Defying Labels

1 Comment January 13, 2016 Steve A. Wiggins

I don’t know much about the music industry, but I do know that as in publishing, labels make a difference. Who doesn’t conjure up a certain sound when they see Motown? Companies jealously sign artists to their label, with a close eye on the bottom line. Labels. Branding. Marking our territory. People like to give things labels to make them easier to understand. By now it’s no longer news that David Bowie has died. The tributes are coming thick and fast, and one recurring theme seems to be that nobody really knew how to label him. Bowie was an original, a creator. Like many truly creative people, he was seldom at the top of the charts, but his fan-base grew over decades and those who listened to him knew that he defied labels. Labels are for convenience, and life is, well, not convenient.

There’s been speculation about his final album, Blackstar, released an iconic two days before his death. The song “Lazarus” has flagged the attention of many, but here we are after the third day and he hasn’t come back. I think of my childhood and tween years in the 1970s, seeing Bowie’s album covers in my brother’s room and wondering if he was a man or woman. His transgressions frightened the young conservative that I was, accepting the label given to me by those who thought they knew me. I heard his songs coming through the open door. I couldn’t understand them, but somehow they remained with me until I was mature enough to learn to listen. Some sounds are too subtle to hear, except with experience. Here was a man telling the world “don’t label me.” And yet label we did.

“Lazarus” is a haunting song. I may be no music critic, but here is a piece by a man who knows he’s dying. The video shows him emerging from a tomb-like wardrobe (in itself significant) and simultaneously lying on his deathbed. He’s in Heaven, but in danger. Still, he knows he’s free. Like the biblical Lazarus from the Gospel of John, resurrection is only temporary. Lazarus has come back, but he must die again. As the frantic Bowie scribbles his final words on the final page, he backs up once again into the tomb from which he emerged. David Bowie may not have been a Bible scholar, but his song is prophetic. The three days have now gone past. He may not have come back, but it just may be that he never really left.

Musical Mind

Leave a comment December 9, 2015 Steve A. Wiggins

Music is perhaps the most natural of human arts. We are all, as Daniel J. Levitin says, expert listeners from an early age. This Is Your Brain on Music: The Science of a Human Obsession is a fascinating study of neuroscience and music. I began exploring this connection about a decade ago when studies on religion and neuroscience were only just beginning to appear. Music, although closely related to religion in many ways, does not bear the stigma of “belief” and although music programs are often tragically cut from school budgets, we all value music because not to do so makes us less-than-human. Levitin shows clearly how music accompanies the most important parts of our lives and how it forms and develops the brain.

Music is somewhat easier to define than religion. Those who decry the humanities, I suggest, should be locked away with no access to music for a few years to see if they change their tune. I suspect they would. We need music, and music’s impact on the brain is an analog to that of religion. More studies of religion and the brain have begun to appear, and one gets the sense that materialists are a little bit angry and disappointed that religion hasn’t disappeared the way that it was predicted to have done by now. That’s because being human is more than being molecules and chemical reactions. It involves what we call the humanities.

Our brains are our gateways to all of human experience. They are complex in ways that computer designers emulate, but there’s a messy something about biology that straightforward mechanics seems to have trouble replicating. Our brains are part of one large, organic whole that encompasses life on this little planet. While studying the brain to understand it is indeed a good idea, calling it a meat computer is not. While software may be coded to compose music, of one thing we can be sure. Computers can’t enjoy music. It takes a brain to appreciate music, and the brain that appreciates music is mere synaptic connections away from seeing why religion is still important.

Playing God

Leave a comment October 25, 2015 Steve A. Wiggins

College is a rare time in life. Unlike any time after you find yourself with a diversity of intelligent and talented people open to possibilities that life tends to close shortly thereafter. At Parents Weekend at Binghamton University we took advantage of this wondrous juxtaposition to enjoy student talent. One of those offerings was the play “God of Carnage” by Yasmina Reza. It isn’t literally about God, but rather about two couples whose children had a playground fight. Parents try to solve the crisis, only to end up showing that they are really the ones who need to grow up. One of the vexed parents claims he believes in a God of carnage—that all people will seek their own good first and will eliminate those who get in the way. Perhaps might is right.

