Sunday, March 01, 2009

Apropos of nothing 

Or, perhaps, of everything.

I came across this recent account of a service at a mega-church in Sydney, Australia:

...There were no limits to the professionalism of this worship service. There was even a bit of product placement: the lobby was adorned with a lovely suite of iMacs; and the sermon was delivered from behind a lectern with an open MacBook on top, its illuminated Apple icon gleaming at the cameras...

As for the preaching, it was motivating and highly inspirational: the sermon’s title (sorry, I’m not kidding) was “Ten Kinds of People That God Can’t Help.” The main idea was that you should “invest” your time in positive happy friends, instead of making bad investments in friendships with hopeless, unhappy people: “Why are you trying to help people like that when even God can’t help them?” The sermon’s best one-liner: “The Bible isn’t a book about God’s love for man; it’s a book about man’s love for God.”

But for me, the most interesting aspect of the service was the dominance of the screen. Every moment of the service, from start to finish, was broadcast on to huge screens around the auditorium. When the pastor spoke, he would address one of the many cameras. When the worship-leader spoke to the congregation, he would speak into the camera. Even the heartfelt altar call at the end of the service was addressed to the camera. During the worship songs, the screens would be filled with the faces of those gorgeously happy singers and musicians; then a camera would pan across the crowd of raised hands before cutting back to a shot of the worship-leader’s face, full of adoration and passionate sincerity.

What made this so interesting was that the songs’ lyrics were also superimposed over these images; so if you wanted to join in singing, you had no choice but to turn your face away from the altar (if there had been an altar), away from the congregation, even away from the flesh-and-blood performers on stage. In short, participation in worship was possible only through the mediation of the screen. The entire worship service was orchestrated primarily as an event of the screen, so that one could take part only by turning towards the screen and participating in its projected images of worship....

At this morning’s service, even the worship leader himself was not a direct participant in the worship event – the real worshipping subject was his onscreen image. The flesh-and-blood performer participates in this worship only indirectly, through a vicarious participation in his own projected image – a larger-than-life image which becomes the bearer of transcendence. Similarly, the congregation is involved in worship only vicariously, through the mediation of the screen. This is an instance in which the screen comes to possess more ontological depth than the flesh-and-blood world itself; the projected image becomes “more real” than reality...

More here.


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