A few months ago, I provided an overview of Polkinghorne’s views on natural theology. However, perhaps the best place to get acquainted with his position is to read the title chapter from his book, Belief in God in an Age of Science. First delivered as the Terry Lectures at Yale University in October 1996, this eloquent little book contains five chapters and a short epilogue. Readers are invited to explore the rest of the book on their own. I especially recommend the highly original second chapter (“Finding Truth: Science and Religion Compared”), in which he compares the ways in which physicists struggled to understand the dual nature of light (as a wave or a particle) in the early twentieth century with the ways in which early Christian thinkers struggled to understand the dual nature of Jesus (as divine and human). Unfortunately we won’t be presenting additional chapters here, but neither the print nor the electronic version of the book is very expensive!

In the fourth sentence below, Polkinghorne defines “belief in God” in terms of the proposition “that there is a Mind and a Purpose behind the history of the universe.”  This excerpt presents some evidence for a divine mind behind the visible world revealed to us by science, while the next (coming in about two weeks) discusses some evidence for divine purpose.

My editorial policy for these excerpts is explained at the bottom of this post.

Belief in God in an Age of Science (part 1)

What does it mean to believe in God today? Different religious communities propose different answers to that fundamental question. I speak from within the Christian tradition, though much of what I say in this chapter would, I believe, find endorsement from my Jewish and Islamic friends. For me, the fundamental content of belief in God is that there is a Mind and a Purpose behind the history of the universe and that the One whose veiled presence is intimated in this way is worthy of worship and the ground of hope. In this chapter, I sketch some of the considerations that persuade me that this is the case.

The world is not full of items stamped “made by God”—the Creator is more subtle than that—but there are two locations where general hints of the divine presence might be expected to be seen most clearly. One is the vast cosmos itself, with its fifteen-billion-year history of evolving development following the big bang. The other is the “thinking reed” of humanity, so insignificant in physical scale but, as Pascal said, superior to all the stars because it alone knows them and itself. The universe and the means by which that universe has become marvelously self-aware—these are the centers of our enquiry.

Paul Dirac (source)

Those who work in fundamental physics encounter a world whose large-scale structure (as described by cosmology) and small-scale process (as described by quantum theory) are alike characterized by a wonderful order that is expressible in concise and elegant mathematical terms. The distinguished theoretical physicist Paul Dirac, who was not a conventionally religious man, was once asked what was his fundamental belief. He strode to a blackboard and wrote that the laws of nature should be expressed in beautiful equations. [Remember that Polkinghorne was a student in Dirac’s lectures on quantum physics; see here.] It was a fitting affirmation by one whose fundamental discoveries had all come from his dedicated pursuit of mathematical beauty. This use of abstract mathematics as a technique of physical discovery points to a very deep fact about the nature of the universe that we inhabit, and to the remarkable conformity of our human minds to its patterning. We live in a world whose physical fabric is endowed with transparent rational beauty.

Attempts have been made to explain away this fact. No one would deny, of course, that evolutionary necessity will have molded our ability for thinking in ways that will ensure its adequacy for understanding the world around us, at least to the extent that is demanded by pressures for survival. Yet our surplus intellectual capacity, enabling us to comprehend the microworld of quarks and gluons and the macroworld of big bang cosmology, is on such a scale that it beggars belief that this is simply a fortunate by-product of the struggle for life. Remember that Sherlock Holmes told a shocked Dr. Watson that he didn't care whether the Earth went round the Sun or vice versa, for it had no relevance to the pursuits of his daily life!

Even less plausible, in my view, is the claim sometimes advanced that human beings happen to like mathematical reasoning and so they manipulate their account of physical process into pleasing mathematical shapes. [Polkinghorne cites Andrew Pickering, Constructing Quarks, p. 413] Nature is not so plastic as to be subject to our whim in this way. In 1907, Einstein had what he called “the happiest thought of my life,” when he recognized the principle of equivalence, which implied that all entities would move in the same way in a gravitational field. This universality of effect meant that gravity could be expressed as a property of space-time itself; physics could be turned into geometry. Einstein then embarked on a search for a beautiful equation that would determine the relevant geometrical structure. It took him eight years to find it, culminating in the discovery of the theory of general relativity in November 1915. It was a truly beautiful theory but now came the moment of truth. On 18th November, Einstein calculated the prediction made by his theory for the motion of the planet Mercury. He found that it precisely explained a discrepancy in relation to Newton’s theory that had baffled astronomers for more than sixty years. Einstein’s biographer, Abram Pais, says “This discovery was, I believe, by far the strongest emotional experience in Einstein’s scientific life, perhaps in all his life. Nature had spoken to him.” Whilst the great man himself said, “For a few days, I was beside myself with joyous excitement.” [Abraham Pais, Subtle is the Lord: The Science and the Life of Albert Einstein, p. 253]. It was a great triumph but, if the answer had not come out right, the aesthetic power of the equations of general relativity would have been quite unable in itself to save them from abandonment. It was indeed nature that had spoken.

There is no a priori reason why beautiful equations should prove to be the clue to understanding nature; why fundamental physics should be possible; why our minds should have such ready access to the deep structure of the universe. It is a contingent fact that this is true of us and of our world, but it does not seem sufficient simply to regard it as a happy accident. Surely it is a significant insight into the nature of reality. I believe that Dirac and Einstein, in making their great discoveries, were participating in an encounter with the divine.

Old French Bible moralisée (c. 1208-15), Codex Vindobonensis 2554,
fol. lv, Österreichische Nationalbibliothek (source)

It has become common coinage with contemporary writers about science to invoke, in addressing the general public, the idea of a reading of the Mind of God. [Polkinghorne cites Paul Davies, The Mind of God and Stephen Hawking, A Brief History of Time.] It is a small, but significant, sign of the human longing for God that apparently this language helps to sell books. There is much more to the Mind of God than physics will ever disclose, but this usage is not misleading, for I believe that the rational beauty of the cosmos indeed reflects the Mind that holds it in being. The “unreasonable effectiveness of mathematics” in uncovering the structure of the physical world (to use Eugene Wigner’s pregnant phrase) is a hint of the presence of the Creator, given to us creatures who are made in the divine image. I do not present this conclusion as a logical demonstration—we are in a realm of metaphysical discourse where such certainty is not available either to believer or to unbeliever—but I do present it as a coherent and intellectually satisfying understanding.

Looking Ahead

We continue with the excerpt on purpose in about two weeks.

References and Credits

Excerpts from John Polkinghorne, Belief in God in an Age of Science (1998), copyright Yale University Press, are reproduced by permission of Yale University Press. We gratefully acknowledge their cooperation in bringing this material to our readers.

Editorial Policy

Most of the editing for these excerpts involves breaking longer paragraphs into multiple parts, altering the spelling and punctuation from British to American, removing the odd sentence or two—which I indicate by putting [SNIP] at the appropriate point(s)—and sometimes inserting annotations where warranted [also enclosed in square brackets] to provide background information. Polkinghorne uses footnotes a bit sparingly, and I usually find another way to include that information if it’s important for our readers.

More Than One Christian View

Many parents and pastors are wondering what to tell their children about creation and evolution. While Sunday school classes often cover Genesis 1 around kindergarten (with kids coloring pictures of what God created on each day), most curricula do not address science again before kids leave for college. Yet issues of creation and evolution can be addressed in age-appropriate ways throughout Sunday school. Elementary school children already learn about idol worship from other Old Testament stories, so teachers have an opportunity to contrast Genesis 1 with the idol-rich creation stories of other cultures. Middle school students can be given basic tools for considering creation and evolution such as the contrast between the “how” questions answered by their science lessons in school and the “who” and “why” questions answered in Scripture. Middle and high school students can find role models by reading the testimonies of scientist Christians.

Youth need to be encouraged to discuss their questions and doubts, while affirming core beliefs. When asked why they left the faith, scientists often mention that the church was not open to their questions and told them to “just believe.” Churches can demonstrate openness to questions by teaching youth about multiple Christian views on an issue. Students need to hear that some Christians accept the science of evolution and others do not, and have a conversation about the reasons why. Too many young people have struggled when they felt they had to choose between clear scientific evidence and the beliefs they grew up with. Even when parents and leaders are unsure about evolution, they can help students by saying, “While I have concerns about evolution, I’ve heard that some Christians accept the science of evolution while still believing in the God of the Bible.”

Difficult issues like origins cannot be addressed in a single event. People need time to ponder the issues, and spaces to talk it through. One church did a six-week sermon series, with parallel curricula for all ages in Sunday school, so that families could work through it together. Another church did a sermon series and discussion group for adults for four weeks, to prepare parents before a four-week series for the youth group. Other churches encourage small groups to read a book on science and faith and discuss a chapter a week. (Since all authors have their favorite view, I recommend discussing at least two books from different authors to learn about multiple Christian positions.)

More Than Evolution

In our science-saturated culture, evolution is not the only science topic the church should be considering, and not even the most important. With church members encountering the latest medical advances as patients and family members, a discussion on bioethics would be very relevant. Since young people are usually the first to use hot new gadgets, they should be considering the appropriate Christian use of technology . As the issue of climate change becomes more pressing every year, churches need to talk about it, and not avoid it because it is so political. The Evangelical Environmental Network offers many resources for churches, emphasizing ways that creation care benefits the poor and the unborn. One group of churches, with the help of Calvin College, joined together to clean up the local creek that drains the watershed in which the parishioners live, work, and worship. Many of the congregants were not even aware of the size of the watershed or the pollution level in their own creek. This was a hands-on opportunity for all ages, directly caring for their own corner of God’s green Earth.

More Than Controversy

With so many issues to discuss, Christians can easily get the feeling that science is always attacking the faith. It is essential to balance such conversations with positive responses to God’s creation. After all, the primary response to the natural world in the Bible is to praise the God who made it. The first time I led an adult Sunday school class on creation and evolution, I was amazed how much the participants appreciated simply ending each session with a Psalm reading or creation hymn. Thoughtful frowns turned into relaxed smiles as the group remembered our unity in Christ and the centrality of God as the Creator.

Creation themes can be incorporated throughout worship. One church asked the congregation to submit their favorite creation photos at the end of the summer (from backyard flowers to National Parks), then wove the images into a worship service with creation songs and readings from the Psalms. In addition to flowers and mountains, modern science has revealed incredible glories that can inspire our praise and reflection. Several contemporary Christian musicians have begun to artfully incorporate the wonders of the natural world into their music; Chris Rice sings of “cratered moon and Saturn’s rings,” and Third Day praises the “God of wonders beyond our galaxy.” In one church, an elder brought in modern science when leading the congregation in prayer with these words: “Creator God, out of nothing you created all that is. You hurled the galaxies through time and space. . . . The universe is your hourglass, the continental drift your minute hand, the Grand Canyon your second hand. You are infinite.”

Preachers can incorporate science in the same way they make references to movies, current events, or best-selling books in sermons. To notice these connections, take some time to encounter science: read the science section of the New York Times, visit a local science museum, or ask scientists in the congregation about their work. A visit to a planetarium might give a new appreciation for the vastness of the universe, which could illuminate a sermon on the vastness of God’s forgiveness in Psalm 103:11–12. Pastor John Van Sloten learned about the neural networks in the brain and incorporated it into a sermon on the vine and the branches of John 15.

Preachers are understandably concerned about avoiding scientific errors when preaching, but this should not prevent engagement with science. Some pastors do their own research to get the details right because they enjoy digging into a science topic. Other pastors bring in a scientist (live or by video) so that they do not have to explain the technical material themselves. Others play to their strengths by choosing topics with fewer technical details, such as the Christian motivation for doing science or exposition of Bible passages relevant for scientific questions. Many of the questions Christians have are really about biblical interpretation and Christian theology, areas where the pastor is an expert. Minor technical errors made in good faith are forgivable, but a sermon that argues that mainstream science is wrong on some point can be devastating for the faith life of teenagers who are learning the correct science in school.

