Roland Faber

In this work, behold! The common layers in the silos of Faith are revealed. Interestingly, even the artifice and dogmatics are explained, exposing the naked truth -- reality is holy. Existence is in the process of becoming aware of itself, and even the non-existent is become holy.

Professor Faber is one of the few voices who is able to describe the morphologies of process, with the multiplicities of religion as a moving target. His work brings us face to face with all the gerunds of the divine, and together we end up with the poetics of all the Arts, the unifying dynamic which is both outcome and infinitely perpetuating means.

Faber finds that Religion "holds the immanent potential to be the site of the relativity of its truths" because it does not remain "wedded to the subjection of Reality to the limiting horizons and distortions of human understanding". Religion is able to save itself from itself by its mystical detachment from being "thoroughly human".

Mystical relativity itself can be liberated from relativistic transformations toward the peaceful conviviality inherent in religious motivations. [5] Not content with the self-critique of thought indulged by post-modernists, this work explores the anteriorities behind (before) the syntheses and deconstructions.

Candidly choosing not to add another diagnosis of the "dead body" of the religious and ideological vessels, Faber joins the challenge to find new expressions of relativistic truth. [5-6] By indulging appreciation, in a practical way--actually picking up the tools and insights drawn from the religious as expressed in the arts--this book works the gate of transformation.

The book is an invitation to not only exist, but to exist together. By not excluding humanity's spiritual impulses (reducing humanity to animals or machines), Faber limns an invitation to transform these impulses into transreligious mutuality, gaining peace and prosperity.

The author uses lenses drawn from two roughly concurrent movements--Whiteheadian process theology sprung from math and science, and the revelatory reflections proclaimed by figures of the Baha'I faith community and which are expressly inclusive of science. [7] Both sources offer truth claims for "unity in diversity". Throughout the work, Faber addresses the challenge of proving the viability of these lenses, acknowledging they are minority views. Nor is Faber deterred by the fact that language itself fails us, perhaps because the failure itself is "coherent". [8]

Faber notes that both lenses reveal and resort to "landscapes and histories of the multiplicity of an ongoing world of becoming in which oneness and multiplicity of religions must contribute to the divine constitution of the whole process in an aesthetic of peace". Not only is the cosmos an expression of this process, but both lenses reveal a "beauty", an aesthetic of awe which leads us to peace in spite of a violent past. Religion is viewed as a tool for finding resources which overcome its own failures and violations of itself. Faber looks to science and religion as expressions of theopoetics, or arts, being expressed as modes of consciousness.… (más)