The play is quite funny as the negativity grows and hidden assumptions come to the surface. There are no heroes here. In fact, any factor that might divide people does: gender, socio-economic status, race, sense of importance in the work one does. Each is turned into a weapon to make oneself appear more acceptable than others. Ironically, acceptance is just what’s missing here. Each of the four characters is alone and only finds company in teaming up with another to point out someone else’s foibles. As in most plays, the circumstances are exaggerated, and as in real life, peace is harder to attain than it should be. The god of carnage here is the individual desire to exceed at the expense of others.

The play reminded me, in a rather literal way of the verse stating that a child shall lead us. Not that children are entirely innocent, for they are people too. They can’t be held accountable in the same way adults are. We do our best, but our intentions seldom rise to our ideals. Our own needs and desires get in the way. In my experience of over half a century, most of us never really grow up. Selfish behaviors are magnified in a setting like New York City where so many agenda are crowded in together. If we believe in a god of carnage—that our own desires are more important than those of others—our differences will only emphasize that. Apart from high school and college performances, I have been to few plays in my life. Each time I attend one, however, I learn a bit more about how art reflects reality. And if we could only learn to consider others to be just as important as ourselves, the god of carnage would be the one who ends up unemployed.

The Bald Truth

Leave a comment October 15, 2015 Steve A. Wiggins

The book of Judges is one of the most fascinating in the Bible. The “judges” are colorful characters, often rule-breakers, who ultimately seem to deliver the early Israelites from their enemies. Many of their names are familiar: Samson, Gideon, and Jephthah. Well, Jephthah may be a stretch for those who haven’t read the book lately. Anyway, among the most interesting facets of the book is the fact that there are female judges. The most prominent is Deborah. Although she doesn’t seem actually to fight in battle, she leads Barak and he is able to defeat the Canaanites, through the agency of God, of course. The story is told in great detail of how the Canaanite general Sisera gets his chariot bogged down in the mud, flees the field, and finds the tent of Jael, who invites him in. After she lulls him to sleep she drives a tent peg through his skull, killing him. Jael is celebrated for her part in the deliverance.

Gory images aside, I’ve been thinking of Sisera. I wonder what he looked like. I realize that he may not have been an historical person, but still. The Bible is generally shy about describing the outward appearance of people. We get a few people with details revealed, but Sisera is not one of them. The reason I’m wondering is that I’ve got an image lodged in my head. A childhood story that we were read about Deborah showed Sisera as a bald man with a beard. Totally bald. I know that complete baldness can and does occur, but the little iconography of Canaanites we have doesn’t show them as being particularly bald as a fashion statement. As I was reading about Sisera the other day I tried to picture him as a man with a headful of hair, and I just couldn’t do it. The image was too mentally jarring. Sisera was bald.

The images that we’re shown as children, especially for powerful stories, have a way of becoming canonical. It’s like learning to tie your shoes. The first way that leads to success is the right way. We never need to learn another. How many images of Sisera does one person need to have in his or her head anyway? So my Sisera is bald. Religions often provide us with images that impact us for the remainder of our lives. The impressions laid on young gray matter are not easily erased. Now that I know many of the stories in the Bible have no historical veracity, I still can’t help but think of the early images I learned. These are the canonical images and anything else is too difficult to contemplate. My Sisera will always be bald.

Palma got it wrong.