Beyond Sunday morning worship and preaching, science can show up in many areas of church life. During a youth camping trip or church picnic, include a nature walk concluded with praise. After a winter evening worship service, invite a local amateur astronomer to set up a telescope in the parking lot to show people the moon and planets. Convert a vacant lot near church into a community garden, so kids can experience firsthand how God provides food from the Earth.

More Than Programs

In all these activities, remember that views on science are “caught” more than “taught.” Congregants will naturally pick up on the attitude of the pastor or ministry leader, whether skeptical of science or celebrating science as the study of God’s creation. Visitors will pick up on this too, so these attitudes are part of being a church that welcomes and ministers to scientist Christians . Recently I was invited to speak at a church on the expansion of the universe and the possibility of a multiverse. Several enthusiastic young people in attendance had clearly caught the love of science from the church leaders who planned the event. One girl came up afterward with her dad, both of them marveling at God’s creation. They were amazed not just with the particular things I had discussed, but with the way in which God has embedded wonders at every level of understanding. Everyone can marvel at the starry skies, school kids can learn about the planets and asteroids, and scientists with PhDs can study dark matter and string theory. No matter how deep we look, we keep discovering more and more ways that creation declares the glory of God.

For Further Reading

For more resources on a full range of science topics, visit the The Ministry Theorem collection at http://ministrytheorem.calvinseminary.edu/. You will find sample sermons, curricula for children and adults, worship resources, essays by a dozen scientist Christians, and much more.

By Luci Shaw

Blessed be God for thaw, for the clear drops
that fall, one by one, like clocks ticking, from
the icicles along the eaves. For shift and shrinkage,
including the soggy gray mess on the deck
like an abandoned mattress that has
lost its inner spring. For the gurgle
of gutters, for snow melting underfoot when I
step off the porch. For slush. For the glisten
on the sidewalk that only wets the foot sole
and doesn’t send me slithering. Everything
is alert to this melting, the slow flow of it,
the declaration of intent, the liquidation.

Glory be to God for changes. For bulbs
breaking the darkness with their green beaks.
For moles and moths and velvet green moss
waiting to fill the driveway cracks. For the way
the sun pierces the window minutes earlier each day.
For earthquakes and tectonic plates—earth’s bump
and grind—and new mountains pushing up
like teeth in a one-year-old. For melodrama—
lightning on the sky stage, and the burst of applause
that follows. Praise him for day and night, and light
switches by the door. For seasons, for cycles
and bicycles, for whales and waterspouts,
for watersheds and waterfalls and waking
and the letter W, for the waxing and waning
of weather so that we never get complacent. For all
the world, and for the way it twirls on its axis
like an exotic dancer. For the north pole and the
south pole and the equator and everything between.

Editor's Note: If you'd like to see other great posts like this, go to the BioLogos Navigator topic Worship & Arts.

The tenth anniversary of the human genome has been marked by some striking new genetic insights into human evolution and diversity. Do these new discoveries have any significance for the dialogue between science and religion in general, or for our sense of human uniqueness in particular?

The publication of the Neanderthal genome sequence in May 2010 set the pace. Not surprisingly -- given that our last common ancestor with the chimpanzee was around 5 to 6 million years ago, compared to a mere half a million years for our last common ancestor with the Neanderthal -- it turns out that we are genetically far closer to the Neanderthals than to the apes. In all, only seventy-eight changes in the genetic letters ('nucleotides') that would change the amino acid sequence of particular proteins were found in the Neanderthal DNA that were the same as the chimpanzee sequence but different in the human. Amongst other differences, 111 duplications of small DNA segments were found in the Neanderthal but not human sequence. Genetically we are closely related twigs on the great evolutionary bush of life.

But we knew that already. More surprising for many was the provocative finding that non-African humans are genetically closer to Neanderthals than African humans. In fact, the European and Asian genomes that were sequenced appear to contain one to four percent DNA of Neanderthal origin, and the gene flow that occurred appears to have been almost entirely from Neanderthal to human, rather than vice versa. How come? The most likely scenario is that there were a few instances of sexual reproduction between Neanderthals and human individuals belonging to the population that is thought to have emigrated out of Africa to populate the world sometime after seventy thousand years ago, explaining why the Neanderthal DNA sequences are not found in African genomes. The contribution of the Neanderthal genome has remained in European and Asian populations ever since.

To put this in perspective, most of our genes are very similar anyway to those found in Neanderthals and chimpanzees, and to other mammals like mice. We all share a "how-to-build-a-mammal" instruction manual, and the relatively minor genetic differences between us (minor relative to those we share in common) are the icing on the cake, as it were, that make us a human rather than a mouse, a chimp or a Neanderthal.

The year 2010 saw yet another twig appear on the hominin branch of the evolutionary bush, this time one even closer to the Neanderthals than our own. This story begins with the discovery by a Russian team of a sliver of finger bone from a remote Siberian cave in the Altai Mountains, known as the Denisova Cave. The team stored it away, thinking it was from one of the Neanderthals that frequented the cave between thirty thousand and forty-eight thousand years ago. But when DNA extracted from the bone was eventually sequenced, the results -- published just before Christmas -- revealed a population distinct from both humans and Neanderthals.

The finger appears to belong to a novel hominin population that shared a last common ancestor with Neanderthals more recently than humans, and overall is genetically closer to Neanderthals than to humans. It is too early to say whether the so-called 'Denisovans' represent a separate species and fossil data will be required to clarify that question. But what the results do suggest is that Melanesians -- the inhabitants of Papua New Guinea and islands northeast of Australia -- have inherited as much as one-twentieth of their DNA from the 'Denisovans', indicating that some limited inter-breeding took place between these ancient populations. Most fascinating of all is the idea that multiple hominin lineages were coexisting in Europe and Asia, along with modern humans, as recently as twenty-thousand to forty-thousand years ago.

Do these findings have any particular theological significance? It is difficult to know why this should be the case. In the Judeo-Christian tradition humankind uniquely is made "in the image of God". The suite of capabilities that emerged during human evolution is necessary but not sufficient to do justice to this much discussed theological insight. Our particular genetic instruction manual generates large frontal lobes, advanced cognitive abilities, rationality, language, consciousness and the ability to choose between right and wrong. It is this suite that gives us the ability to pray, worship and engage in communal religious practices.

But the idea of being made "in the image of God" is not encompassed simply within a static list of such human qualities. Theologians have drawn attention to the dynamic, relational aspects of the concept. It is humanity-in-relation-to-God, together with God-given responsibilities to humans in relationship with each other, that are thought to be more central to the idea. When did such spiritual capabilities and responsibilities first come into being? It is really difficult to know, but the answer certainly seems more rooted in God's intentions and purposes for humankind than in genetic change per se. Students can spend a long time being trained in the finer points of drama, but the play only gets off the ground when the actors are finally given their lines.

It seems quite likely that more twigs will continue to appear on the hominin branch of the bush of life as genomics continues to extend its reach. Such discoveries as such do not appear to raise any new theological questions. But other 2010 discoveries did highlight two genomic insights that do have relevance for religious views of human identity. The first insight comes from further Genome Wide Association studies that continue to subvert any lingering commitments to genetic determinism, for example the idea that there are genes "for" a particular human trait. The second insight comes from the finding that we are all more genetically different from each other than we realized even a few years ago. Genetics is underlining the uniqueness of each human individual. By the end of 2011 it is estimated that more than 30,000 human genomes will have been sequenced. Watch this space. Theological reflections on these findings will be the topic for Part 2.

We tend to think of creativity in terms of flashes of insight and brilliance, of novelty, and especially of unexpected things bursting upon the scene. But creativity is no less creative and no less remarkable when it proceeds step by step, according to discipline, according to rule. We notice significant ruptures in the flow of things and upheavals of the regularity and predictability of life, faith, or science, precisely because such revolutions happen against a background of the ordinary. Even when the rules are interrupted and disturbed, they are usually not obliterated but modified. We and the rest of creation begin again by applying them anew and continuing on in light of what has changed.

Artist Linnéa Spransy makes this paradoxical ‘rules and rupture’ quality of life the method, not just the subject of her art, bringing a fascination with the mathematical underpinnings of the natural world together with her commitment to the kind of renewal-through-brokenness that comes with following Christ. As she says, “the boundaries between art, worship and natural sciences are fluid. I go [to that place of intersection] to be more amazed by the strangeness of existence, to experience awe and wonder.”

Confronted with the scriptural assertion that “eternity is written in [our] hearts,” Spransy wondered how we even begin to understand what that means. What might visual corollaries for such a statement be? How do we represent the tension between freedom and constraint, that dynamic dance of continuity and change, of predictability and surprise, that exists at every level of our experience and study of the world—from quantum physics to genetics to geology—and that seems fundamental to the ways of the Lord with us, as well? Her answer began to form around the study of fractals, mathematical rules whose reiteration in nature leads to endlessly new things. In her own work, a similar fractal sensibility leads to visual representations of something eternal.

Spransy says that every painting she completes “is the manifestation of a predetermined scheme – a system of small limits, with a clear beginning and end. These scripted pieces of visual choreography are allowed to accrue to show me their beauties and surprises, allowing discovery in the midst of certainty.” In other words, images like Frenetic Sequence, 2011, above, are not pictures of natural systems or objects, but representations and results of the processes and relationships by which natural systems and objects come to be. They are built from the inside out, as it were.

To begin a piece, Spransy assembles a library of “research drawings” that play out the various rules and rule sets she intends to use—essentially a kind of preliminary modeling of the visual system she wants to explore. Sometimes these are based on fairly simple mathematical or geometric rules that tell her when a line or shape will turn or divide or end. Other times she uses several different sets of rules at the same time—whether mathematical or derived from biological relationships such as those between base pairs on the DNA strand, or the way bacteria will move towards available sources of food in a Petri dish. But though these rules are established at the outset of a new piece, when she begins a new large-scale work, the outcome is anything but mechanistically predetermined, for several reasons.

First, the physical context in which she’ll be exploring each basic “module” or set of rules is different from that of her research drawings, having moved from a sheet of paper onto large prepared canvases that are five or six feet on a side. She does not transfer the small drawing from the paper to canvas, but regards that earlier work as preparation and practice of the process out of which the final work will emerge. Second, because the works are hand-drawn, there is always the element of her own agency and engagement with both the materials and the rules. There is an inescapably subjective quality to the way she responds to both materials and means. There is also subjectivity to the way she engages with the lines and shapes she has already laid down. Put another way, the abstraction of the rules is always mediated by and expressed through specific, very concrete and physical circumstances.

Finally, Spransy’s process includes what she thinks of as cataclysmic events or moments of chaos: intentional ruptures of the emergent system by gestures that overwhelm and obliterate sections of what she’s already done. Often she will shield sections of the existing system from the coming trauma either by masking them off or by subtly manipulating the flood of color—tilting the canvas to preserve sections of what was there. Afterwards, she will continue scribing and painting lines from the original system on top of or adjacent to the new areas of color, but in ways that respond and adapt to the new visual ecosystem. In this way, layers of work are built up, obliterated, and built up again.

Again, there is an inescapable agency at work in what—from the imagined standpoint of the system itself—must seem a randomly destructive occurrence, but Spransy’s point in breaking into the system is to test the limits of its creative, integrative capacity. By creating “environmental pressure” in this way, then coaxing the fragments and remnant information to multiply and reassert their orderly identities again, she asks, “How flexible are the rules?” The finished paintings are not rote recitations of fractal or statistical formulae, then, but objects with both a physical and a relational history. They are records of a thoughtful, physically engaged, but also humble exploration of how the confluence of order and chaos creates meaning.

Though Spransy denies that there can be such a thing as a “perfect analogy,” her artistic practice has spiritual underpinnings and spiritual implications, as well as visual results. Like many working scientists, she is seeking a way of understanding how the creator engages with His creation, and a better grasp on how we creatures should make our way in response. On one hand, her attentiveness to the basic orderliness of the material creation has a corollary in the familiar disciplines of faith, including reading the scriptures, prayer, and responding with mercy to ruptures in human lives and communities. But on the other hand, her embrace of surprise and chaos is, as she says, an “invitation to the otherness of God,” and a recognition that radically “dissimilar things sometimes occupy the same space.” In combination, those divergent elements help Spransy’s works hover at the boundary between knowing and un-knowing, between control and accident, between freedom and determinism.

