Apple recently unveiled its Vision Pro, a revolutionary spatial computer that seamlessly blends digital content with the physical world. The device creates an infinite canvas for apps that scales beyond the boundaries of a traditional display and introduces a fully three-dimensional user interface controlled by the user’s eyes, hands, and voice. This is a significant move towards an increasingly digital life in the metaverse, a limitless online reality.
Amazon Prime’s “The Boys” presents viewers with a philosophy of power that echoes the work of Michel Foucault. Faced with a growing sense that power is wielded against us by corrupt overlords, where do Christians look for a response?
Ydi Coetsee Carstens reflects on the meaning and value of albums. In a world of endless feeds and infinite scrolling, albums provide a wholesome limitation for artist and listener. Albums remind us that endings are normal, that melancholy and sadness, endings and new beginnings, cycles of productivity and periods of rest constitute the pattern of human life.
It is not surprising to find oneself drawn to “the Revelation from Jesus Christ … to his servant John” (Rev 1:1) at a time such as this. To be sure, the Revelation is a strange book with bizarre creatures and indecipherable episodes re-imagined and re-purposed from an ancient vault of Biblical apocalyptic imagery. And, as GK Chesterton so aptly put it; “Though St. John the Evangelist saw many strange monsters in his vision, he saw no creatures so wild as one of his own commentators.” Yet instinctively we sense, if the reader would “heed” (1:3) the words in this book, navigational directives will emerge by which to surmount tumultuous times. Herein lies the allure of the apocalyptic.