Powerful Movies

1 Comment September 28, 2015 Steve A. Wiggins

Our friends were shocked. I don’t even remember the title of the movie, but they couldn’t believe we had gone to see it. Not because of the content of the film, but because it had been shown on a Sunday morning. Why hadn’t we been in church? This was back in Edinburgh when we had very little money—wait, we still have very little money. This was back in Edinburgh, and we had won free tickets to an early screening of a new movie. The showtime was on Sunday morning. So in our own version of weak-willed athletes from Chariots of Fire, we’d skipped church to go see the movie. I don’t remember the title and I remember very little of the film. It had something to do with Richard Wagner and a conductor. An art film. We didn’t really feel too guilty missing church to go, since at the time, it seemed like a rare opportunity and the movie was, in some sense, religious. Or at least mythological.

Movies have a way of really influencing people. Thus it has been since the invention of the art form. We’ve all had the experience, I suppose, of a movie hitting us with a profound impact. It never really occurred to me to ask why. That is, until I read Colin McGinn’s The Power of Movies: How Screen and Mind Interact. I’d always thought that movies were simply a successful form of entertainment, and scholars seldom take entertainment seriously. As McGinn makes clear, there’s a lot more than casual watching going on when we slip into the theater. As a philosopher, McGinn is duty-bound to look beyond the obvious. Time after time in this profound little book I found myself pausing to consider the implications of what he says. Ultimately, he suggests that movies access the same areas of the brain that dreams do, not only giving them dreamlike qualities, but also making films emotional experiences like dreams.

At one point, McGinn draws explicit connections between going to church and going to a movie. Beyond the superficial aspects of a darkened building with a performance meant to impact a person, there are clear parallels between going to the theater and going to church. Both can be transformative experiences. The Power of Movies is a powerful little book. As much as we like to think that we have custody of our minds, the realm beneath the surface—that which gives us dreams and syncs with movies—has more influence on us than we’d generally like to admit. More and more, scholars are beginning to realize that films do have a profound impact on viewers. This is not just entertainment. It may not be worship, but after reading McGinn I think it might not be too far from it. The mind able to dream, after all, is a mind that’s truly free.

What I Meant to Say

Leave a comment September 6, 2015 Steve A. Wiggins

XML. CSS. Abstracting. Separating content and meaning. Sounds kind of scary to me. As a would-be writer, plodding my way through what used to be the humanities, I’m sometimes frightened when I hear techies talk about where publishing “has to go” to remain “competitive.” Since technology drives industry these days, we all need to bow before the image with a head of gold. What you write on the page has to be edited to make it say what you meant it to say. Then the meaning has to be excised and converted into XML, because that’s the way ebooks like it. Page numbers are an artifact, and if your device can’t find the phrase you half remember, don’t go looking for an index. You see, XML files don’t have pages—they’re just an illusion caused by the limited size of paper. The meaning lies in the stripped, naked, and shivering content. Or meaning. Or something.

So goes the brave new world of publishing. We live in the days of inferred information and bowdlerization in inscrutable acrostics. I’ve actually heard techies say, “we need to teach authors to produce what we need.” Have you ever seen a dog wag so fast? Or a tale hold so perfectly still? What do I mean? Ask an expert.

The blank page of actual paper used to terrorize many a student. There are few things so transcendent to me as a new, unused Moleskine. The very blankness of the pages is like unto the whiteness of Heaven. This is a place where thoughts can roam free, and I can feel the thoughts coursing from my brain to my fingers as the pen traces paths never before seen. As this blog attests, my writing does not draw the countless masses. The vast majority of it written on paper will never be seen by another human being. Thoughts are captured there, mid-flight. They’ve never been tamed or tagged or abstracted from their meaning. In the mind of some, I must suppose, that means they really mean nothing. When I hold them, however, which I can never do with an XML file, I know that some things are simply too important to convert to what someone else declares they must be.