Spransy notes that “even in the aftermath of great destruction, life is given great opportunity. In science we’re actually happy and excited when there’s a break in the rules.” This insight, clarified and lived out in her life as well as her artistic practice, directs us to consider not only the necessity and goodness of diligent pursuit of the rules, but also to reconsider the goodness of what we are otherwise inclined to see as calamity and chaos. Indeed, Spransy’s work points us back to the central paradox of the Christian faith: that the most radical disruption of the natural systems of the world occurred two thousand years ago in Palestine with the coming of Christ—singular proof that rupture does not necessarily end in destruction, but may be our means to redemption.

Linnéa Gabriela Spransy grew up in rural Oregon in a community attentive to Christ’s call to live in community with one’s neighbors, but was herself equally aware of God’s presence in the natural world around her. She received her BFA in Drawing from the Milwaukee Institute of Art and Design, and her MFA from the Yale University School of Art. In the midst of exhibiting in solo and group shows in university and commercial galleries, she moved to Milwaukee to study the Bible and consider how it might re-frame her sense of self and her career as an artist. In 2005 she relocated to Kansas City to help found the Boiler Room, a prayer-focused intentional community where she lives and in which she is the artist in residence. She continues to show her work widely, has pieces in pubic and private collections, and was the subject of a recent film-making project: Linnéa: Freedom Through Limits. More of her art can be seen on her website.

Originally posted February 4, 2012

Photo credit: Jan Bacon

Singer/songwriter Andy Zipf’s “Stumble on the Line” is built around the image of a river flowing through a canyon it has sculpted—an image that can easily be played out as a picture of the way that the Lord has been at work preparing a path for us in the material world, complete with signposts to his former and present activity. Zipf’s imagery of flowing water as a powerful (even dangerous) but also refreshing force echoes the similarly-complicated place of springs and rivers and seas in the scriptures; his description of his own path through the canyon calls to mind the Psalmist’s affirmation that his help comes not from the idols erected on the heights, but from the maker who has crafted both heaven and earth. Here, the river has literally made the canyon, carving it through the “years and layers,” and leaving the evidence of that long work as a sign to all who journey through.

But though Zipf’s canyon provides shelter, a good measure of necessary constraint, and even encouragement to keep moving along the river-course, the thrust of the song is that seeking God is a complicated, sometimes difficult endeavor, whether we are looking for Him through what He has made or through what He has said. The lyrics suggest that walking with the Lord is a path of halting discovery and intrigue, of our learning to notice the way God’s actions in the past are written subtly into the world around us. But Zipf also implies that this is a path that requires obedience, since we are also confronted with the fact that He sometimes speaks to us directly and unequivocally, saying, “follow me.” The song does not take its name and refrain from the river itself, then, but from how we tend to navigate and respond to the terrain it has carved: we “stumble on the line.”

Though pursuing the text’s geologic conceit a bit further is possible, what is more poignant for all of us engaged in the science and faith dialogue is that “Stumble On the Line” is at its heart a love song addressed to the “you” that is the river—the one who has carved the path and along whose banks the singer and we pick our way. Our attentiveness to this terrain of faith does not come first from our desire to analyze and categorize the “evidence” of how it came to look as it does, or even to demystify the mechanism by which a message might be written “in a line of stones.” Rather, what leads us on is the desire to know how to relate to the water itself. The song describes not just a physical path, then, but one of the heart and will.

Indeed, the personal address of the song focuses our attention on the fact that the subtlety or obviousness of the signs along our way have much less to do with whether or not we heed them than does the basic dividedness of our hearts. As Zipf says, we alternate between “trying to reach” and “trying to leave” the One we love. Put another way, we do not reject how God has written his past activity into the layers and years of the earth, or spelled out his intentions for us in the future because they are not obvious, but for the same reason we reject any and all of His claims on us at one time or another: because we wish to be the ones who forge the path, write the story, and sing the song. Our pride—whether in our science or our righteousness—is what keeps us blind and deaf to His leading in our daily path. And yet, even—perhaps especially—in response to our pride, God makes a way for us to gain a better perspective, and leads us on towards Him through whatever means we need.

To return to the language of the song, there is a beautiful ambivalence to the word “stumble,” that contains reminders that following the Lord involves being ever surprised by His ways (we “stumble on” his truth as an unexpected discovery), and ever broken by our own ways (we “stumble on” our pride as an impediment to seeing and following). Yet in both cases, our stumbling leaves us in the same position: on our knees before the one who is both maker and guide. In the last few repeated lines of the piece Zipf affirms that we must and will continue to stumble on in this path of love, whether we come to each stumbling place through surprise and joy, or pride and brokenness. From that position of humility and worship we have the proper perspective to see and affirm that the God who creates is the God who speaks is the God who redeems—the Lord who meets us on our knees, lifts us up, and guides us into the steps of His righteousness.

“Stumble On the Line”

© 2009 by Andy Zipf

I walk a weathered canyon
you're the rapids, running through it
years and layers start to show
in the soil, there is a swelling, beating rhythm to it
earnest prayer I used to know

on the one side, I reach you
on the other, try to leave you
in between the faults of my youth
I stumble on the line to love you

came upon a message,
hidden in some shallow water,
written in a line of stones
telling me to go on down the canyon, follow after. . .
so I keep on. . .

on the one side, I reach you
on the other, try to leave you
in between the faults of my youth
I stumble on the line to love you

I walk a weathered canyon
you're the rapids, running through it
years and layers start to show
in the soil, there is a swelling, beating rhythm to it
earnest prayer I come to know

on the one side, I reach you
on the other, try to leave you
in between the faults of my youth
I stumble on the line to love you.

Though now based in Washington, DC, Andy Zipf began life in the Midwest (Indiana, Illinois, Iowa), but moved to Pennsylania and then New Jersey before his family settled in northern Virginia. He began his career as a professional singer and songwriter shortly after high school, and has performed over 400 times in the last four years—in living rooms, coffee houses, churches, concert halls, and bars. Though “Stumble on the Line” comes from Andy’s 2009 ep “Our Voice Is a Weapon,” his third full-length album and seventh studio release, “Jealous Hands,” became available in July, 2011. More details on Andy and downloads of his music may be found on his website.

One thing I ask from the LORD,
this only do I seek:
that I may dwell in the house of the LORD
All the days of my life,
to gaze on the beauty of the LORD
and to seek him in his temple.

Psalm 27: 4

I belong in the ranks of those who have cultivated the beauty that is the distinctive feature of scientific research.

Marie Curie¹

All of the biologists I know are undeniable lovers of their objects of study...

Konrad Lorenz²

Beauty in Science

As a biologist, I am fascinated by the fluorescent-on-black images of cells, 3D rotations of protein structures, and cross-sections of colourful tissue samples that grace the covers of scientific journals. I have spent whole weeks staring down a microscope at the beautifully transparent bodies of developing fish embryos, and whenever possible I illustrate my written work with photographs of the natural world. I’m not alone. In the institute where I did my PhD we had a basement full of microscopes and imaging technology, and it was considered important to have beautiful images in your presentations—movies were even better. The journal Nature: Cell Biology always features striking images on its covers, and in an editorial these photographs were described as works of art in their own right. In fact, ‘scientific art’ has become a recognised genre, and displays of science-related images are increasingly popular in research institutes, museums, science festivals and other public spaces.

Indeed, a number of practicing scientists have devoted their time outside the lab to communicating the beauty and wonder of science to the general public. (See sidebar.) One of these is Dr. Lynne Quarmby, a cell biologist who’s passionate about explaining her work to people outside of the scientific community. She writes a regular column, a ‘nexus of mystery, art, literature, beauty and science,’ for the online literary magazine Numéro Cinq.

If we can recognize and acknowledge that our direct biological senses, as wonderful as they are, give us only a tightly pinched and cloudy view of the world, then we open ourselves to unimagined beauty.

Lynne Quarmby, Numero Cinq, 2011³

Biologists often label themselves according to the ‘model organism’ that they work on. I was a zebrafish person, and Quarmby is a Chlamydomonas person. Chlamydomonas is not an STD (you’re thinking of Chlamydia), but a gentle single-celled algae that is in all likelihood swimming around the standing water in your garden as you read. This microscopic creature is easy to grow in the lab (a jam jar on a sunny windowsill will do), its genome has been sequenced, and it is a surprisingly powerful tool for studying human disease.

Chlamydomonas was not an obvious choice for medical research, but the secret is in the cilia. Cilia are hair-thin appendages that wave around in a coordinated fashion to move their owner from A to B. But these algae don’t spend their whole lives swimming around. When they reproduce, their cilia are absorbed back into the cell body (scroll to the 4th video here). When conditions are stressful, the cilia simply drop off. Quarmby and her students studied Chlamydomonas mutants that hold on to their cilia, and discovered a family of proteins involved in the regulation of both cilia and cell division.

At the same time as Quarmby was studying the behaviour of cilia in Chlamydomonas, medical researchers were identifying genes that are mutated in humans. The same proteins involved in cilia and cell cycle control in Chlamydomonas were affected in some patients with polycystic kidney disease. What’s the connection? Cell biologists knew that most of our cells have cilia on them, but assumed that they were not important. Our cells generally do not swim around, unless they’re sperm. It turns out that these tiny appendages are involved in a whole range of vital cell functions. The cilia on kidney cells are important for sensing the flow of urine, and without these the kidney cannot function properly.

Perhaps beauty is in the eye of the beholder when it comes to unicellular flagellates, but what I appreciate is the detail. To see the minutiae of cell structure is stunning, particularly when you know how difficult it is to achieve images like the ones in this article in the journal Cytoskeleton, or even the image of an adult rat head, below. And little Chlamydomonas, a microscopic pond dweller, has advanced our understanding of a devastating human disease. This combination of aesthetic experience and elegant scientific explanation is what I find beautiful. ⁴

Adult rat head MRI © Gavin Merrifield, University of Edinburgh.

It appears to be a universal experience for scientists to find beauty in their experimental systems. Perhaps this is because the daily discipline of examining anything in detail brings an appreciation of its finer points. Or maybe the process of choosing something to study and then spending the greater part of one’s waking hours staring at it provokes something akin to the loyalty of the mother who thinks her child is beautiful, despite the large pimple on its nose. But even bearing in mind the fascination and devotion of the true professional, there seems to be something more in the scientist’s experience of beauty.⁵ Most, I think, simply delight in the beauty of creation. For some, this gives a sense of the transcendent: a sort of natural spirituality. For a Christian, this encounter with beauty draws them nearer to God.

Christian Appreciation of Beauty in Science

One of the driving forces behind the work of many of the early scientists was their Christian faith. The astronomer Johannes Kepler (1571-1630) initially hoped to pursue theology, but was eventually satisfied that science was also a way to glorify God.⁶ Many others, including the famous naturalist John Ray (1627-1705), were ordained clergy in addition to their academic studies, so their science and theology were naturally interwoven. Others, like James Clark Maxwell (1831-1879), examined Christianity as rigorously as their scientific experiments.

These pioneering scientists (or ‘natural philosophers’, as they called themselves back then) were encouraged by a rich tradition of theology that wholeheartedly encouraged their exploration of creation. The Hebrew Scriptures tell how creation reveals the glory, generosity and faithfulness of God who created and sustains everything.⁷ The beauty of the land and everything in it is celebrated: mountains and trees, plants and animals, men and women.⁸ A number of the earliest Christian theologians, the Church Fathers, often expressed their delight in the details of animal and plant life, and what we now understand as ecosystems.

Diversity of beauty in sky and earth and sea…the dark shades of woods, the colour and fragrance of flowers; the countless different species of living creatures of all shapes and sizes…the mighty spectacle of the sea itself, putting on its changing colours like different garments, now green, with all the many varied shades, now purple, now blue.

