Consumed

 The Spectacle

In class we talked about the spectacle... for quite a while actually.
 We watched the movie Rear Window in class. It was really interesting to think that we place our own views onto others and expect that to be the reality. like so, I really liked thinking about the concept that people tend to think that we are not something when we are and vise-versa.

I photo shopped most of them and others I pulled from other artists who were inspired by Kruger and those done by Kruger herself. this project was a very smooth process for me.

 

Inspired by Barbara Kruger:
I was obviously inspired a lot by Barbara Kruger. The way she tackles how she views the world and what it has become prompted me to take on my own spin on it. Consumerism is what I mainly attempted to focus on. A lot of people progress with the technology and improvements of the world. And most of the time we think nothing of it. Because we are part of it and sometimes we lose ourselves in it.


Walter Brueggemann's 19 Theses:

1.        Everybody lives by a script. The script may be implicit or explicit. It may be recognised or unrecognised, but everybody has a script.

2.        We get scripted. All of us get scripted through the process of nurture and formation and socialisation, and it happens to us without our knowing it.

3.         The dominant scripting in our society is a script of technological, therapeutic, consumer militarism that socialises us all, liberal and conservative.

4.        That script (technological, therapeutic, consumer militarism) enacted through advertising and propaganda and ideology, especially on the liturgies of television, promises to make us safe and to make us happy.

5.        That script has failed. That script of military consumerism cannot make us safe and it cannot make us happy. We may be the unhappiest society in the world.

6.        Health for our society depends upon disengagement from and relinquishment of that script of military consumerism. This is a disengagement and relinquishment that we mostly resist and about which we are profoundly ambiguous.

7.        It is the task of ministry to de-script that script among us. That is, to enable persons to relinquish a world that no longer exists and indeed never did exist.

8.        The task of descripting, relinquishment and disengagement is accomplished by a steady, patient, intentional articulation of an alternative script that we say can make us happy and make us safe.

9.        The alternative script is rooted in the Bible and is enacted through the tradition of the Church. It is an offer of a counter-narrative, counter to the script of technological, therapeutic, consumer militarism.

10.    That alternative script has as its most distinctive feature – its key character – the God of the Bible whom we name as Father, Son, and Spirit.

11.    That script is not monolithic, one dimensional or seamless. It is ragged and disjunctive and incoherent. Partly it is ragged and disjunctive and incoherent because it has been crafted over time by many committees. But it is also ragged and disjunctive and incoherent because the key character is illusive and irascible in freedom and in sovereignty and in hiddenness, and, I’m embarrassed to say, in violence – [a] huge problem for us.

12.    The ragged, disjunctive, and incoherent quality of the counter-script to which we testify cannot be smoothed or made seamless because when we do that the script gets flattened and domesticated and it becomes a weak echo of the dominant script of technological, consumer militarism. Whereas the dominant script of technological, consumer militarism is all about certitude, privilege, and entitlement this counter-script is not about certitude, privilege, and entitlement. Thus care must be taken to let this script be what it is, which entails letting God be God’s irascible self.

13.    The ragged, disjunctive character of the counter-script to which we testify invites its adherents to quarrel among themselves – liberals and conservatives – in ways that detract from the main claims of the script and so to debilitate the focus of the script.

14.    The entry point into the counter-script is baptism. Whereby we say in the old liturgies, “do you renounce the dominant script?”

15.    The nurture, formation, and socialisation into the counter-script with this illusive, irascible character is the work of ministry. We do that work of nurture, formation, and socialisation by the practices of preaching, liturgy, education, social action, spirituality, and neighbouring of all kinds.

16.    Most of us are ambiguous about the script; those with whom we minister and I dare say, those of us who minister. Most of us are not at the deepest places wanting to choose between the dominant script and the counter-script. Most of us in the deep places are vacillating and mumbling in ambivalence.

17.    This ambivalence between scripts is precisely the primary venue for the Spirit, so that ministry is to name and enhance the ambivalence that liberals and conservatives have in common that puts people in crisis and consequently that invokes resistance and hostility.

18.    Ministry is to manage that ambivalence that is crucially present among liberals and conservatives in generative faithful ways in order to permit relinquishment of [the] old script and embrace of the new script.

19.    The work of ministry is crucial and pivotal and indispensable in our society precisely because there is no one except the church and the synagogue to name and evoke the ambivalence and to manage a way through it. I think often I see the mundane day-to-day stuff ministers have to do and I think, my God, what would happen if you took all the ministers out. The role of ministry then is as urgent as it is wondrous and difficult.

society/culture/etc. is pulling us away from scripture and covenant.
just like consumerism, we do not realize that every time we consume something we are also being consumed by the object as well.