The concept of play — both Anthropic and Theic — is so foundational that it either requires its own Axiom or must be the “activity” that results from the other 12. One might say it is the “dynamism” both within and without the Theos. For example, Rahner suggests that
All play — just as much as every task which we set ourselves to master with real earnestness of purpose — is an attempt to approximate to the Creator, who performs his work with the divine seriousness which its meaning and purpose demand, and yet with the spontaneity and effortless skill of the great artist he is, creating because he wills to create and not because he must.
To repeat what was said yesterday, this “mingling of the light-hearted and the serious is a flower that grows only midway betwixt heaven and earth,” or in the Anthropic space between transcendence and immanence:
Maximus the Confessor expounds this truth in his great dissertation on the playing of the Logos. When God himself breaks into our apparently closed order of play, something occurs that is completely beyond the power of any human words to express. Then, we can only be like Paul and speak of the weakness and foolishness of God…
You know you’re in utopia when the game never ends, for “the Christian has never ceased to use the concept of play as a verbal figure that most aptly describes, as far as he is able to conceive it, the state of the blessed in the world to come.” Thus, in the game of time we acquire skills that will serve us well in the game of eternity.
This is only the preseason?
Why not? “Our true playing and our true merriment will begin when this world has been left behind.” Then “The end will be even as the beginning — an eternal childhood.”
Too sappy.
Agreed. Let’s back up a couple of steps and inquire into the conditions that render a game possible: first, there must be rules, but the rules cannot determine the outcome, rather, are the boundary conditions that enable us to freely play within them. Given the rules, we adopt strategies and tactics to play, but the rules don’t dictate the strategies.
Our Cosmos is full of immaterial rules, from the laws of physics to the Rights of Man.
Who’s the referee?
Reality. Which of course doesn’t put an end to cheating, because how many concepts, philosophies, and ideologies operate outside the bounds of reality? The list is endless. There are even doctrines that render any game impossible, such as determinism at one end, anarchism at the other. But the game is always played in the space between order and freedom.
What sets cosmotheandrism apart from the rest — but not really — is the claim that God not only invented the rules but participates in the game. For example, the Logos is rationality itself, which is to say rules. And yet, for Christianity the Logos participates in the very game enabled by the Logos.
The rules incarnate as a player?
We see this same principle expressed in mythic terms in the Bhagavad Gita, in that Krishna operates largely through the concept of lila, or divine play, sport, spontaneous action. etc. He plays within the Cosmos because playfulness is intrinsic to the supreme reality. Taoism too expresses a similar notion, albeit in a more impersonal way via the concept of wu wei, which is to say, effortless and unforced action or “non-doing.” And we’ve already discussed Judaism, with Wisdom hersoph always playing beside the Creator. Call the game what you want, but the same principle applies:
Now, speaking of invariant rules, there are four dimensions in the universe woven into a single continuous fabric known as spacetime, this latter constituting the visible or — at least ponderable — side of the Cosmic Area Rug. However, we know — or ought to know at any rate — that the Cosmos is neither self-sufficient nor self-explanatory. In other words, it is contingent and incomplete, or rather, its completion requires that it be related to its own source: the Cosmos is the entailment of a higher principle that is not the entailment of anything else. This latter surely is, but mere isness is not enough; rather its isness must somehow spill over into creation, otherwise we wouldn’t be here.
Every religion in some sense involves God breaking our four-dimensional wall, as when an actor does so by directly addressing the audience in a play or movie. There are degrees of breakage, from flashing a covert Jim Halpert look at the camera, to jumping out of the film altogether, as in Woody Allen’s The Purple Rose of Cairo.
Now, if creation is the vertical nexus between time and eternity, then we should not be surprised that history is full of knowing winks, ironic smiles, and mischievous glances that reveal to us the author of history — or in other words, that break through the domed stadium of spacetime enclosure.
But how? We supposedly live in a 4D world, but are we actually bound by these dimensions? If we were, then we could never know a timeless truth, perceive transcendent beauty, or undertake a virtuous act, for each of these involves the apprehension of something beyond the walls of history. So, if we can break the fourth wall, it must be because God broke it first.
Not to abuse his name again, but Gödel’s theorems imply that man qua man uniquely breaks through the walls of logic, reason, and formal systems. Thus, we have access to a transcendent dimension of unprovable truths. One might say that in knowing the rules of the cosmic game, we have partially transcended the game.
As for God making the first move, ancient Judaism maintained that the temple was where God liked to dwell, while for Christians the temple is human nature itself. More generally, religions have their sacred mountains, forests, rivers, and relics, each communicating something of what is beyond them.
There are, of course, religions of pure transcendence — e.g., Gnosticism — in which the point of the game is to flee immanence and ascend into a better world for better people. Pantheism is the opposite, conflating God and Cosmos, so the game is ordered to no higher end.
But if God is necessarily in every place and at every time, then it’s not so much a matter of looking for God as a way to look — for example, with aesthetic eyes. For example, as Dávila says, From an aesthetic experience one returns as from a sighting of numinous footprints. These footprints imply a big foot, so one might say that God is a Bigfoot sighting. God the necessary condition of art, while we are the sufficient condition, so The work of art is a covenant with God.
This is true of any creative activity, in which there is a mysterious x factor that makes the transcendent whole greater than the sum of the immanent parts. In art, 2+2 is always > 4. In bad art, 2+2 = 4 or even less.
Now, what if art is but an exalted form of play? And if it is true that Every work of art speaks to us of God. No matter what it says, then it is a case of certain aesthetic experiences shattering the fourth wall and initiating us into a larger transcendent dimension.