Augustine, The City of God

Theologian Jame Schaefer has surveyed the writings of many of the Church Fathers and Medieval theologians, and found five broad themes in their contemplation of creation.⁹

• Affective appreciation: Simply delighting in what is seen.
• Affective-cognitive appreciation: A deeper, scientific study of creation leads to even greater joy for the beholder.
• Cognitive appreciation: Thinking in more abstract ways about the beauty of the interconnected universe. Each part plays its unique role for the greater good of the whole.
• Incomprehensibility: Being overwhelmed by the magnitude and complexity of the universe and everything in it.
• The sacramental quality of the physical world: The world God has created mediates something of God’s presence and character to us.

One of my favourites among the theologians covered in Schaefer’s work was an unnamed Cistercian who in the twelfth century wrote extensively about the grounds of the abbey in which he lived, and the surrounding countryside. He was obviously very happy with his vocation, and had a good understanding of the interconnectedness of the different factors: water, weather and crops - an early ecology. Basil of Caesarea (ca. 329-379) spent time observing animals and plants, noting similarities and differences, and encouraged others to do the same, giving glory to God for everything he saw. Hugh of Saint Victor (1096-1144) delighted in what his senses could tell him about creation, so enabling him to praise the Creator all the more, and lamented that others might pass such an opportunity by.

An important Medieval figure in the early development of science is Albert the Great (ca. 1200-1280), teacher of Aquinas, who wrote on “the importance of observation and experimentation in field and laboratory studies of animals, plants, metals, and inorganic elements”. He carried out field studies, and “legitimised the study of the natural world as a science within the Christian tradition.” For him, appreciation of creation had both cognitive and emotional aspects.

For all of these early scholars, to study creation and enjoy its beauty was an activity that everyone should engage in using their God-given intellect. Their detailed exploration of the wonders of the universe was fuelled by faith in a benevolent creator God, and this deep intellectual study led to heartfelt praise for the one who made it. Is this something we can share?

Protein structure model © Dr Neville Cobbe

The series continues tomorrow with Part 2: Understanding Beauty in Science.

Notes

1. Bersanelli, M. & Gargantini, M. Galileo to Gell-Mann: The Wonder that Inspired the Greatest Scientists of all Time. Templeton Press, Philadelphia, 2009. Page 9.
2.Ibid., Page 10.
3. I should highlight that as far as I know Lynn Quarmby is not religious and has not in any way endorsed this blog.
4. Further reading: http://quarmby.ca/, http://blog.quarmby.ca/, http://www.ncbi.nlm.nih.gov/pubmed?term=Lynne%20Quarmby, http://www.ciliopathyalliance.org/
5. I try to avoid using the words ‘nature’ or ‘the natural world’ as much as possible because of the ambiguity of the word nature, which is often wrongly used to create a divide between natural and supernatural worlds. This is ancient Greek philosophy and has nothing to do with the God of the Bible. When addressing Christians I usually use the word ‘creation’ in its traditional theological sense, meaning ‘everything that exists apart from God’, without connection to any one particular interpretation of Genesis 1-3.
6. Frankenberry, N.K. The Faith of Scientists, Princeton University Press, 2008.
7. For example, Psalm 29, 104, 148; Job 38-41; Joel 2: 18-32, Isaiah 41:17-20, Hosea 14:5-8.
8. Young’s Analytical Concordance to the Holy Bible.
9. Schaefer, J. Appreciating the Beauty of the Earth, Theological Studies 62 (2001), p23-52 & Schaefer, J. Theological Foundations for Environmental Ethics: Reconstructing Patristic & Medieval Concepts, Georgetown University Press, Washington, DC, 2009.

In Part 1 of this essay I pointed out that metaphysical naturalism is not necessary nor inextricably tied to the practice of science, and that essentialism is only one of the historically-Christian ways to think about being human. As a case in point, we can identify the Patristic Fathers and Medieval Christian thinkers who discussed a relational alternative for understanding the nature or being of persons.¹ Roughly, the idea is that the three persons of the Trinity are what they are and who they are in virtue of their relationship with each other, not based on some intrinsic properties that ground their uniqueness as persons in the Godhead. That is to say that Father, Son and Spirit co-constitute each other, or are bound up together with enabling each other to be distinctly the persons that they are. Far from a static form of being and relationship, there is a dynamic interrelatedness in the Trinity. Father, Son and Spirit mutually constitute each other while enabling each other to be particularly who they are and engage creation and salvation in particular ways suited to who they are as persons. Father, Son and Spirit are being in community.

By analogy of relationship, humans are what we distinctly are in our being and personality in virtue of our relationship to God, creation and each other. Our involvements with others necessarily shape who we are as particular persons. The personal realm, then, is characterized by a dynamic relationality, as persons have ongoing mutually constituting influence on each other. This is part of the “dynamic order” of creation “that is summoned into being and directed towards its perfection by the free creativity of Father, Son and Holy Spirit. That orientation of being is, of course, distorted and delayed by sin and evil, and returns to its directedness only through the incarnation and the redeeming agency of the Spirit. But evil distorts the dynamic of being, does not take it away.”² Like the relationality of the persons of the Trinity, we are being in community.

We can also pursue the doctrine of creation as an alternative to essentialism, to see if it sheds any light on possibilities for what it means to be human in a non-reductionist sense.³ As other writers have been exploring in the Forum over the past few weeks, the biblical claim that humans are created in the image of God is important to the Christian of view of humankind. This may sound like jumping out of the frying pan into the fire, for there are both Christians and non-Christians who claim that if humans arose through evolutionary processes, then we cannot be made in God’s image. Nevertheless, it is worth exploring as a way of showing that there are strong alternatives to a strictly essentialist understanding of being human.

The Image of God

Over the centuries, the dominant view of humans as the imago Dei has been grounded in the idea that there is something distinctive about the creation of humans that both sets us apart from the rest of the animals and that marks us as unique kinds of creatures. Though we are clearly both distinctive and unique, does affirming the imago Dei require this kind of essentialism? On the one hand, Genesis 1:27 has often been interpreted as grounding humanity’s being in the divine image of God on Earth. On the other hand, recent discussions in human evolution have focused on several independent lines of evidence supporting the hypothesis of common ancestry among primates and humans: fossil evidence over the last 6 million years; homologies or anatomical similarities between humans and the primates; biogeographical distribution of supposed human ancestors; similarities in developmental biology between humans and primates; and several lines of genetic evidence favoring common ancestry. In addition, our current best understanding of the genetic diversity of humans is inconsistent with models that assume all humans descended from a single original pair of individuals. Instead, the current best data and models indicate the human ancestral population was never smaller than several thousand individuals.⁴

On the surface, then, what contemporary evolutionary science currently says on human origins appears to challenge cherished beliefs and understandings of many Christians. However, to understand what implications, if any, an evolutionary development of humans might have on the image of God, we first need to get clear on what it means to be the imago Dei, and that has to be settled theologically, not scientifically.

Historically, some of the most popular proposals for the imago Dei were rooted in human rationality, human freedom or human creativity because it was thought that humans alone among the animals possessed one or more of these qualities. There are two problems with this traditional line of thought. First, investigations since the early 18th century have progressively led to the conclusion that such qualities of humans mark a difference in degree rather than a difference in kind (e.g., brains of mammals and humans are anatomically homologous, dolphins, primates, and some species of birds exhibit degrees of rationality and creativity). The degree of difference may be significant, but a difference in kind is necessary for the traditional line of essentialist thought.

Second, if we look to the Incarnation for clues to the imago Dei we find that Jesus’s humanity is never depicted as exercising extraordinary powers of rationality, freedom, creativity, and so forth. Primarily, Jesus lived as an embodied person in relationship with the Father, other humans and creation as enabled by the work of the Holy Spirit. In other words, Jesus’ human life in Scripture indicates that the divine image is a special relationship, or form of relationality: to be in relationship with the Father as a created, embodied person; to be sustained or upheld in this relationship with the Father through the perfecting Spirit; and to be in relationship with other persons and all of creation.⁵ Moreover, this special relationship is also a vocation to mirror or reflect the glory, life and worship of God.⁶

If to be the image of God is to be sustained in a special relationship with the Father, each other and creation through the Spirit, then the imago Dei is not grounded in intrinsic qualities that particularly mark humans as distinct from the rest of the animals, as essentialism would have it. Christians can understand Genesis 1: 24-31 and 2: 4-5, as many of the Patristic Fathers did, as an account of our unity and connection with the rest of creation as well as of our special relationship with God and role in God’s kingdom. So if Father, Son and Spirit created human beings through evolutionary processes, we would have continuity and connection with all of creation while still being the imago Dei. Evolution does not threaten human specialness before God unless it is viewed as a replacement for divine creative activity (which, of course, is what Richard Dawkins, Jerry Coyne and Answers in Genesis all do repeatedly).

If evolution is broadly right as an account of the creation of all living things (an empirical matter), and if some form of essentialism is found to be consistent with such an account (a philosophical and biological matter), Christians would then have two options for how to understand what it means to be human. We can look for some stable, unique intrinsic features in virtue of which we are human; or we can look to the special Spirit-sustained relationship we have with God, creation and each other. Both are biblically consistent, though I judge understanding the imago Dei as special relationship to make better sense of the whole of the Bible, as well as our experience in the world.

Notes

1. See Gunton, The one, the three and the many and Gunton, The Promise of Trinitarian Theology, T&T Clark (2003).
2. Gunton, The one, the three, and the many, p. 166.
3. Gunton, The Triune Creation; Robert C. Bishop, “Recovering the Doctrine of Creation: A Theological View of Science,” 31 January 2011.
4. For example, see Dennis R. Venema,“Genesis and the Genome: Genomics Evidence for Human-Ape Common Ancestry and Ancestral Hominid Population Sizes,” Perspectives on Science and Christian Faith, vol. 62, No. 3 (2010): 166-178.
5. See Gunton, The three, the one, and the many.
6. As such, the imago Dei has an inextricable missionary focus towards extending the kingdom. See N. T. Wright, How God Became King: The Forgotten Story of the Gospels, HarperOne (2012).

In a Nutshell

The meaning of the “image of God” has been debated for centuries in the church. A common view is that the image of God refers to the human abilities that separate us from the animals. However, scientists have found that abilities like communication and rationality are also present in animals on a basic level. Plus, theologians do not see the image of God as human abilities. Some theologians see the image of God as our capacity for a relationship with God. Other theologians see it as our commission to represent God’s kingdom on earth. Both of these theological positions are consistent with scientific evidence. Whether God created humanity through a miracle or through evolution, God gave us our spiritual capacities and calls us to bear his image.

In Detail

The “image of God” is a key concept in Christian theology, foundational to Christian thinking about human identity, human significance, bioethics, and other topics. Many Christians see evolution as incompatible with the image of God. How could God’s image bearers have evolved from simpler life forms? Doesn’t image-bearing require miraculous creation of humans rather than shared ancestry with chimpanzees? And when in the evolutionary process did humans attain this image? These questions are tied to many other issues concerning human origins, including the soul, the Fall, and the historicity of Adam and Eve (see sidebars), but in this article we will focus specifically on the image of God.

See “How does the Fall fit with evolutionary history?” and “Were Adam and Eve historical figures?”

The phrase “image of God” does not appear many times in the Bible, but the importance of the concept is emphasized by its repetition in the creation account:

Then God said, “Let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground.” So God created mankind in his own image, in the image of God he created them; male and female he created them. -- Genesis 1:26-27

From this text, it is clear that part of bearing God’s image is ruling over the animals. Genesis 9:5-6 reveals another aspect of image bearing: all human lifeblood is sacred because all humans are made in the image of God. The emphasis on Judeo-Christian thought on the sanctity of human life is derived in part from this passage. In the New Testament, the idea is expanded further as Christ is revealed as the true image of the invisible God (2 Corinthians 4:4, Colossians 1:15).

For centuries, theologians have discussed these and other passages, debating the meaning of the image of God (“imago Dei” in Latin). Being made in God’s likeness is not a matter of our physical appearance, because humans don’t all look the same. But to what does the image of God actually refer? Many ideas have been suggested over the centuries, producing a huge body of theological writing. While hard to summarize, we give a brief overview below of three common themes for the image of God. After developing this theological context, we’ll consider how these ideas intersect with evolution.

