Creation at the Improv


I’m grateful to Brian who in a comment recommended Antonio Lopez’s very interesting “Eternal Happening: God as an Event of Love” (Communio: International Catholic Review 32, Summer 2005). Lopez is a priest and assistant professor of theology at The Catholic University of America in Washington, D.C. In the article he explores Balthasar’s understanding of God’s “super-time.” I was about to process an initial response to it in the comments section to Brian but decided I’d rather embarrass myself before a slightly larger audience.

Balthasar uses the term “super-time” to denote the living fullness of the divine relations without the “fleeting” loss involved in temporal becoming characteristic of creaturely existence. Those relations, argues Balthasar, obtain in “the perpetual immediacy of this sudden moment without limits of time, without sequence in their reciprocal vision.” It is a single, perfect moment, an ever-newer “happening.” This is “not simply timeless but a present that always was and is always coming.”

All very intriguing, if somewhat ambiguous, but curiously similar in my mind to what I’ve been trying to express via the notion of God’s “specious present,” something which is neither of the two contradictory options typically considered in debates, i.e., divine temporality understood along Process lines which views God’s actuality as a processu opiris (“work in progress”), and actus purus understood as incompatible with all conceivable unrealized potential. Balthasar’s “super-time” is neither of these (as far as I can tell). So if we can conceive of God neither as processu operis nor as actus purus in the “hard” sense, then might the truth be some third option which each of these options reflects in part but not in whole?

For example, Lopez says, “…one could describe…historical occurrences and phenomena as ‘events’…on the other hand, one could rightly claim that Christianity itself is most adequately understood as an event,” and asks, “Can this term also refer to divine love itself?” Then he seems to work out the ‘event’ of God’s triune being as the over-arching ‘moment’ (specious present) in which other created ‘moments’ may come and go but without the latter involving a “confusi[on of divine] ‘happening’ with ‘becoming’.” Lopez goes on to describe Balthasar’s view of God’s ‘eternity’ as “consist[ing] of an immemorial past that is always poured forth in the present, a present that is receptivity and grateful giving in return, and a future that is both eternal confirmation of the gift of love and ever-new response. Divine communion is both from eternity and ‘created afresh’ at every instant.” This is not your standard atemporal Godhead.

Without understanding talk of ‘past’, ‘present’, and ‘future’ to the triune fullness in terms of “becoming,” it nevertheless yields an understanding of Balthasar’s notiong of divine infinity as involving surprise and wonderment (to which I reacted with surprise and wonderment): “There is no absolute love if it does not exceed the ‘wildest expectations’, and there is no true plenitude if it ‘contains itself’, that is to say, if it does not exceed itself in giving itself over without any limitation, only to receive itself back over-abundantly in an excess of love.”


hqdefaultPermit me a slight detour. If one attempts to boil such talk down analytically into a mathematical proposition, one’s bound to be disappointed, which is why I find poetic, musical analogies more persuasive, like that of ‘improvisation’. (Fernando Sor’s “Variations on a theme of Mozart” comes to mind.) Poetic language and aesthetic sensibilities can sometimes take us farther than strict analysis can. I don’t know how else to say it. God-talk is like music notation. Even when correct, it’s still an long way from the experience of music. Something of aesthetic encounters can never be reduced to notation. I remember the amazing Andres Segovia (playing the above Sor variation on Mozart) rebuking a student in a master’s class for playing too obedient to the time signature. Keeping so strictly to the prescribed rhythm, Segovia said, was “contrary to aesthetics.” One such instance of this can be seen here (at minute 5:00 onward) where he says “The nuance in the rhythm is the result of the delicate lack of respect that we have for the rhythm.” A kind of musical apophaticism. Music as experience, as aesthetics, must in a real sense say “not this” to its own language. And “in this lack of respect,” Segovia says, “you can define the good artist from the bad artist.”


Perhaps most interesting to me was a line about how Balthasar understood omniscience not as synonymous with “having been exhausted.” I see room here for construing God’s grounding of creation’s possibilities (on the one hand) and his knowing their free (actual) becoming (on the other) in ‘open view’ terms. That is, creation’s possibilities are ‘exhaustively known’ in God as their ground. That much is self-knowledge. But God truly ‘comes to know’ the actual coming to be (of some possibilities and not of other possibilities) of the world’s events, a divine knowing which is as open as we say the world is and which manifests rather than contradicts the surprise and wonderment of God’s eternal specious moment (viewed, as Balthasar repeatedly says, not as a nunc stans). God’s eternity (the absolute, kenotic, self-surrender of the persons to each other in perpetual, over-abundant astonishment) could only manifest in created time in a truly “open” manner which is known to God in its created openness and not as the unfolding in time of a blueprint “having been exhausted” in eternity, but—and I need to say this carefully—

…just as Balthasar says the divine persons give themselves to each other without reservation or expectation of response (such ‘expectation’ could only be that portion of one’s self withheld from the other), so God gives himself (as divine logoi) without reservation to the free determination of created others—viz., God gives himself to be improvised upon. And there’s really no way the trajectories which the world actually ends up taking (this route as opposed to that route) can be eternally known even if the scope of all possible trajectories derives from and is known to God. That actual trajectory is the creature’s discrimination among possibilities, something over and above the possibilities themselves.

You might say that in the open view, God ‘over-knows’ rather than ‘under-knows’ the future. I suggest (boldly, yes) that the ‘open view’ is the best way to work out an understanding of divine triune fullness that creates freely and endows creatures with a measure of ‘improvisational’ say-so in its return to God.


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