The essays in this volume explore how two domains of human experience and action--religion and technology--are implicated in each other. Contrary to commonsense understandings of both religion (as an "otherworldly" orientation) and technology (as the name for tools, techniques, and expert knowledges oriented to "this" world), the contributors to this volume challenge the grounds on which this division has been erected in the first place. What sorts of things come to light when one allows religion and technology to mingle freely? In an effort to answer that question, Deus in Machina embarks upon an interdisciplinary voyage across diverse traditions and contexts where religion and technology meet: from the design of clocks in medieval Christian Europe, to the healing power of prayer in premodern Buddhist Japan, to 19th-century Spiritualist devices for communicating with the dead, to Islamic debates about kidney dialysis in contemporary Egypt, to the work of disability activists using documentary film to reimagine Jewish kinship, to the representation of Haitian Vodou on the Internet, among other case studies. Combining rich historical and ethnographic detail with extended theoretical reflection, Deus in Machina outlines new directions for the study of religion and/as technology that will resonate across the human sciences, including religious studies, science and technology studies, communication studies, history, anthropology, and philosophy.

In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things, and he traces how pop art and readymades point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens's performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means by which to understand the porous, unbounded, and open nature of humans and things.

Examining the history of altar decorations, this study of the visual liturgy grapples with many of the previous theoretical frameworks to reveal the evolution and function of these ritual objects. Using an interdisciplinary approach, this book uses traditional art-historical methodologies and media technology theory to reexamine ritual objects. Previous analysis has not considered the in-between nature of these objects as deliberate and virtual conduits to the divine. The liturgy, the altarpiece, the altar environment, relics, and their reliquaries are media. In a series of case studies, several objects tell a different story about culture and society in medieval Europe. In essence, they reveal that media and media technologies generate and modulate the individual and collective structure of feelings of sacredness among assemblages of humans and nonhumans. The book will be of interest to scholars working in art history, medieval studies, early modern studies, and architectural history.

Exploring a contemporary Judaism rich with the textures of family, memory, and fellowship, Jodi Eichler-Levine takes readers inside a flourishing American Jewish crafting movement. As she traveled across the country to homes, craft conventions, synagogue knitting circles, and craftivist actions, she joined in the making, asked questions, and contemplated her own family stories. Jewish Americans, many of them women, are creating ritual challah covers and prayer shawls, ink, clay, or wood pieces, and other articles for family, friends, or Jewish charities. But they are doing much more: armed with perhaps only a needle and thread, they are reckoning with Jewish identity in a fragile and dangerous world. The work of these crafters embodies a vital Judaism that may lie outside traditional notions of Jewishness, but, Eichler-Levine argues, these crafters are as much engaged as any Jews in honoring and nurturing the fortitude, memory, and community of the Jewish people. Craftmaking is nothing less than an act of generative resilience that fosters survival. Whether taking place in such groups as the Pomegranate Guild of Judaic Needlework or the Jewish Hearts for Pittsburgh, or in a home studio, these everyday acts of creativity—yielding a needlepoint rabbi, say, or a handkerchief embroidered with the Hebrew words tikkun olam—are a crucial part what makes a religious life.

In many contemporary and popular forms of religious practice, digital technology and the spiritual are inseparable. Ranging from streaming broadcasts of spiritual possessions to screenings of mass prayer conferences in stadiums, spirits and divinities now have new forms in which they can materialise. By offering the notion of ‘digital spirits’, this book critically attends to the intersections of digital media and spiritual beings. It also puts forward a new performative perspective on how they interact. Taking cues from the work of Stewart Hoover and Heidi Campbell, among others, the book begins with an outline of the current debates around religion, performance and digital media. It then moves on to examine how mediality and religion, where embodied practices are carried out alongside virtual practices, work together in contemporary Asia. These case studies focus on lived religious practices in combination with various forms of media, and so help demonstrate that digital technology in particular reveals the layered processes of spirituality in practice. Gods and divinities have always relied on media to manifest, and this book is a fascinating exploration of how digital media has continued that tradition and taken it in new directions. As such, it will be of great interest to scholars of religious studies, digital media and performance studies.

What is Protestant Art? presents an introduction to Protestant visual culture from the Reformation to the present. Examining historical images as evidence of changing practices and attitudes, Andrew T. Coates explores three major themes in the history of Protestant visual culture: 1) the religious work of images, 2) the relationship between word and image, 3) the power of the Bible and its visual representation. The book analyses images such as prints, paintings, maps of the ‘Holy Land,’ and Bible illustrations to demonstrate the broad range of images that could be classified as Protestant ‘art.’ This work argues that the variety of images and visual practices throughout Protestant history might better be described by the term ‘visual culture’ than ‘art.’

Religion tends to flourish when technological developments create new possibilities for communication and representation, and simultaneously change as a consequence of these developments. This book explores intersections between religion and technology in India, at the present and in the colonial past, and how various forms of techno-religious intersections transform and open up for new religious practices, discourses, communities, and institutions. With focus on Indian contexts and religions, it discusses various empirical and theoretical aspects of how technological innovations create, alter, and negotiate religious spaces, practices and authorities. The book provides rich and multifaceted empirical examples of different ways in which technological practices relate to meanings, ideas, and practices of religions. The techno-religious intersections generate several questions about authority and power, the politics and poetics of identity, community and place, and how religious agency, information, and experience are mediated, commodified, and adjusted to new demands of societies. The chapters explore the Hindu, Jain, and Sikh traditions in relation to new technological developments and media, such as photography, new means of visualization, TV serials, mobile phones, and online communication. The book will be of interest to academics studying modern and contemporary India and South Asia, and especially the role of religion and technology.