Image of God as our abilities

A common view is that the image of God refers to human abilities. When people talk of the things “that make us human,” they refer to abilities like reason and rationality, mathematics and language, laughter and emotions, caring and empathy, and cultural products like music and art. Often the motive is to distinguish humans from animals by showing that humans have unique abilities that make us special and superior to animals. Saint Augustine (354-430 A.D.) wrote something like this when he said “Man's excellence consists in the fact that God made him to His own image by giving him an intellectual soul, which raises him above the beasts of the field.”¹ Saint Thomas Aquinas (1225-1274 AD) also emphasized intellect and rationality in his discussion of image bearing.² But Augustine and Aquinas were not speaking of intellect as an aptitude for math or music; Aquinas instead writes of an “aptitude for understanding and loving God.” In fact, the modern emphasis on reason comes more from secular Enlightenment ideas than from Christian theology. During the Enlightenment, the image of God was connected to ideas like the natural dignity and majesty of humankind that separates us from the brute beasts of the animal world.

Scientific evidence is piling up that humans have more in common with animals than was once thought. Genetic evidence shows that humans and chimpanzees share much of their DNA. Studies of animal behavior (particularly of chimps and other apes) show that animals not only laugh and cry and care for each other, but can learn sign language and even have basic reasoning ability. In fact, Christian neuroscientist Malcolm Jeeves writes that “any attempt to set down a clear demarcation between the reasoning abilities of nonhuman primates and humans is found to have become blurred.”³ Obviously, humans have a much larger capacity to reason than animals, but reasoning is not a uniquely human ability. As neuroscientists and animal behaviorists learn more about animals, they see how traits appear in a rudimentary form at a level similar to human children.⁴ Whether or not one accepts evolution, evidence from living humans and animals does not show a distinct difference in kinds of abilities (only degree).

See “Made in the Image of God: The Theological Implications of Genomics” a 2-part blog by Denis Alexander.

Another challenge for this picture of the image of God is the place of people with mental disabilities. If a person is impaired in reasoning or language, are they bearing less of God’s image? Are they not showing his true likeness? The Christian answer to these questions is No! The Bible repeatedly teaches that God values all people, particularly those who are rejected by society or unable to care for themselves.⁵ In fact, Genesis 9:5-6 points to image bearing as the reason that all human life is valuable. This is a major motivator for Christians who seek to protect the unborn, the poor, and the aged. Surely bearing God’s image must mean something other than using our abilities.

PLEASE READ THE REST OF THE ANSWER HERE.

Notes

1. Saint Augustine The literal meaning of Genesis, Book 6, Chapter 12 (Google books, p. 193)
2. Thomas Aquinas, Summa Theologica, First Part, Question 93 (html)
3. Malcolm Jeeves, “Neuroscience, Evolutionary Psychology, and the Image of God” Perspectives on Science and Christian Faith (2005) 57.3, p. 178 (PDF)
4. Similarly, many human traits have been replicated in artificial intelligence, particularly logic and math but also conversational language and computer-generated art.
5. For more see, Kathy McReynolds “More Than Skin Deep” BioLogos Forum June 2010

As we’ve seen in recent essays (and comments) touching on Biblical scholarship, philosophy, theology, and anthropology, the imago Dei is a complicated idea, linked to the question of whether what makes humans unique among the creatures on earth is physical, cultural, spiritual, or some combination of all three. As Christians who seek to frame what the natural sciences tell us about our physical humanity with what the Bible suggests are our defining human qualities, we tend to focus on what Genesis means when it says Adam was “made in the likeness of God”; but it is helpful to remember that the first mention of God’s image in human form looked forward to the full revelation that would come in Christ. Thus, we ought also seek to understand Jesus as the model towards which Adam always pointed, and by which we should understand both Adam and ourselves.

Going one step further, we should also look forward from Jesus to the life of the Church. For if Jesus was the true image of God, then at Pentecost, the new community of believers took on the role of imaging the continuing presence of God in and for the world. The Church was constituted as the very Body of Christ, charged with making him known in their lives as well as their words. Thus in the structure and life of the Church we also see something important about the imago Dei.

Perhaps one way to hold in tension the various interpretations of the image—that is, to affirm the incomplete truths available through the relational, functional, substantial, and elective models—is to look at a literal image of the way the social aspect of imaging God via the Church interacts with the intensely individual and personal aspect of imaging God in individuals. Picking up on Kathy McReyolds’ sketch of personal transformation through encounters with those with disabilities (More than Skin Deep), I’d like to turn our attention towards the work of Chicago artist Tim Lowly, whose monumental portrait of his disabled daughter (Temma on Earth, 1999), is pictured above. Lowly’s work compels us to recognize the image of God even in one who lacks markers of those other roles, capacities, and relationships, and highlights two linked characteristics common to Jesus and Church: brokenness that does not merely equate with imperfection, and a social picture of our essential identity in Christ. By allowing Lowly to place Temma’s identity and humanity at the center of our attention, we can reframe our sense of what it means to bear the image of God and reflect the crucified Christ as his Body.

Profoundly Other

Born in North Carolina but spending his youth in South Korea (where his parents were Presbyterian missionaries), Tim Lowly attended Calvin College and began work as an artist in Michigan. But his life and work took an unexpected turn in 1985, when Tim and his wife Sherrie’s daughter was born and suffered a medical emergency during her first two days home from the hospital. In 2002, journalist Fred Camper’s incredibly sensitive article treated the Lowlys’ physical, emotional and spiritual journey with Temma at length, and I encourage readers to turn to that essay for the full narrative background to Tim’s approach to his daughter and his art. But the central facts are that for all of her now 27 years, Temma’s host of physical and mental disabilities have made her completely dependent on others, and have meant that the relationship she has with her parents (and they with her) is a radical departure from ‘normal.’ Temma’s “profound otherness” challenges most of our expectations about the human capacity to image God. Speaking to Camper, Lowly describes Temma:

It's unlikely that she thinks in a way that we would call thinking," he says, "because our ways of thinking are based so much on learning, experience, sight, socialization, and history, and I doubt any of those things have any bearing on Temma. I don't even think comparing her to animals makes sense. There's a certain wholeness to the way animals think that I don't think Temma is capable of. I'm pretty sure she does have an inner life, but I don't think she has the mental mechanisms that would make it correspond in an understandable way to the way we think.

And yet Lowly has produced hundreds of paintings and other works that feature Temma, some of them monumental in scale, none of them shying away from questions of the purpose, value, and meaning of her life for their family, and for ever-widening circles of community. Certainly there is a political component to Lowly’s work that addresses inequity in culture and church. Generally, he says, the church has been compassionate, but “nearly always from perspective of the able-bodied and the ‘whole’ vs. the disabled, never mind that none of us measure up to complete wholeness.” Yet his work also reflects the way Temma, in her “otherness,” creates community. Artist-in-residence and gallery director at Northpark University since the mid-1990s, Lowly has often made Temma a physical presence in the studio and classroom. Carry Me, 2002 (drawing on panel, 108" x 48," at left) depicts students from an advanced class holding Temma, but they were also involved completing the project. Another large work, Culture of Adoration, 2008, shows Temma as the model in a drawing class, with Lowly drawing the parallel between that scene and the adoration of the Magi at Jesus’ birth. That comparison pictures the way a community forms around loving attention and worship, but subverts artistic and cultural expectations that only what is beautiful should be valued. Lowly notes that while Temma is often alone, in some ways she’s never alone: “She’s cared for by her parents, but that relationship extends out to a much broader church outside her family.” Both paintings, then, are images of Christ’s corporate body as much as they are of Temma or the painting students who carry and draw her.

What bearing, then, does Lowly’s particular way of seeing and depicting his daughter have on us, on our sense of the imago Dei? Part of his ongoing artistic project is to understand and interrogate the way the traditions of perspective in Western art and culture presuppose and privilege the individual, solitary and unified point of view as the most important, the most true. In the wake of modernist emphases on self-expression in art, Lowly also sees value in pursuing ways of working that bring out the meditative (and even prayerful) craft aspect of painting, and that at least partially de-emphasize his and other artists’ subjective positions. He increasingly works from photographs (and collages of many individual pictures), and has more and more sought to bring collaboration into the making of his work. When Lowly takes Temma as his subject, these features of his practice emphasize the way that, in the Church, our individual identity is experienced as a tension between brokenness and wholeness in the Body.

Broken Together

There is a sense in which we look at Temma and we want to affirm that she is made in the image of God by denying that the image of God has anything to do with her physical, material body. Indeed, one way to approach the problem made visible through Lowly’s painting is to imagine the soul as imparted to (or trapped in) the physical frame. This certainly fits with saying that the image-bearing role of humanity in general is an act of the grace of God, not something dependent on our abilities. But in the election model, we are reminded that God didn’t call Abraham just to a “spiritual” identity, but also to physically constitute a people sent into the very concrete physical world.

Likewise, if we recognize Jesus as our model for the image of God, we will not deny the physicality of the human experience, nor the incarnation, nor even Christ's suffering on our account. Indeed, we must affirm the goodness of creation and our physicality, even—especially—in its brokenness because Jesus, himself, was broken. Even after the resurrection, his wounds were not abolished or erased, but remained tangible marks by which the Lord revealed himself every bit as much as he did in his creative and healing power. And in the Revelation image of the victorious Christ, we have another picture of that essential and persistent sacrificial brokenness in the Lamb who appeared “as if slain.”

What of the Church? Similarly, the Church remains a fragmented whole when it is at its best—broken open to be dispersed into the world. And though it is also all-too-often broken by own individual and corporate sin, even that finds its meaning and redemption in the image of bread broken in the Lord’s Supper—the way that sharing brokenness together unites the individuals in a congregation with each other and with Christ. As a reminder of Jesus’ own individual body, communion addresses both of those senses; it is the means of both healing and sending.

Christ’s commission to the Church, then, presents a profoundly social model of being the continuing revelation of God for the world. We bear the image of God together, and the image of God is only fully realized when we are members of a community, in relation to other human beings (even if that relationship is one of complete dependence), as opposed to seeking independence. This does not and ought not compromise the absolute worth of each individual, but should remind us that part of our worth is tied up in our integration with the whole body of Christ.

One last example of Lowly’s work gives iconic form to this inter-relation between image-bearing, self, identity, and the community of the Church. Made to commemorate Temma’s 25th birthday in 2010, At 25(right, and below), is a collaborative piece constructed of 25 individual, two-sided panel blocks that fit together something like a puzzle. On one side is a black and white portrait of Temma, while on the reverse, the individual blocks have been painted and gilded in different patterns and techniques. Lowly constructed the piece, but sent each block out to be completed by 30 different artists, either working alone or in pairs. In requesting them to do their sections of the composite portrait in an “artistically neutral” style, he was asking them to subjugate their artistic personae and self-expression to the depiction of Temma. Not every artist was able to do that to the same extent, so the final object is an image of the imperfection of our self-giving—or our inability to see others without looking through our own particular lenses of self—even while being a testament to the compassion and care of Lowly’s dispersed community.

Most importantly for this discussion, At 25 suggests that our image-bearing of God does not rest on our individual “fitness,” much less how well we “fit in.” Rather, it is carried by the whole human community, most fully in the broken Body of Christ. In this respect, brokenness is not something to be corrected; it is something that makes the particular community of the Church possible. Individuals may not be able to fulfill or even recognize the functional aspects of the imago Dei, they may not even be capable of the relational aspects—or of returning expressions of love or kindness or thanks, or even awareness. But the whole body, the beloved community, the nation God set apart for himself and the world, is called to be the image of God for each of us—precisely when we can’t.

Tim Lowly is Assistant Professor of Art at Northpark University. An inter-disciplinary artist, he works with painting, drawing, installation, digital media, photography and music: both individually and collaboratively. His work has a lyrical realism and quiet spirituality that have contributed over the last thirty years to the development of a international reputation. While Tim’s art and music address a variety of subjects, the central pillar of his work has been his daughter Temma who is, in his words, “profoundly other”. The clinical diagnoses of “multiple impairment” or “spastic quadriplegia” do little to address the compelling presence of this young woman and the way her being and essence have shaped her father’s work.