By the Time I Get to Phoenix

2 Comments August 5, 2015 Steve A. Wiggins

I remember when flying involved going to a travel agent, explaining where and when you wanted to go, and how much you could afford. The agent would contact airlines, get you your best price, and you left knowing that you’d just have to show up at the airport maybe half an hour before your flight so you got there before they closed the door. For our vacation trip, my wife used priceline.com. I’ve used it for business travel myself, but when I am going for work, certain strictures apply. For this trip, expense was a major factor. We flew, outbound, to Spokane, Washington via Seattle, on Alaska Airlines. Since our final destination was Spokane (at least for the air portion of the trip), that involved a bit of back-tracking, but, being Alaska Airlines, who could really complain?

In order to make the trip affordable, we flew back on a different airline (I’m still not sure if it was American or U. S. Air; both reference the same entity, apparently) via an alternate route. Whichever airline it was had a hub in Phoenix, so we flew from Spokane to Phoenix before heading back to Newark. I’d visited Phoenix on Routledge business, but I didn’t spend much time in the airport. It became clear from this trip, however, that the Day of the Dead is a big deal for tourists. Given the popularity of Halloween, I suppose that’s not so surprising. Nevertheless, the sheer volume of Day of the Dead merchandise was stunning, considering that these were, for the most part, impulse, carry-on items. Figurines of various sorts comprised the most popular arrays. Skeletons, fully dressed, engaged in many quotidian activities, although deceased.

Amid the many daily scenes, I spied a last supper tchotchke. Skeleton Jesus and twelve skeleton disciples gathered around a table for a final meal. Maybe just a little too late. While not a theologian, I couldn’t help but wonder about the implications of this. I know little about the Day of the Dead beyond its association with All Souls Day. The last supper is set up in the Gospels as the grounding, in some way, for a divine plan or redemption. In other words, it doesn’t work if the principals are dead. Already jet-lagged and fuzzy-headed, I couldn’t think to take out my wallet. I really can’t afford baubles in any case, yet there was something profound to think about here. For some reason the market will bear much more in an airport than it will in no-fly zones. Still, as I struggled to stay awake all the long way to Newark, I couldn’t help but think that this was an appropriate image to signal the end of a much needed vacation.

Detoxing God

4 Comments July 16, 2015 Steve A. Wiggins

There’s some pretty weird stuff in the Bible. Those who are only familiar with all the “thou shalt not”s are missing a great deal. Some of the material is strange enough to rival Alice’s tumble down the rabbit-hole (Charles Dodgson was, after all, a deacon). Anyone who’s read Ezekiel, or Daniel, or Revelation, knows the feeling of having been slipped into some kind of alternate state of consciousness. As students of the Bible have been saying for decades, “What was Ezekiel on?” I’ve always tried to put these unusual writings into context for my students. Nevertheless, some scholars still explore the possibilities that something more than revelation was going on in the desert. A friend of mine pointed out the website Time Wheel, which has a story about Moses and his experience of the burning bush. Time Wheel is an artistic collective, and the story about Moses is richly illustrated. The title, however, is the attention-grabber: “The Bible’s Moses Was On DMT Says Hebrew Professor.”

The article explores the thesis of Benny Shanon, who suggests Moses may have found DMT in the natural store of psychedelics available in nature. As the piece suggests, you have to accept a literal Moses for this to make any sense. Nevertheless, it does raise an interesting question: did ancient people use hallucinogens for religious purposes? We do know that cultures throughout the world have found alternate states of consciousness to be religious in nature. Before the days of controlled substances certain plants and fungi were known to distort reality. Alcohol was one of the earliest inventions of civilization, or perhaps even predating it. When other views of the world are available, it is possible to say that one is by default the true one? It’s a question we face every morning, to some degree. The dream, another biblical favorite for alternate realities, can be just as real as waking.

