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Choir
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Expanding on the notion of “keeping intention,” introduced in Chapter 2, Chapter 5 shows how contemplative Christians refine their capacity to “keep attention” and cultivate “contemplative senses” through formal group rituals, body awareness techniques, and the construction of aesthetic environments. It notes the contemplative Christian concept of the Body of Christ in which individual bodies and the collective body are perceived as interconnected entities with expandable and contractible boundaries. The chapter describes the monastic Daily Office and how non-monastic contemplatives adapt monastic rites to their lives outside monasteries. Introducing the important relationship between agency and habitus in contemplative practice, the chapter also develops a model that explicates the process of changing perception, called “contemplative transformation,” as an ever-moving ritualization between “posture” (intentional cataphatic ritual action and positive knowledge) and “flow” (apophatic, ambiguous “inner gestures” and “unknowing”).
Title: Choir
Description:
Expanding on the notion of “keeping intention,” introduced in Chapter 2, Chapter 5 shows how contemplative Christians refine their capacity to “keep attention” and cultivate “contemplative senses” through formal group rituals, body awareness techniques, and the construction of aesthetic environments.
It notes the contemplative Christian concept of the Body of Christ in which individual bodies and the collective body are perceived as interconnected entities with expandable and contractible boundaries.
The chapter describes the monastic Daily Office and how non-monastic contemplatives adapt monastic rites to their lives outside monasteries.
Introducing the important relationship between agency and habitus in contemplative practice, the chapter also develops a model that explicates the process of changing perception, called “contemplative transformation,” as an ever-moving ritualization between “posture” (intentional cataphatic ritual action and positive knowledge) and “flow” (apophatic, ambiguous “inner gestures” and “unknowing”).
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