Lowly was born in Hendersonville, North Carolina in 1958. The son of medical missionaries, he spent most of his youth in South Korea. He attended Calvin College and received a BFA degree in 1981. His wife Sherrie Lowly is a United Methodist Pastor. They reside in Chicago, Illinois. Since 1994 Tim has been affiliated with North Park University in Chicago as professor, gallery director, and artist-in-residence. Tim is represented by Koplin Del Rio Gallery in Los Angeles.

For additional information (including exhibitions and collections) see Tim’s personal website.

All images © Tim Lowly.

For the past twelve years, I have had the privilege to teach in the Bible Department at a prestigious Christian university. Most of my students have been raised in Christian homes and have attended conservative, Bible-believing churches all of their lives. These students believe that they have a pretty solid understanding of what the image of God entails; at least they think they do until they encounter the world of disability. Disability creates a dissonance in their worldview that they are not expecting. All of a sudden, what they thought they understood about the image of God comes crashing down like a house of cards. The image of God and disability just do not seem to go together.

The following quotes from some of my student’s papers are representative of many and their experience with the disabled “strange other.” What is communicated loud and clear is the challenges disabilities raise for their conception of the image of God:¹

I believe that those with disabilities are equal to us … but I discovered a hidden evil in my heart. Deep in my heart, hidden from the world, I believed that children born with disabilities that would normally not survive its first few days should be allowed to die.

I think I could have intellectually acknowledged that all men and women are created in the image of God … In this class I was challenged to see the realities of disability and ask if I really did believe that God created these individuals in his image and salvation was for them too.

Though I have always known that these individuals are created in His own image, I often found myself secretly thinking that they were miserable and often a burden on others.

Sometimes I feel pity for disabled individuals because they are not “normal”. I feel that their disability is hindering them from experiencing the best life possible. I think disabled people experience a lesser quality of life because they cannot physically and/or mentally do as many things as a “normal” person could.

Now, these young people are not more spiritually or morally bankrupt than others in contemporary society. In fact, to the contrary, these Christian students are considerably more spiritually and morally sensitive in general because of their commitment as Christ- followers. Still, these views have been nurtured and influenced by two factors, one that is cultural and one that is religious: 1) the pervasiveness of a reductionist view of human being fostered by scientism; 2) a wooden, literal interpretation of Genesis 2:7 which says that “the Lord God formed the man from the dust of the ground and breathed into his nostrils the breath of life and the man became a living being.”

Taken together, these two factors present a skewed view of human being, one that focuses on the physical and material rather than on the spiritual and essential. This is one of the reasons why my students twinge and recoil a bit at the thought that persons with disabilities can be made in God’s image. “They just don’t look like it,” they say, zeroing in on what is physically seen. This view has had enormous consequences for people with disabilities. In fact, Adolf Hitler, as part of developing his approach to the weaker members of society in his book Mein Kampf, identifies the stronger (better looking and functioning) members of society as “images of the Lord” in contrast to the weaker members who are mere “deformities” of that image, and who ought to be cleansed from society. Many have argued that Hitler’s ideas concerning those with disabilities were inspired solely by Darwinian evolution. However, these quotes from Mein Kampf reveal a horrific misuse of Scripture, not evolutionary ideas.

Furthermore, with regard to evolution, a face value exegesis of Genesis 1 & 2 does not dictate that the physical stuff God used to create human beings was special or unique or that the image itself resides in it. It shows, rather, that all matter was formless and void until God, who acted and willed out of his good pleasure and sovereign choice, brought order and harmony to it. This applies as well to the creation of human beings who are uniquely created in God’s image. If this image is not merely physical stuff, what is it? What does the literary and historical context of Genesis 1 & 2 reveal?

There are three views on the image of God: 1) Substantial; 2) Relational; and 3) Functional. The functional view sees the imago Dei as a function or role that humans fulfill--such as being priests or having dominion. The relational view has to do with humans imaging God in their ability to have spiritual relationships—primarily with God, but also expressed in terms of our male and femaleness and other nuances. The substantial view essentially says that God’s image is imprinted on the person’s soul as an image is impressed on a coin, and has much to do with human capacities like our free will and ability to reason. It has been predominant in Christian theology in the West since about 600 AD.

But though we do have specific capacities that bear on our responses to God, as the substantial view says, the human being is an embodied soul who has both relational and functional capacities, as well. The relational implications include the biblical truth that among all God’s creatures, only human beings can know Him and be consciously aware of Him. Most importantly, he knows us and can be in relationship with us even when we do not acknowledge him out of rebellion, or cannot respond to him because of disability. If we consider the Substantial view’s emphasis on conscious awareness, ability to exercise freedom, and decision-making capacities alone, however, some human beings may not qualify as persons, whereas some non-human animals might.

Against this, a more holistic view affirms that all human beings bear God’s image, regardless of capacities. The image of God cannot be lost or compromised in anyway. Even the poorest functioning human being profoundly reflects God’s image.

In an unexpected and peculiar way, my students discovered this truth about the image of God when they began to interact with people with disabilities in my classroom. This truth about the image utterly transformed and they began to see people with disabilities quite differently. The following quotes come from the same students quoted at the beginning:

What I came to realize is that since the disabled are people, they deserve life. As humans made in the image of God, we are to try to preserve our fellow disabled brothers and sisters who are also made in the image of God.

When I went to the day group home, it was an amazing experience. I really enjoyed interacting with everyone there. I was able to paint with them, and one of them sang to me and taught me to dance; it was so much fun. It was great to see how each and every one of them was so unique and made in the image of God.

In this class I was challenged to see the realities of disability and ask if I really did believe that God created these individuals in his image and salvation was for them, too. As a result of what I have learned from this class my answer to these two questions is a resounding yes! God loves individuals with disabilities and knows the depths of their hearts and minds on a level I could never comprehend. Who am I to doubt who God knows, who He loves, and to whom He offers the gift of His Son.

At the beginning of the semester, disability was a foreign world for me. That world was new and uncomfortable. I had no idea how to interact with anyone with a profound disability and had little desire to learn how. Throughout this course, the walls of misconceptions, fears, and insecurities that I have built up to distance myself from disability have slowly been chipped away. As I learned more about disability, my fears and discomfort were replaced with compassion and joy. Exposure to individuals and families with disabilities was the most effective way to break down those walls. Having the opportunity to observe and interact with individuals with disabilities was invaluable. Participating in disability ministry is not burdensome, as I had initially worried, but freeing. I left the night feeling uplifted, loved, and so aware of God’s mysterious presence within broken humanity.

During Jesus’ ministry on earth, often the best way to find him was to seek out those society considered strange, unclean, or undesirable; Jesus often sought them out, himself, in order to show that God’s love for us does not depend on our merits or abilities, much less our outward appearance. Similarly, my students today meet the Lord anew—and discover that same message of God’s unmerited grace and love—when they seek out relationships with those our society finds strange and broken, with those who they could easily avoid seeing at all. Rather than judging with the eyes alone, my students learn to recognize their cultural and theological blind-spots, and see both the disabled and themselves in the light of Christ’s love. Relationships are transforming; and relationships with people with disabilities can transform not only our image of them, but of the God who made in His image, and dwells with us in places deeper than the skin.

Notes

1. All student quotes used by permission. Names are left out to protect student privacy.

Left: "Abrahamic Covenant" by Christoph Weigel, 1695.
Courtesy Pitts Theological Seminary, Emory University.

The people of your culture cling with fanatical tenacity to the specialness of man. They want desperately to perceive a vast gulf between man and the rest of creation. - Ishmael ¹

For the destiny of humans and the destiny of animals is the same: As one dies, so dies the other; Both have the same breath of life. And humans have no preeminence over the animals…All go to the same place; All come from dust, And to dust all shall return. - Ecclesiastes 3:19-20

What is humankind’s place among the animals? Should we even count human beings among the animals at all? Perhaps we—as men and women—are something else entirely? Such questions are not new. Indeed, they are as old as writing itself and similar ponderings about human identity occupy the most ancient of texts. While many of these primeval writings have crumbled in the winds of time and have come to us only in fragments, the Genesis account of human and animal origins remains a living document that occupies a vital place in the life of Christian practice and thought. In the first chapter of the Genesis narrative we read that humans—male and female—were created in the image (tselem) and likeness (demuth) of God. But what does this mean? There is certainly no shortage of proposed answers, and over two thousand years of theological tradition bears witness to this fact. Here, however, we are not primarily interested in tradition—as valuable and insightful as it may be—but we are concerned with what the Bible itself has to say.

Taking the authority of Scripture seriously demands that we engage with Scripture in light of both its original languages and its original cultural context. If we are to avoid—as much as it is possible—projecting our own personal, modern and post-modern cultural presuppositions onto Scripture, then we must be willing to do some of the hermeneutical (or interpretive) hard work. In other words, if we want to allow Scripture to speak for itself, we must be hyper-aware of the cultural lenses we are wearing when we read it. Interpreting the Bible through five hundred years of Protestant tradition, fifteen hundred years of Roman Catholic tradition, or one hundred years of Seventh-Day Adventist tradition won’t do.² Rather we must venture to take off the thick hermeneutical lenses of tradition and boldly attempt to go into the world of the sacred text itself so that we can allow the ancient inspired words to shape the lenses or our reading.

With this approach to Scripture in mind, I believe it is useful to address the matter of the image and likeness of God (or imago Dei) by first asking what the imago Dei is not. Throughout the centuries, theologians, philosophers, and others have posed a number of answers to the question of what the imago Dei is. The vast majority of these answers have focused on one or a few characteristics that humans alone have and that non-human animals lack. For example, Evangelical Christian author Kay Warren explains: “Animals and people are two different classes of created beings and they will never be equal in their worth. As precious as animals are to our daily existence, they operate from instinct, not volition. Only people have a spiritual dimension. We are the ones created in the image of the Creator, the only ones with a soul.”³ In a similar manner, political commentator Ann Coulter, citing “the story of Genesis”, maintains: “It’s not merely opposable thumbs and a bipedal gait that make us distinct from the other beasts. It is consciousness of our mortality, a moral sense, language, mathematics, art, beauty, music, love, longings for immortality, a sense of symmetry, the soul’s ascent, the ability to accessorize, and our fascination with Branson, Missouri…We are in God’s image, and we’re the only ones in God’s image, which is why we eat escargot rather than worship them.”⁴ While these are two popular contemporary voices, similar views are espoused by numerous academics as well. In this way the imago Dei has, for many, become synonymous with one central characteristic or several key traits that make humans unique among and/or superior to animals.⁵

As intriguing as such perceived indicators of human uniqueness are, and regardless of the scientific status of claims for such distinguishing human traits, the idea that there are particular physical features and/or behavioral characteristics that make men—and not beasts—in the image and likeness of God is not one that is found anywhere in the pages of Holy Scripture. With regard to humans as “the image and likeness of God,” a literal and consistent reading of the Genesis narratives discloses that the imago Dei designation does not refer to unique characteristics or capacities which humans posses in a way that excludes other non-human animals.

Hebrew scholar Phyllis Bird informs us that the scriptural context of the phrase “image and likeness of God” makes it plain that “its theological significance is in the place it gives to humans within the created order, not in any physical or moral attribute of the species, in either its present or ‘original’ state.”⁶ In the Bible the imago Dei is not about exceptional human capacities or characteristics that automatically qualify humans as being included in the imago Dei category. There is no reason, explains Bible scholar James Barr, to believe that the author of Genesis chapter one “had in his mind any definite idea about the content or location of the image of God.”⁷ The terms “‘image’ and ‘likeness’…make no statements about the nature of human beings.”⁸ When we read of “the creation of human beings in God’s image (Gen 1:26)…the biblical narrative remains silent…about any qualities of human nature that might account for their special standing.”⁹

If we are to properly understand the meaning of the texts, then, says Old Testament scholar Claus Westermann, we must confidently resist “the tendency to see the image and likeness of God as a something, a quality.”¹⁰ Consequently, a literal reading of the early Genesis accounts demands that no specific anthropological content or characteristics may be directly equated with the imago Dei. If one is to take the findings of biblical exegesis seriously, then—apart from theological tradition—the image of God cannot be defined on the basis of particular physical traits or behavioral characteristics. This means that—according to a straightforward reading of Genesis and the rest of Scripture—humans are not said to be biologically or behaviorally unique in a way that is related to their being named the “image of God.”

