I have 'a paper' to give on the matter in October. I have recently been reminded Agamben's little essay 'What is an Apparatus?' This blog post Faith and Theology: Introducing Giorgio Agamben: what is an apparatus?
gives a way into why I think it is significant:
Agamben uses Foucault’s concept of the apparatus to classify all beings in two groups: “living beings”, and “apparatuses in which living beings are incessantly captured”. In theological terminology, these two classes denote an ontology of creatures on the one hand, and on the other hand the oikonomia of apparatuses that seek to govern these creatures (13). Between these two classes lies a third class: subjects. Agamben understands a subject as that which results from the relation between living beings and apparatuses.
That certainly appears to me to be a fair statement of what Agamben is saying in this essay. It seems to me that in describing something that is a "creature" and that "captures" living beings and plays a part in governing them is very congruent with Wink's characterisation of the Powers. What is interesting is the idea that subjects are produced. I think this is important and true: that human beings are instated as subjects in part by the influence of these other creatures. Our subjectivity (if I'm right in interpreting Agamben's 'subject' as having something to do with subjectivity -I recognise I may be jumping the gun a bit there) is at least partly constituted by the social context which I take to be the constituent 'field' of apparatuses or the Powers.

It is here that the importance of the Powers /apparatuses in Fall and Redemption becomes apparent. They produce subjects (and, btw, are produced in turn by them) and so play a part in the production of sin. Thus they have to be dealt with in liberation from sin.
These apparatuses can be resisted – we can intervene in their process of subjectification – only through profanation.
Agamben's idea of profanation, I think, is a way of describing 'unmasking the powers': exposing their pretensions to usurp what belongs to God. It is interesting that Agamben traces this back to theologies of Trinitarian oikonomia; there is an even older kind of language available; that of principalities and powers.

Sunflower poem



Here's a poem what I wrote on Good Friday ... (and for those who don't know me and British popular culture the grammar pertaining to the relative pronoun in that sentence is not my own, it is used for allusive effect -in this case a Morcambe and Wise reference).


Sunflowers.
Like  doxalogical refractions
the sun flowers forth
in
earth-tethered
green-girdered
growing
aspirants to light
postulants to glory.

07 May 2012

Techno posthuman curated from a future: the art of Elizabeth Price

I've just been to the Baltic and seen Elizabeth Price's video triptych (my designation of the three works). I loved it/them. The pieces spoke to me in ways I'm still going over in my head and trying to piece together. That in itself is very satisfying: I like artworks that grab me 'behind' my conscious thinking and which I then have to think over and ruminate on to unpack the experience.

It seems to me that the description of Skye Sherwin captures it well:
post-human worlds that seem dedicated to the preservation of museum rarities, pound-shop tat, designer appliances and modernist furniture, all glimmering with a cold allure. The objects have taken over: these groomed rooms bear no trace of people's lives. Our guides to these worlds take the form of a vaguely threatening "we" that speaks through disembodied captions popping up silently on screen, as techno rhythms pulse or choirs call out in numb harmonies. (from: Artist of the week 147: Elizabeth Price | Art and design | guardian.co.uk:)

I  am  finding it hard not to see some theology in one thread of this collection. I suspect the artist would be intrigued or horrified to discover a theologian relating to it so. But I found the central piece 'Choir' seemed to counterpoint the eternal matters referenced in the cathedral quires of the first part of the video with the fire-destroyed consumer goods of the second part. It seems to me that there is a comment somehow on the bonfire of the vanities that is consumer culture. This ironic look at consumer culture seems to come through in the trio of works. As if the putative view from the posthuman future manages to radically relativise consumer values in a way that is akin to the transcendent perspectives that we (try to) connect with in theology.

In Choir, according to the interview with ms Price, there is a gesture which connects the various parts: a piece of sculpture in a quire and a gesture made by one of the evacuees of the Woolworth's fire and a dancer in the disco footage. but the more enduring images in terms of arrest and memory are of the plans, the rectilinear rooms within a room of the quire, the furniture store and the fire-experiment forensic room.
I just found it hard not also to be hearing in my head 'our God is a consuming fire'.

Ms Sherwin says she likes Price's " fevered User Group Disco, which imagines a museum where we're told monsters still exist." So do I like it. Though, as I recall, we weren't so much told that monsters still exist so much as that monsters had not all been eliminated. In the follow-on context of the video, the transhuman-futurist perspective was redolent of Alien; almost making the present world of domesticity look like a place that could harbour the beasts that remove us (Prometheus?). Perhaps, in this way, there is a warning...

I found the collection and composition also very witty. I laughed out loud at various points: I loved the ironic and satirical juxtapositions and commentaries. -Again, I'm assuming that I'm reading it something like aright. I think I might enjoy this artist's sense of humour in real face-to-face encounter.

What else am I unpacking? The borg-like voice and typographic presence (often speaking in corporate-advertising soundbites as if phrases have been picked up as the basic building blocks -a Star Trek Next Gen allusion, perhaps) The shiney metals and 60's visual styling which along with the upbeat music somehow comes over all Pearl and Dean cinema advertising -thus increasing the sense of been sold too. Then there is the poignancy of the cars which seem to be designed for all sorts of things that they will never, at the bottom of the see, 'experience'. If that's not a study in Qohelethic vanity, I'm not sure what is.