Controlled substances are dangerous in large groups of people. Not only have modern scientific techniques refined the active ingredients, but we live very close to one another and erratic behavior, perhaps fine isolated in the desert with a cognizant adult, can lead to problems when other people live right next door. Anthropologists assure us that the use of natural “drugs” is/was not uncommon among many peoples who don’t fall under the rubric of powerful centralized government. But was Moses among them? To me, the burning bush hardly seems fantastic enough to require a chemical explanation. In fact, detailed study of even such books as Ezekiel and Revelation often reveal a much more mundane reality behind the writing. Still, imagination is often the key to unveiling realities left hidden to more prosaic minds. So why not see what might happen when the religious are left to their own devices in the desert? The results could change the world.

Vox Humana

Leave a comment June 16, 2015 Steve A. Wiggins

You know how it is when you get a song stuck in your head? This is one of the few scenarios that will actually lead me to buy music. I have very specific (some would say “odd”) tastes in music. I love the originals. Long ago I ceased listening to “Christian Rock.” It was a thing when I was attending a Christian college, of course. Many who feared the terrors of the drugs and sex part felt they could be slightly rebellious with the rock-n-roll side of things by listening to various groups that pounded out evangelistic messages with electric guitars and overheated amps. There were, however, amid those groups pretending they were a saved Metallica, some real artists. Somehow some of the songs of Daniel Amos came to my mind. I had all four albums of the ¡Alarma! Chronicles—still do up in the attic somewhere—but we left most of our sound system in Wisconsin. I hadn’t bothered to buy a new needle for my turntable, and I’m not sure I still have the patch cables to connect it if I did. It’s been at least a decade since I heard Vox Humana. The internet made it too easy.

To understand my quest, you have to imagine the context. It was 1984. I was a rising senior in college and I hadn’t seen much of the world. Having grown up in humble circumstances, I didn’t have money for travel or many material things. When my roommate took me to visit his house and he introduced me to a friend who had a room dedicated to sound equipment and albums, I felt as though I was on another planet. Daniel Amos’s Vox Humana had just been released. Our host slipped it from its yellow cover and played it with all the blinking green and red equalizer lights flashing and I was completely blown away. It was Christian music unlike I’d ever heard. In fact, it was ahead of much of the pop music of the time. As soon as I got back to campus I ordered it from the Christian bookstore. The songs still come back to me when I least expect them to.

Call it a guilty pleasure. My theological outlook is lightyears away from what it was when I was an undergraduate. I still haven’t seen much of the world, but what I have seen of it has changed me in ways that there’s no means of reversing. Although I really can’t afford to be buying music—we’re only paying for electrons any more—I just couldn’t help myself this one time. It’s no longer the ‘80s, and the 1950s sci fi movies DA references in the lyrics are closer in time to the album’s initial release than that release is to me now, but still large swaths of the lyrics are imprinted in my mind, taking me back over the decades. It’s the music of my youth. And it was edgy then. It sounds more conventional, perhaps even old fashioned now. Still, when you get a song stuck in your head, pagan or Christian, there’s really only one thing you can do about it.

Biblical Art

Leave a comment May 6, 2015 Steve A. Wiggins

Although the United States is a religious nation, according to all polls, not many Americans know about the American Bible Society. This organization, based in New York City, has been vastly influential in the history of the nation. Even more influential, however, has been the Bible itself. It pervades every aspect of life in America, whether acknowledged or not. It is an integral part of the fabric out of which the nation is cut. I used to ask my Rutgers students: if there were some unseen force that impacted your life every day in ways that you couldn’t imagine, wouldn’t you like to know about it? Of course they would! But our society has very little tolerance for actually learning about the Bible. As a story in the New York Times states, the American Bible Society had to sell its historical Manhattan property recently. I visited the site on my first trip to New York as a seminary student. Here amid the towering secular concerns of money and greed, was a building dedicated to Sacred Writ.

The New York Times piece, however, is pointing to the fact that the selling of the building has led to the closing of the Museum of Biblical Art. As Randy Kennedy makes clear in his piece, the Museum was (technically will have been) dedicated to showing the impact of the Bible in secular contexts. The American Bible Society is an evangelistic organization. They arrange for the distribution of Bibles not for secular reasons, but for good, old fashioned conversion of the heathen. This set the Museum a little bit at odds with its host. The Museum, critically acclaimed according to Kennedy, is (was) generally secular in outlook. It recognized that the Bible has influenced us in ways far less than obvious, pervading into our artistic sensibilities.

