Decentered Interconnectedness

My picture ‘Decentred Interconnectedness’  is based on ‘Academic with an Open Book’ - a picture developed by Gert Swart and Zak Benjamin  - see below -  on the front cover of 'Renewing Biblical Interpretation' (Ed Criag Bartholomew). 


'Decentred Interconnectedness'   has the central image of a person - the student/ thinker with one hand on a open book and the other by the bottom of a spiral staircase.  He is surrounded by words : 

• 'Thinking' and 'Biblical' in blue above the window  - the quest for an intelligent open evenglicalism ; 
• 'Father, Son, Spirit' in yellow as light from the window -  a Trinitarian revelation, emenating from the Sun/son - illuminating all knowledge and mediated by the cross of the window.
• 'Knowledge, hermeneutic, light, truth' to the right of the spiral staircase - are all part of the struggle and goal of theology.   
• The words at his feet 'Decentred Interconnectedness' were the title of a course at Redcliffe and represent the interconnected, networked, post-modern world of today which is no longer centred geographically on the West or philosophically on a single meta narrative.   
• The writing on the overall is arabesque (it reminded my of the orange jumpsuits worn by prisoners in Guantanamo Bay Dentention centre)  The arabic/urdu style of writing was a representation of my engagement with Islam and Inter-faith dialogue - one of my (many) areas of interest ...... and further study is the opportunity to re-examine a host of such issues..... 

Rembrant's 'Philosopher in meditation' (1632)

..in the Rembrant there is a distict feeling of Yin and Yang - the tail of one half starting from the top of the stairs to the pool of lighincorporating the window and the philosophers head. The tail of the other half starts from the light at the feet of the philosopher, and goes up the stairs to a 'pool of darkness', completing the Yin-Yang motif, In Chinese Philosophy Yin and Yan are opposing principles omplementing each other, but in the Rembrant the tension between them in focused i the person of the philosopher with his 'light' head and 'dark' lower body'

   

The Rembrant is full of contrasts that express the tensions in the painting between: 

• light and darkness 
• the known seen lower stairs and the mysterious forbidding unseen upper stairs 
• ascent and descent  along the stairway (to heaven or to forbidden knowledge?)  
• the open book and the closed, meditative philosopher 
• The male philiosopher sitting in the illuminated light of the sun radiating through the window, the hidden, excluded woman working (cooking?) in the dim light of a fire hearth - outside the circle,  on the margins...    

There is also a circularity, mandala, a striving for wholeness. The excluded woman stoking the fire is significant - outside fo the circle in 17rth century Europe. The philosopher's book is open but the philosopher seems closed adn diosconnected fromt he book, the world outside and whatever lies at the top of the staircase! The philosopher is at the centre of the unresolved tensions in the context of a light-darkness struggle for wholeness'   

‘Academic with an Open Book’ -  Gert Swart & Zak Benjamin

'in the Swart-Benjamin reworking the content has been compressed into a square that creates a feeling of stability. Within the square there is a n obvious circular feeling whic speaks of resolution and completness. Bith the square and the circularity speak of whleess. The fugure of the academic has been flattened and opened up to create a sense of urgency and hope. The ethos of the 'Academic with an Open Book' is thus radically different from the Rembrant' 

Thus, in a variety of ways, 'Academic with an Open Book'  represents ‘the possibilities and challenges of academics working with the Bible as Scripture. The reworking alerts us to the potential and significance of an open Book – the open Book mediates resolution and potential wholeness into our brokenness. But that very possibility calls for urgent re-examination of a host of issues…’ (Bartholomew et al., 2000 p xxi) 

Or going back to my picture  A new 'decentred, interconnected' world  is literally at the student/academic's feet!  

Love Wins - The Prodigals' return

I've been reading Rob Bell's 'Love Wins' - a very easy read. My son had been reading it and his enthusiasm was contagious. Described as 'a Book About Heaven, Hell, and the Fate of Every Person Who Ever Lived'. Have a look at the introductory video on Rob Bell's website to get some of the questions behind the book.

It advocates a more inclusive position on the whole question of Salvation, and particularly looks at sticky issues of heaven and hell, propagating what has been called a 'wider hope'. It has caused quite a stir in evangelical circles, especially across the Atlantic. The Evangelical Alliance have a response by Derek Tidball, which is starting a conversation.......

At the heart of the book is the story of the Prodigal son. One of my favourite stories. More of that later ....

I have been compelled by this story - we used it when I was in Karachi working with drug addicts. Everyone seemed to find their place in the narrative. We were heavily influenced by Kenneth Bailey's 'The Cross and the Prodigal' looking at the story afresh 'through Middle Eastern Eyes' which seemed to help in a Pakistani context.

Henry Nouwen also took me deeper in the Return of the Prodigal Son, meditations based on Rembrandt's painting, which I also visited at the Hermitage in St Petersburg ( I wrote a blog post on it in April 2001)

So I had to have a go at painting my own 'impressionist' version of part of the Rembrandt, concentrating on the detail of Father's embrace of the returned younger son with older brother looking on, rather judgementally, from the shadows.

Back to Rob Bell's book. He has a chapter: 'The good news is better than that' (Ch 7) in which he describes three stories within the one story.....

The younger son who as he heads home in shame after squandering all his money, is convinced he's 'no longer worthy' to be called his father's son. That's the story he's telling, that's the one he's believing. Its stunning then when he gets home and his father demands that the best robe be put on him and a ring placed on his finger and sandals on his feet. Robes and rings and sandals are signs of being a son. Although he's decided he can't be a son anymore. his father tells a different story. One about return and reconciliation and redemption. One about being a son again. (165)

There are two versions of the same story The son's and the father's. And the younger son has to choose which one to believe, which one to trust and to live in. His own version of events or his father's.

Same it turns out for the older brother. He too has his own version of his story. He tells his father 'All these years I've been slaving for you and never disobeyed your orders. Yet you never gave me even a young goat so I could celebrate with my friends. But when this son of yours (he cant even say his brother's name) who has squandered your property with prostitutes comes come you kill the fattened calf for him!' So much in so few words. One sense he has been saving it for years and now out it comes, with venom. (166)

The father isn't rattled or provoked. He simply responds 'My son, you are always with me, and everything I have is yours..... But we have to celebrate and be glad because this brother of yours was dead and is alive again; he was lost and is found' (167/165)

Its the same issue of which story to believe. His own story of slavery and his father's meanness and cheapness and how unfair it all is. Or his father's redefinition of the narrative. The father tells a different story. about sonship not slavery, about the abundance of resources not their scarcity, and a redefinition of 'fairness' which is replaced by grace and generosity. People get what they don't deserve. Parties are thrown for younger brothers who squander their inheritance' (168)

The difference between the two stories is , after all, the difference between heaven.....and hell (169)

to be continued.....