Passion

The inclination to do good, whether it is conquering a creative technique or a particular ski slope, falls under the realm of the aesthetics. Aesthetics, therefore, relies on desire, this in turn, incites us towards action. This is one of the theories William Dyrness works with in his latest book, Poetic Theology. Here, Dyrness relates how it takes human passion “to act, build, and create;” therefore, we should view these events as deep soul movements towards reaching the good. For Dyrness, our best moments are shaped, not necessarily by what we know, but by the longing “for a life that is attractive.” So, Dyrness asks Christians this question: “In places where community development is in progress, what sorts of practices might best reflect this impulse?”

What are the structures, stories, and events that act like beacons orienting our daily developments? What are our best shared activities that help shape beautiful and good communities? Where do we invest significance? Because of Christ’s redeeming work in the world we should seek out elements and practices that correspond with the gospel in order to sculpt deep and meaningful lives. We need to pick up God’s pattern of play, celebration, and redemption found in the surrounding cultures. Beauty draws people together, beauty also directs us towards God. Beauty, therefore, should also be a hallmark of God's people.

Dyrness further cautions how non-manifested values merely remain separate from us—mere abstractions. As we explore our traditions and the Scriptures we must continually take into account the human drive towards the aesthetic. For Dryness, the impetus to create an attractive life is an expression of God’s presence. We all long to be complete, but as the people of God, this hope relies on Christ's beauty and glory. Far from distractions, we must learn to see worldly goods, this includes our vocation as artists, not as means of power or self-glory, nor as an end in itself, but as a gift pointing us towards a life with God and his good creation; God reflected in and through our cultural patterns and trends. The Hispanic theologian, Roberto Goizueta reminds us how the aesthetic is “rooted” in the concrete. Aesthetics happens through our bodies, for “life is always corporeal.” It, therefore, becomes the artist's job to manifest the human need for the transcendent. Alysha Creighton’s stop action animation The Touch depict these themes of desire, embodiment and the transcendent. The Touch reminds us how the arts, the material, are conduits of God’s touch.

We must question if the desire we have for Christ and his kingdom is purely negotiated through the abstract and propositional. If so, we must devise concrete practices to pull the kingdom into our everyday reality.

Allow your art to draw you, and others, to the love of God. Receive his touch.

Maria

Thank you, Alysha, for granting permission to use, The Touch. Alysha Creighton recently completed a summer residency program at SVA.