Although I’ve worked in Manhattan for about four years now, I never had occasion to nip into the Museum of Biblical Art on a lunch break. (Lunch break? What’s that? Money takes no breaks.) This is unfortunate. It seems that the message I had been trying to pass along to my temporary charges was being openly displayed here for New York society to see. Little do people realize, I suspect, that the principles of capitalism—the very system that transfuses the lifeblood into the city—developed out of biblical outlooks on private property. Not that the Bible itself is capitalistic, but it gave a society the basis to develop a form of thought that is, honestly, quite foreign to the biblical outlooks themselves. And ironically, the American Bible Society will continue, even though its intent may be less in keeping the spirit of the very book whose impact the Museum attempted to display.

Post Script to Art

Leave a comment April 28, 2015 Steve A. Wiggins

At work Christian Century is a magazine that sometimes lands on my desk. I suspect the book reviews are the main reason for this, but I like to skim the headlines to see what the more progressive, popular periodical has to say about the world. I always glimpse the news in brief section, and quite often the quotes of the week are poignant. This past week I read one from Paul Simon, who was speaking at Princeton University. The quote ran, “We are living in an anti-art age. The world is now a brutal place and obsessed with speed and wealth.” I found my head nodding as I read that sentiment. While I was a little too young to be aware of Paul Simon’s considerable contribution to popular music while it was happening (although I was old enough to appreciate Graceland when it came out), I nevertheless listened to Simon and Garfunkel during college and beyond, amazed at the depth and accuracy of Simon’s poetry. Here was a true artist.

What a difference half a century can make. I find myself not recognizing the world that I took for an assured thing as a child. Drawing back to get some perspective—which is something I think Paul Simon would appreciate—I think about the world without technology. Other species, for example. The behavior of, say, deer is the same today as it was when Europeans first invaded these shores. While deer still wander out onto roads in their natural quest for food, we race at them in heavy machines that leave them dead and twisted grotesquely at the roadside. Deer may not have the mental capacity to think, “hey, there’s fewer predators than there used to be,” but they are frequently brought into contact with a technology that is so nineteenth century, and the result is fatal. Where has the artistry gone? The deer remain the same.

I read a lot of older stuff. When I see the literature that was clearly published for its beauty of language and artistry, it brings a tear to my eye. We don’t publish work like that any more, unless it can make money. Everything has become a calculated capital venture. If you can’t make money off it, it’s not worth doing. When I was stressing out in college over exams, I would sometimes put on my old Simon and Garfunkel records and listen to the deep and complex lyrics to “Mrs. Robinson,” or “Bridge over Troubled Waters,” or “The Sound of Silence.” Despite the angst, this was a world that had a place for beauty for its own sake. It’s not just the music that’s changed since then, because I knew that I was listening to the words of a prophet. And prophets only appear when there’s trouble ahead.

Colorful Gods

Leave a comment April 13, 2015 Steve A. Wiggins

On my last day in Oxford I had enough free time to visit the Ashmolean Museum. The Ashmolean is the earliest public museum in the country, and, although it isn’t nearly the size of the British Museum, it has its share of very important artifacts. While there I came upon the exhibit called “Gods in Colour.” The display was inspired by the fact that ancient Roman statues—and likely those of other ancient cultures as well—were often painted. The elements have worn away much of the decoration, but traces of various chemicals have indicated what hues were likely used to paint these public icons of divinity. We tend to think of classical society as all white marble and stoic formality, but the reality was likely much more colorful. Many god and goddess statues from ancient West Asia also have traces of paint, although in general they were smaller in the various kingdoms of the Levant than the empires of Egypt and Mesopotamia (the latter of which is sadly falling victim to modern day iconoclasts). The Romans weren’t the only ones to see in color.