Despite my usually-better half reckoning it 'arty farty nonsense', I'm hoping to return to ponder further before it moves out of the Baltic.

06 May 2012

A church in a basement


A little while back I visited and worshipped with a church that meets in a basement attached to a cafe. During my time there I took a few notes of things I noticed and I pondered.

I liked that there were candles around the room. Though they weren't lit. Though interestingly, they were later in the service where they related to the bread and the wine towards the end of the service -see further on.

It was a shame no one told me that the idea is to hang around in the cafe area that you have to walk through to get to the worship area: I guess that may point up to a potential development on their part of a welcome team who can intercept people as they go through the cafe and help us to know how things work round there. It's an interesting reflection in itself of the assumptions that pertain to such things as entering a space and a group of people for the first time. The space and the group have evolved a way of relating and being used that is not necessarily transparent to the newcomer and it is good to have people around to help and to interpret.

The space where the worship takes place has a stage at one end; it has something of a night club or comedy club look to it. I'd arrived about 5 minutes before the published start time but was the only person in the room apart from the music group rehearsing on the stage. It struck me afresh that the message of this arrangement is 'performance' rather than 'fellowship'. The seats collude: they're arranged to spectate. The music was quite loud and I became concerned for the baby someone was by this time carrying around, though it didn't seem so bad once more people were in.

I ended up feeling a bit embarrassed about sitting in the space almost alone, so I didn't go back to cafe area which voices told me was where I should have been. I watch the group rehearse and then they comment to one another that everyone is late (presumably to come through to worship room). that's 10:38. On the seats, at the end of many of the rows, are coats. I take it that these 'bag' seats, perhaps rows? Someone has now said 'hello' to me, though I guess writing notes for this on my phone is probably giving "busy: don't disturb" signals... !?

There is evidence of stational prayer artefacts: a big map in one corner, a table in another. Someone next door calls people through. They come. Some still have coffee cups. Couple of songs, open prayer (unannounced: so a bit of a shock but not off-puttingly so), couple more songs. They focus on praise and thanks and are in an easy to follow soft-rock style. Then the pastor spoke from tall stool. He's wearing jeans and hoody and has an American accent: talks about next week's baptism. Then about the coming church retreat. He then led us in prayer. I reflect that the main addressee of prayer is "Jesus", Though the pastor's prayer ended addressing "father" (having started with Jesus).

Text for preaching is Mark 5 :21ff. He notes both women share 12 years: one in age the other ill for 12 yrs; I'd not noticed that before and I wonder what to make of that -but the rest of the sermon doesn't really explore that... Jairus' desperation overcomes other considerations, probably means the interruption for the bleeding woman (whose name we don't get to know) was very vexing. The bleeding woman seems insignificant (and acts like it). Issue of uncleanness and knock on social effects. sees v.30 as showing deity (power gone out) then humanity of Christ (who touched...). V.34 conveys change of identity: no longer 'woman with issue' to child of God. V.33 whole story: implies details, minutely.

Interesting thought: Jairus: is likely impatient with the delay. And there's a poignancy in that he's likely to have been involved in 'outsiding' the woman from synagogue and polite society. Note Jesus has concern but tells Jairus to hold on: We often focus on 'end' but God often concerned with process. Removes doubters. Note calm rather than dramatic approach (it was good that someone in a charismatic church played down the religious drama of healing!) -Even matter of fact.  In our lives we need to note that some people need to press through the crowd and some to wait like Jairus.

After the talk: songs and communion. "Communion" was simply bread and wine on table brought discretely to front (candles lit!). There was no prayer over elements: doesn't really feel like 'doing this n remembrance'. Trying to work out whether this is my habituation showing or whether there is something missing. I think that I'm not sure I'd want to encourage this way of doing it to continue. I do feel that elements of the 'do this in remembrance' seem underrepresented: the blessing of/with the elements was absent. I noted that we'd praised God for God's acts, goodness etc and particularly for the Cross, but I can't help feeling that to properly link this up with 'do this...', there should be an associating of the bread and wine with the thanksgiving. The taking was, if we interpret the moving of the table on which the bread and wine were placed as such, after what I've interpreted as the 'blessing'. The breaking was done by individuals as and when they went forward to take the bread to eat it. The effect was to radically individualise the communion and really to emphasise a memorialising approach. I think that really something which more fully recognises the body in the sense of the corporateness of the church would be needed really. I'd really also suggest that somethinng about the action that points towards the idea that God might meet with us (together) in the action might be included. I suspect that the low-key and individualised way this was done tends to reduce the formative possibilities of the action compared with how it is when we explicitly and corporately go through the actions.

Aware too that no intercessions took place.

We were told that a meal was to be served in cafe after. I didn't feel I could stay, though if someone had encouraged me I might have.

A review: One With The Father

I'm a bit of a fan of medieval mysteries especially where there are monastic and religious dimensions to them. That's what drew me t...