In addition to the broad consensus among biblical scholars that the image of God in humans, when understood within its original Hebrew linguistic and Ancient Near Eastern context, has nothing whatsoever to do with an appeal to the human possession of particular characteristics which non-human animals lack, research in biblical exegesis has similarly revealed that there is no essential or substantial super-natural divide between humans and other animals. Scripture, when read in the original languages, clearly describes both “man and beast” as possessing “the breath of life” and refers to both equally as “souls.” In this way Scripture makes no ontological or metaphysical distinctions between humans and non-human animals. Instead, the scriptural “emphasis lies on the commonality that exists between the humans and the rest of the animal creation.”¹¹

While the use of the Hebrew word nephesh, often translated as “soul”, to describe humans has been taken by some as an indication that humans are substantially set apart from the animals, the nephesh is not an exclusive possession of humans. Indeed, the Hebrew text describes both humans (Gen 2:7) and animals (Gen 1:21, 24) equally as nephesh hayyah or “living souls.”¹² Thus, Bible Scholar Gordon Wenham explains that in Genesis 2:7, which describes the human being as a nephesh, “it is not man’s possession of the ‘breath of life’ or his status as a ‘living creature’ that differentiates him from the animals—animals are described in exactly the same terms.”¹³ In Genesis, “human beings…are only one subset of God’s ‘living beings,’ into whom God has breathed the breath of life” and established as “living souls.”¹⁴

According to the biblical understanding, then, “what is distinctive about human beings is not that they have a ‘soul’ which animals do not possess, nor that they have a ‘spirit’ which other creatures do not possess.”¹⁵ It is clear, then, that “the possession of nepheš is not a unique characteristic of the human person.” Indeed, “unless one is ready to grant that animals have ‘souls’ in the same way that humans are alleged to have, then we might better conclude that the Genesis account is referring to the divine gift of life: ‘the human being became a living person.’”¹⁶ Consequently, “claims for a ‘special creation’ of humanity in comparison with animals and the material world conflict with the strong assertion in Genesis 2 that, physically (organically), Adam does not differ from the ‘beasts of the field.’”¹⁷ The theological language of anthropology in Genesis 1 and 2 “underscores Adam’s linkage with the animal creation, not his difference from it.”¹⁸

Whatever else the imago Dei might be, then, a clear and consistent reading of Scripture does not permit us to equate it with either a non-material soul which animals lack or some unique physical characteristic or behavior which animals lack. These conclusions regarding what the image and likeness of God in humans IS NOT lead us directly to our discussion of what the imago Dei IS.

In Part 2 of this series, Dr. Moritz examines how the phrase "image and likeness of God" is used within Scripture itself.

Notes

1. Daniel Quinn, Ishmael: An Adventure of the Mind and Spirit (New York: Bantam, 1992), 146.
2. I mention SDA because the prophecies of Ellen White and her interpretations of Genesis have played a significant role in shaping contemporary Evangelical understandings of the text. See Ronald L. Numbers, The Creationists: The Evolution of Scientific Creationism (Berkeley, CA: University of California Press, 1992), 74. For an online lecture on this topic see http://vimeo.com/38687776
3. Kay Warren, “Puppies Aren’t People: When compassion for animals goes too far,” (Accessed May 22, 2012) http://blog.christianitytoday.com/women/2009/04/kay_warren_puppies_arent_peopl.html. In this essay Kay Warren cites the theological views of her husband Rick Warren.
4. Ann Coulter, Godless: The Church of Liberalism (New York: Crown Forum, 2006), 266.
5. For example a recent group of Genesis interpreters concludes, “Evidence points to the fact that man is a unique creation, made in the image of God.” David N. Menton, “Did humans really evolve from ape-like creatures?” in War of the Worldviews: Powerful Answers for an Evolutionized Culture, ed. Ken Ham, Bodie Hodge, Carl Kerby, et al. (Green Forest, Arkansas: New Leaf Press, 2006), 43-59.
6. Phyllis A. Bird, “Theological Anthropology in the Hebrew Bible,” in The Blackwell Companion to the Hebrew Bible, ed. Leo G. Perdue (Malden, MA: Blackwell 2001), 262.
7. James Barr, “The Image of God in the Book of Genesis: A Study of Terminology, ” Bulletin of the John. Rylands Library 51 (1968-69), 13.
8. Horst Dietrich Preuss, Old Testament Theology, vol 2, trans. Leo G. Perdue (Edinburgh: T & T Clark, 1996), 115
9. Kathryn Tanner, “The Difference Theological Anthropology Makes,” Theology Today 50:4 (Jan 1994), 573.
10. Claus Westermann, Creation, trans. John H. Scullion, S.J. (Philadelphia: Fortress Press, 1974), 57-58.
11. Iain Provan, “The Land Is Mine and You Are Only Tenants (Leviticus 25:23): Earth-keeping and People-keeping in the Old Testament,” CRUX 42:2 (Summer 2006): 5.
12. Claus Westermann, Genesis 1-11: A Continental Commentary, 1st ed. trans. John J. Scullion (Minneapolis, MN: Fortress Press, 1994), 136.
13. Gordon Wenham, Word Biblical Commentary: Genesis 1-15 (Waco: Word, 1987), 61.
14. Provan, “The Land Is Mine and You Are Only Tenants,” 5.
15. Ray Anderson, “Theological Anthropology” in The Blackwell Companion to Modern Theology, ed. Gareth Jones (Oxford: Blackwell, 2004), 85 (emphasis added).
16. Joel B. Green, “Restoring The Human Person: New Testament Voices For A Holistic and Social Anthropology,” in Neuroscience and the Person: Scientific Perspectives on Divine Action, ed. Robert John Russell, Nancey Murphy, Theo C. Meyering, and Michael Arbib (Vatican City State and Berkeley, CA: Vatican Observatory and CTNS, 1999), 5.
17. Lawson G. Stone, “The Soul: Possession, Part, or Person? The Genesis of Human Nature in Genesis 2:7” in What About the Soul?: Neuroscience and Christian Anthropology, ed. Joel B. Green (Nashville: Abingdon, 2004), 50.
18. Ibid., 57.

I want to express my gratitude to those associated with BioLogos for the chance to dialogue with them. I have found their material to be challenging and thought provoking, and look forward to continuing the conversation. In the area of science, to call me a novice would be a kindness, and so to question their evaluation of the scientific evidence for the evolutionary process would be inappropriate for me. However, I do want to raise some questions about their evaluation of theological issues, especially concerning the image of God in humanity. I refer especially to their response to the question, “At what point in the evolutionary process did humans attain the ‘Image of God?’”¹

The BioLogos response begins by correctly noting that the precise meaning of the image of God has been the subject of debate throughout Christian history, but they believe the majority view sees the image of God as “characteristics of the mind and soul,” such as “the ability to love selflessly; engage in meaningful relationships; exercise rationality; maintain dominion over the Earth; and embrace moral responsibility.” They see these characteristics as being acquired through the evolutionary process, though they also state, “We do not know if humanity received the image of God by the immediate onset of a relationship with God or by a slower evolutionary process.” Further, since they identify the image with characteristics of the soul, they add in a discussion of the soul, “We also cannot know whether God directly intervened in the evolutionary process at this point [referencing Gen. 2:7], or whether the unfolding evolutionary process produced the human soul.” It is at this point I wish to question whether or not it is possible for the image of God to be produced through the evolutionary process apart from the special intervention of God. BioLogos seems to lean toward the image being produced through evolution, but is ultimately non-committal on the possibility of divine intervention. I want to argue that there is good reason to argue for the necessity of divine intervention in giving to humans the image of God.

I have no strong objection to the list of characteristics given in the BioLogos response, though I would see most of them as underlying the capacity for relationship with God, which I see as central to the image. Nor do I have any necessary objection to the idea that God used the evolutionary process in developing the brain and other physical abilities of human beings necessary for exercising some of the characteristics involved in the image. Nor do I think that Gen. 2:7 requires the direct intervention of God in implanting the soul (though it certainly allows it). The problem, rather, is in not recognizing that the image of God in Scripture seems rather clearly linked with something immaterial in the human constitution (whether it is called soul or spirit) that could not have come into being by evolutionary processes. My argument for affirming the necessity of direct intervention of God in the creation of humanity in the image of God rests on three assertions. Let me try to state and defend them.

First is the assertion that central to the image of God is the capacity for relationship with God. I do not think this would be rejected by those in the BioLogos community. Within the BioLogos response the phrase “relationship with God” is found numerous times in association with the image of God. They may not like the part about such a capacity being central to the image of God, but the fact that the image of God is what distinguishes humans from other animals in Genesis 1, coupled with the fact that it is humans, and not other animals, who engage in personal relationship with God throughout Scripture, makes a fairly strong case for linking “image of God” to “capacity for relationship with God.”

The second assertion is that this capacity for relationship with God is something that continues after the death of the body, and is associated with something in human beings that continues to exist after the death of the body. Here I recognize that there has been a growing chorus of voices advocating monistic views of the human constitution,² but they all seem to fail to account for the strong biblical evidence for human existence in the intermediate state.³ That which survives death is called the soul in some places (Gen. 35:18; Rev. 6:9-10) and the spirit in others (Eccles. 12:7; Heb. 12:23), but it is identified with the person himself in II Cor. 5:8 and Phil. 1:23. Jesus says to the thief on the cross, “Today, you will be with me in paradise” (Luke 23:43). Both of their bodies would soon be in graves, but the words “you” and “me” seem to affirm an existence apart from their bodies.

The third assertion is that whatever it is in human nature that survives the death of the body (soul or spirit) must be non-material, and could not be produced by the evolutionary process.⁴ Alvin Plantinga, in an argument against materialism, asks, “How could an immaterial soul have come to be by way of evolutionary processes?”⁵ He quotes Richard Dawkins,

Catholic morality demands the presence of a great gulf between Homo Sapiens and the rest of the animal kingdom. Such a gulf is fundamentally anti-evolutionary [and hence wholly heretical?]. The sudden injection of an immortal soul in the timeline is an anti-evolutionary intrusion into the domain of science.⁶

I would change Dawkins’ wording from “Catholic morality” to “The image of God in humans” but the conclusion is the same. I cannot imagine how an immaterial reality, which survives the death of the body, could be produced by natural processes, such as evolution, even God-guided evolution. I do not think this is a God-of-the-gaps argument that could eventually fall to advances in science, but a logical argument, based on the intrinsic difficulty of seeing how the natural and mortal could produce something immaterial and capable of surviving the death of the body. Even if someone were to question my association of the image of God with the spirit or soul (assertion 1), I would argue that the mere existence of an immaterial spirit/soul that survives death (assertion 2) yields the same necessity of divine involvement in the creation of the immaterial aspect of human nature (assertion 3), which is my chief contention.