Seeing these representations of gods in color reminded me of my first exposure to liturgical Christianity. Having been raised in a Fundamentalist tradition, we certainly didn’t have images about (although one of our churches had a pastoral fresco on one wall). The United Methodist Church, in which I spent my teens and early twenties, had adapted the liturgy of its Anglican parent church, but not the iconographic tradition. When I first saw churches with painted crucifixes and states of Mary, I was taken aback at how powerful they could be. Like most ancients, I realized that these weren’t the gods themselves, but they still conveyed much of what the liturgy was communicating through words and music. One priest explained them as crutches for those who needed help to imagine the divine.

Having seen what images can do, I object to the use of the word “idol.” People are visual animals. We rely heavily on our sense of sight, and our religious sensibilities tell us to look for the gods our minds tell us must be invisible. It is difficult to focus on that which we cannot see. Today we have images both in the natural color of their medium and resplendent with color. We spend hours before the computer screen with its endless array of pixels of all colors. We still think of our gods in full array of saturated hues. In ancient times they tended to be made of stone, but we tend to use another form of silicon, apparently, to get the same effect.

A Slice of Pi

2 Comments April 4, 2015 Steve A. Wiggins

Raster images are made of pixels. MP3 files fit into neat little squares. Who owns a watch with an obsolete dial anymore? We live in the digital age. We are satisfied with less. We are told—and who dares question?—that digitization is more precise than any old analogue technique. There really are not curved surfaces anywhere. At lunch with a friend recently, this topic came up. Again. It is a conversation I’ve had before. Not everything can be quantified. Once upon a time, there was something called “quality of life.” No more can Nigel Tufnel claim, “Well, it’s one louder, isn’t it? It’s not ten.” Everything is ten.

If you don’t believe me, take a digital image and enlarge it. At some point the edges will grow fuzzy. That’s only because our eyes can’t focus on the smallness of the pixels. Keep on enlarging. Eventually you’ll come to the point where the little squares, the pixels, show their characteristic stairway to Heaven. Then go to your favorite art museum. Look at a painting. Get as close as the docent will allow you. Where are the pixels? Or get to know someone with a high quality camera. Preferably one that handles film larger than 35 millimeters. Watch them at the enlarger. The images get bigger, the edges remain sharp and curved. Where are the pixels? Some of us may be too old to truly tell the difference, but try breaking out your old LP’s. If you can find a turntable try one out. Then listen to the CD. Can’t tell the difference? Try putting it up to eleven.

The classic manual aptitude test has both round and square pegs. We’ve all been told that you can’t fit a square peg into a round hole, but we do it all the time. Life is full of circles, swirls, curlicues. We don’t teach our children to read cursive anymore. The square pegs on the keyboard are sufficient for every possible form of communication. There’s no need to sit back and wonder at the implications that pi is a non-repeating, infinite decimal number. You can’t find the area or perimeter of a circle without it. Nature is stunningly rococo with its spirals, from non-pixelated ripples in the water to the colossal swirls of galaxies so large that the human mind can’t comprehend them. For that you need a computer. And just to be safe, you better make sure that it’s one that can go up to eleven.

Rorrim

Leave a comment March 27, 2015 Steve A. Wiggins

It was an object of wonder. Handed to me as a child, the Bible inspired a kind of awe reserved for the big events of a young life. Here were the very words of God, in King James English, for me to read, mark, and inwardly digest. Well, at least read. And read I did, as only the fear of Hell is able to motivate an impressionable psyche. When a parish minister saw the trajectory of my life, he suggested exploring the ministry. More Bible reading ensued. With only Halley’s Bible Handbook as a guide, interpretation was largely a matter of what the minister said, and the kind of primitive reason that resides in a teenager’s head. I made it through college as a religion major without ever hearing about Mesopotamia’s influence on the Bible. Once I did hear, in seminary, it was clear to me that to get to the truth, you had to go back beyond the first page. Mesopotamia was only part of the story. The Bible was a book compiled in a region where other religions shared concepts, deities, and stories with the Israelites. While unique in some respects, it turns out the Bible wasn’t as unique as I’d been led to believe.

