Technology is an inescapable part of life. Zoom conferences, artificial intelligence, image generation—much has been said about its merits and drawbacks, questioning whether technologies intended to make our lives more connected and convenient are stunting our hearts and minds.
Philosopher Marshall McLuhan foresaw this when he wrote his General Theory of Media. He described a pattern: “When a form of media is pushed to its extreme, it eventually reverses in on itself and works in direct opposition to the very human capacity it was originally intended to enhance.” He gave the smartphone as an example, pointing out how a device intended to improve communication has also caused a rise in isolation as people grow increasingly addicted to their devices.
So what can we do? Surprisingly, art may offer the answer. Tactile experiences are one thing that technology is currently not able to substitute. In the digital age, genuine human connection is a rarity.
In his book Analog Church, Jay Y Kim suggests that art could be the key to balancing out technology’s dominance. “I am simply stating the need for a shift away from our carefully manicured, perfectly professional digital presentations that come across as far too pristine and not nearly personal enough. The quality of creativity and artistry is key. We must consistently engage the creatives and artists in our communities to lead the way and tell the story of God alongside us.”
Within the context of worship, art allows for unique ways of storytelling, providing congregants with the chance for authentic emotional expression. Through interactive art installations, mass dance, videos created to accompany the prelude and aesthetically pleasing PowerPoint slides, incorporating art into worship fosters a sense of participation in the congregants.
The integration of art into worship offers a tangible medium through which people may connect on a deeper level. The physical act of creating or engaging with art requires a presence of mind and body that digital experiences often lack.