Category — Economic

“It is the custom among ecclesiastical socialists to deny that there is Biblical warrant for private property. Their ground for this is the often repeated Biblical declaration, “The earth is the LORD’S” (Ex. 9:29, etc.). They choose to neglect the total witness of Scripture to private property. The so-called communism of Acts 2:41-47, also cited by ecclesiastical socialists, was simply a voluntary sharing on the part of some (Acts 5). It was limited to Jerusalem. Because the believers took literally the words of Christ concerning the fall of Jerusalem (Matt. 24:1-28), they liquidated their properties there. The wealthier members placed some or all of these funds at the church’s disposal, so that a witness could be made to their friends and relatives before Jerusalem fell. Very early, persecution drove all but a nucleus out of Jerusalem (Acts 8:1).

The earth is indeed the Lord’s, as is all dominion, but God has chosen to give dominion over the earth to man, subject to His law-word, and property is a central aspect of that dominion. The absolute and transcendental title to property is the Lord’s; the present and historical title to property is man’s. The ownership of property does not leave this world when it is denied to man; it is simply transferred to the state. If the contention of the liberals that the earth is the Lord’s, not man’s, is to be applied as they require it, then it must be applied equally to the state; the state then must be denied all right to own or control property.”

— Rousas John Rushdoony †2001

“Woe to him that receives; for if one having need receives, he is guiltless; but he that receives not having need, shall pay the penalty, why he received and for what, and, coming into straits (confinement), he shall be examined concerning the things which he has done, and he shall not escape thence until he pay back the last farthing (Matthew 5:26). But also now concerning this, it has been said, Let your alms sweat in your hands, until you know to whom you should give“.
— Didache, Chapter One

The Aesthetic aspect
This seems to be the central aspect when discussing the arts, although this is not to say it dominates. It is mutually supports and is supported by the other aspects. I say this because art is often reduced to this aspect, and as such it takes on a very limited notion, wholly removed from everyday life. One of the consequences of this is the idea that “Art” exists in museums and music is something that is done by “professionals” in concert halls. When taken in context of every other aspect, art will be understood more broadly as an everyday event and entails all created objects, something in which we all participate. The mundane can be artistic as well as the “high-end”. 

1. It is related to beauty, but is not identified with it.
2. Dooyeweerd suggests that the kernel notion is harmony.
3. Aesthetics entails rhythm, contrast, progression, growth, and proportion.
4. Coherence or a unifying central theme is often at the heart of a memorable object or piece of music.
5. Seerveld suggests allusivity and suggestiveness, or nuance and allusion.
6. Broken expectations and surprise.
7. Play and fun, which might include improvisation and spontaneity. Jazz provides numerous examples of this. 
8. Tonal fluctuations in both color and sound. These are culturally identifiable across the planet (phrygian, mixolydian, dorian, etc). Each musical mode is dominant in various social settings- Middle East, Japan, the West.

Basden writes: “Art and music is not always qualified by the aesthetic. Much art and music is, but in some logic or mathematics is the driving force, e.g, perhaps twelve tone music”. In this regard, the early work of Brian Eno comes to mind. Peter Gabriel as well. Tones and their inner relationships are the basic musical structure in their early work. 

The Economic aspect 
1. The kernel notion is a frugal use of resources.
2. The poor are not outside the boundaries of artistic expression and very often lay the groundwork for culturally formative works. There are many examples of this, but two that come to mind immediately are Appalachian and Jamaican musicians. I recently read a book called “Dub” about the history of Jamaican studio-based creation. King Tubby was one of the main characters. He was an electrician by trade, but did recording and created “cuts” of songs. He is responsible for the creation of spring reverb- an effect so common we take it for granted in modern music.
3. Leisure (via riches or through a sponsor) might provide more time and energy directed towards artistic production, but does not necessarily need to be present. Nor does it always result in the best work. Bob Marley worked as a welder while writing music; Elvin Jones worked in a tire plant while playing the drums in the evenings.
4. Materials may be limited; time may be limited. But both may be fully exploited by a disciplined and highly creative person. Lee Scratch Perry comes to mind. His early work was done with a two track cassette recorder. He lived in extreme poverty, but he utilized what he had and created music that is still admired for its depth and creative power.
5. Investment in materials and instruments or equipment is a legitimate long-term investment of income. Are the most expensive, high-end instruments necessary? No. Nowadays what is considered a low-level instrument is of the kind of quality that was considered high-level twenty years ago. 

As an aside: a couple of years ago I attended a “worship conference” near Seattle, WA. The general line of thought was “using the best, most expensive, custom made instruments brings glory to God”. This is, of course, a deeply wrong-hearted notion. Blind Willie Johnson is more moving than twenty of those “worship” musicians put together. He sometimes played with one string. Some of the more profound and moving music has been created by artists who used broken down, old or cheap instruments. Jamaican artists once again come to mind. This is not to deny the place of craftsmanship, and quality instrumentation. But, in the case of the so-called “worship” musicians it is a confusion of ownership with artistic expression. 

6. Leverage newer, inexpensive technologies for the sake of the poor, and lead people out of poverty via creative formation. That is a calling in and of itself. Any one want to start a non-profit?
7. Investment in the arts is a long-term commitment that may or may not have any monetary returns. Returns may take many other forms. 

Next… the Social and Symbolic aspects.