Mesopotamia, vying with Egypt, was the true cradle of the civilization that gave rise to who we are in the western world. Perhaps in the eastern hemisphere as well. The great cities of Sumer, and later Babylonia and Assyria, yielded cuneiform tablets and other artifacts that insisted we widen our view of antiquity. The heirs of this tradition developed Judaism, Christianity, and Islam. All three monotheistic religions have bred sects that despise this ancient past with its uncomfortable truths, and thus we hear of IS destroying the evidence with abandon. The years of my life spent studying these cultures disappears so quickly under the bulldozer’s blade. For all this, it is IS that is the passing fancy. You can’t destroy the truth. You can damage it, however, to the detriment of everyone.

Political regimes, and not just in the Middle East, operate with an unbecoming arrogance when they believe in their own self-righteousness. Were it not for those who wondered what these wedges on clay meant, we might still have to reckon (more seriously than we already have to do) with those who insist that it’s the Bible way or the highway. Unfortunately, it often takes disasters such as this wanton destruction of the past to wake the media from its lethargy concerning the cultures that gave our religions birth. There’s so much more to distract. The world can’t make up its mind about the color of a dress, and meanwhile those backed with a justification of true belief destroy that which can never be replaced. Given the rhetoric of political leaders even here, I suspect that our past is no longer safe, no matter where we house the artifacts bearing witness to the truth.

The Art of Religion

Leave a comment March 26, 2015 Steve A. Wiggins

If you take a train along the Raritan Valley Line en route to New York City, you will see many of the less highly regarded sights of New Jersey. The properties along the rails are often industrial and neglected. Graffiti abounds. On one particular concrete underpass is a truly monumental graffito reading “Paint the Revolution.” Since I can’t afford to take the train on a regular basis, seeing that prophetic line is a rare occasion for me, and it always casts me in a reflective mood. No doubt injustice has become deeply entrenched in our society where politicians are synonymous with distrust and wealth is carefully corralled by a passing insignificant number of individuals. These thoughts recurred as I was reading about Rasta, the religion that developed in 1930s Jamaica, and is now found throughout the world.

Perhaps the most rewarding aspect of being an editor is exposure to new ideas. Of course, anyone can achieve this by reading, but as a person whose job is to find new books, an editor often has to go beyond passive, to active reading. So it was that, while at Routledge, I came to Darren N. J. Middleton’s Rastafari and the Arts. I immediately fell for it. I’d read about Rasta before, but Middleton’s use of art as a means of exploring the religion was captivating. Now that his book is out, I reacquainted myself with what drew me to the project in the first place. Admittedly, a large part of the draw is the fascination with Rasta itself. While some, perhaps many, would claim that it’s not a religion, Middleton demonstrates pretty clearly that it is, or that it at least has all the hallmarks of one. Moreover, it is a religion profoundly based on the concept of social justice, something that many religions possess in diminishing quantities.

The African diaspora led to the development of several new religions as African thought was forced into a mode of accepting Christianity. Among those many new religions, Rasta stands out for its association with a particular musical style, reggae. Of course reggae can be secular, but one of the many insightful observations of Rastafari and the Arts is that the global spread of Rasta often begins as music travels. While reggae is generally identified by its musical style, it is also noted for having a heavy dose of social consciousness. People who’ve been oppressed, no matter what their race, often express their victimhood in their arts. Not particularly numerous, and certainly not politically powerful, Rasta has been painting its own revolution. That revolution is associated with peace and love, and, in a way almost unique among belief systems, its music.