Notes

1. Subsequent references are taken from the response given at http://biologos.org/questions/image-of-god, accessed 10/14/2011.
2. Joel Green has been perhaps the most prominent voice advocating monism (see Joel Green, Body, Soul, and Human Life: The Nature of Humanity in the Bible [Grand Rapids: Baker Academic, 2008] and Joel Green, ed., What About the Soul? Neuroscience and Christian Anthropology [Nashville: Abingdon, 2004]), though a similar view has been affirmed by a number of his Fuller Seminary colleagues who advocate a “non-reductive physicalism” (see Warren S. Brown, Nancey Murphy, and H. Newton Malony, eds., Whatever Happened to the Soul? Scientific and Theological Portraits of Human Nature [Minneapolis: Fortress Press, 1998). For a more complete presentation of views, see Joel Green, In Search of the Soul: Four Views of the Mind-Body Problem (Downers Grove, IL: InterVarsity Press, 2005).
3. John W. Cooper, Body, Soul & Life Everlasting: Biblical Anthropology and the Monism-Dualism Debate (Grand Rapids: Eerdmans, 1989) gives a strong defense for dualism primarily from the evidence in Scripture for the intermediate state.
4. I recognize the objection here of William Hasker and the idea of emergentism, or emergent dualism, in which a distinct soul or self emerges from the complex configurations of the biological organism, similar to magnetic fields generated by physical objects but distinct from them. See Hasker, The Emergent Self (Ithaca, NY: Cornell University Press, 1999), for the fullest presentation of his view. The difficulty of his view lies in attributing to material stuff the power to generate a non-material reality. This difficulty is raised by Alvin Plantinga (see n. 5 below) and others and emergent dualism is as of today still a minority view in philosophical circles.
5. Alvin Plantinga, “A New Argument Against Materialism” (plenary address for the Evangelical Philosophical Society, Atlanta, GA, 18 November 2010).
6. Ibid. No source for Dawkins is given.

“The heavens,” wrote the psalmist “declare the glory of God.” (Ps 19:1 NIV)

The universe that inspired the psalmist three thousand years ago grows grander as each new generation of astronomers adds yet another layer of understanding. Each new discovery pushes back the boundary that separates the known universe from the vast terra incognita that beckons and teases us to keep going, to sail ever further from familiar shores.

A few centuries ago the great philosopher Immanuel Kant repeated the psalmist’s declaration: “Two things fill the mind with ever new and increasing admiration and awe, the more often and steady reflection is occupied with them: the starry heaven above me and the moral law within me. Neither of them need I seek and merely suspect as if shrouded in obscurity or rapture beyond my own horizon; I see them before me and connect them immediately with my existence."

The night sky still beckons us, as it once did the psalmist. I spend time each summer at a rustic family cottage in the wilderness of my native New Brunswick, Canada. There, miles from electricity, the night sky does not compete with artificial light. Smog does not obscure it. Planes do not draw white trails on it. It does not compete with cable television or even cell phones, silenced by the absence of signals. The night sky is simply there, quietly declaring the glory of God. Its many lights reflect off the ripples of the lake, and are accompanied by the rustling of leaves and the voices of the many creatures that call this wilderness home. Only a jaded soul could sit by that lake and not wonder if there wasn’t some larger meaning to the experience.

I can see what the psalmist saw and rejoice as he did. But I watch the night sky through the eyes of a twenty-first century scientist. I have the benefit of centuries of scientific advancement and can see, in my mind’s eye, so much more. Those visible stars are just the advance guard of an almost infinite army of stars going back almost forever. The stars are not attached to a dome that one might reach with an ambitiously tall tower or puncture with a long-range missile. They are so far away that their light has been traveling at unimaginable speed for years, centuries, milennia and longer. The light from the stars in the Hyades Cluster began its journey to the earth at about the time that my ancestors—Loyalists from Pennsylvania—began their journey to this part of North America in the eighteenth century. The light from the closest stars, the trio that make up Alpha Centauri, takes over four years to reach earth. The most distant star ever detected from the earth is a “gamma ray burster” that launched its signal almost 13 billion years ago, when the universe was young. The powerful gamma ray signal from this star began its journey before our planet was even formed, reaching the earth in April 2009.

The psalmist did not know that the stars were made of hydrogen and helium. He did not know they generated their energy through nuclear fusion or that many of them explode at the end of their lives. He knew nothing of galaxies and the layers of structure in the cosmos. He did not understand how fast light travels or that the light from our sun powers photosynthesis and many other processes here on the earth.

The universe brought into view by science is like a collection of Russian matryoshka dolls nestled one inside the other. With the psalmist we can see the outer layer—and it is grand. But inside are additional layers, each one with a new type of grandeur. And at the very end of the unpacking lie the remarkable laws of physics that keep the earth orbiting about the sun, the sun shining reliably, and the sunlight providing energy to sustain life on our planet.

The universe as we understand it today inspires awe. And for those open to its message—from the psalmists of yesteryear to the believers and even the thoughtful skeptics of today—it speaks of a Creator. Our universe does not look like a cosmic accident, where lots of stuff just happened. It looks like the expression of a grand plan—a cosmic architecture capable of both supporting life such as ours and of inspiring observers like us to seek out the Creator.

This is why Antony Flew—“world’s most notorious atheist”—changed his mind and started believing in God.

Despite a common desire among Christians to find evidence for the activity of the creator God in the natural world, the Scriptures themselves more often give us images and analogies of God’s providence rather than “proof” that would be admissible in peer reviewed journals, much less in court. In his final climactic week in Jerusalem, Jesus used image after image, parable after parable to convey the urgency of his message that the Kingdom of God was coming to pass through his own coming Passion.

Though His disciples did not understand them at first, it was by new pictures (the lost coin, lost sheep and lost sons) and reinterpreted old ones (like the vineyard), that they came to understand the “facts” of His healing miracles and, ultimately, His death and resurrection. By reframing concrete happenings and material relationships, stories and images opened up possibilities rather than limiting them—and they still invite us to enter into them, rather than leaving us dispassionate and disconnected.

As we remember the narrative that takes us from Good Friday through Easter morning, the image of a buried grain of wheat invites us into the story rather than just describing what happens in it. Certainly this is an image for Christ Himself, but as I’ve written elsewhere, the seed isn’t just a symbol of His death and rebirth from the grave, but a promise of future abundance, lavish reproduction, and a pointer to the coming harvest: Jesus Himself is the “first fruits” of the new creation. We are called not only to be workers for that harvest, but to be, like Him, the harvested grains. As Christ entered into His glory through self-sacrifice, so we, too, give ourselves in order to share in and contribute to the shalom—the comprehensive flourishing—promised as the marker of God’s Kingdom now and in the future.

This combined image of death and renewal, single seed to field, is the heart of John Crumb’s hymn “Now the Green Blade Rises,” first published in 1928 in the Oxford Book of Carols and originally set to an old French Christmas carol (“Noel Nouvelet”). By clicking the image above you can hear a new version as revised and re-arranged by contemporary hymnist Alex Mejias. We offer it as a meditation on the sacrifice and victory of Jesus, the glorious promise of resurrection, and the call upon us all to join in God’s story of redemption and renewal.

“Now the Green Blade Riseth”

John MacLeod Campbell Crum (1872-1958),
© Oxford University Press
adapted and arranged by Alex Mejias

Now the green blade riseth from the buried grain,
Wheat that in dark earth many days has lain.
Love lives again, that with the dead has been:
Love is come again, like wheat that springeth green.

Alex Mejias is the founder and director of High Street Hymns, a non-profit music ministry that exists to spread the Gospel and worship the Triune God in spirit and truth through hymns, psalms and spiritual songs. Alex grew up in New Jersey and outside Washington, DC, receiving a BA in Religious Studies from the University of Virginia and a J.D. from the University of Virginia School of Law. For the past 15 years he has been leading worship for churches and ministries, writing and recording both new and old hymns, and touring the east coast as a singer-songwriter. Alex is also committed to the power of the creative arts to advance the Gospel and promote justice and healing in the name of Christ, serving, supporting, and collaborating with several other non-profit ministries. More details on these projects and music may be found at High Street Hymns.

My curiosity immediately led me to see what he had cut out. All of the miracles and the Resurrection passages were gone, and the Gospels were rearranged in a linear fashion, edited and pasted together as a single narrative. Then I looked particularly to see what Jefferson did with John 11.

Why John 11? For the past several seasons of Lent, I have been meditating upon this account of three siblings: Martha, Mary and Lazarus of Bethany. In particular, John 11:35 has become a central passage for me to consider in self-reflection, because an artist learns very early that creativity demands boundaries and limits to thrive. When I began on my recent journey to illuminate the Four Holy Gospels for Crossway publishing's celebration of the 400th anniversary of the King James Bible, I needed to find a thematic boundary. I was so overwhelmed with the grand scale of the project that I chose this shortest passage in the Bible—“Jesus Wept”—and that decision has led to many discoveries along the way.

"Jesus Wept" is, to me, the most profound passage in the Bible. After I gave a recent lecture on this verse at Duke University, Richard Hays commented on my reflections: "The Incarnate Word of God stood wordless at Bethany." Indeed, Jesus' tears make no logical sense, as he came to Bethany with the specific mission to raise Lazarus from the grave. He told the disciples his mission (and why he intentionally delayed his arrival, knowing that Lazarus lay dying) and revealed to Martha that he was and is the "Resurrection and the Life." So why did he, upon seeing the tears of Mary, waste his time weeping, when he could have shown his power as the Son of God by wiping away every tear, telling people like her, "Ye of little faith, believe in me!"?

In my reflections, this "irrational," emotional response from Jesus became a central means to understand the role and even the necessity of art in the midst of suffering—what I have began to call our "Ground Zero" conditions. Art, like the tears of Christ, may seem useless, ephemeral and ultimately wasteful. But even though they evaporate into our atmosphere, the extravagant tears of God dropped on the hardened, dry soils of Bethany, or onto the ashes of our Ground Zero conditions, are still present with us. Because tears are ephemeral, they can be enduring and even permanent, as with “Jesus wept.” In the same way, perhaps our art can be so as well. What seems, at first, to be an irrational response to suffering may turn out, upon deep reflection, to be the most rational response of all.

Predictably, "Jesus Wept" did not make into the Jefferson Bible. John 11 was cut out entirely, falling onto the floor of his Monticello home and discarded, along with Martha's confession. Jefferson's rationalism allowed only a distant deity that made sense in reference to objective ‘scientific’ calibrations, not ephemeral marks of compassion. Yet, when this attitude is actually applied to the sciences, they also become, like Jefferson's Bible, a “cut and paste” product, based on a limited viewpoint.

Even with my rudimentary understanding of the early phonetic and acoustic research my father was part of at Bell Labs in the 1970s, I know that the optimism of many scientists there was based on reductionistic assumptions. I described my father’s wrestling with the basic theses of linguistic research in a previous essay:

In the 1980s, [while in his] early 50’s, my father began to send a series of notes to his colleagues questioning the basic tenets of acoustics research, as he found them flawed and inadequate for the goals pursued. . . .[W]hat the early research assumed was that by segmenting speech patterns, you could have enough data to rebuild speech. It would be a bit like dissecting a frog, and stitching it back together, only to expect it to jump again -- A typical reductionist/modernist assumption. (Refractions 24: "The Resonance of Being")

My father began to challenge these underlying but over-simplified assumptions and as a result, came under criticism for abandoning many of the positions held by his peers. I continue:

My father’s Converter/Distributor theory (C/ D theory) assumes that computer technology is now capable of anticipating contextual patterns of speech, and is able to simulate an architectural structure to account for the morphing of speech production. Rather than the segmental approach, he calls his new thinking prosodic, as it accounts for the complexity of speech and language. But it would take years of research to get to a point of presenting his new ideas to the linguistics/phonetics community.

My father, who had rarely had problems finding support for his research before, was in for a battle. . . . He could not find funding, and found himself fighting the establishment of the research world—the very establishment he had helped to build. After my father’s many futile attempts to secure funding for his new research, my brother, a successful entrepreneur in Silicon Valley, stepped in to fund a post for a graduate student at Ohio State, to help my father compile enough data to be able to begin his research.

To my father, the integrity of the scientific process demanded such a course. He never considered that his challenge to reductionism would be seen as a threat by many of his colleagues. He simply was seeking after Truth.

Even in the objective rigor of the research process, then, human factors intervene—sometimes for better, sometimes for worse. Our presuppositions surface eventually, and it becomes clear where we place our "faith. " My father's C/D theory is an intuitive leap, arising from his love for synthesis and beauty, but pulled up by hard data and a stubborn commitment to the truth of matter. It is an example of the way intuitive, subjective insight can connect the ephemeral with the rational, objective and concrete. Should we seek, then, to make the sciences a Jeffersonian cut-and-paste re-narration of our reality? Are we so inflexible in how we will understand the great mystery of our being? If so, the gap between that reduced ‘reality’ and what is truly human is the very gap into which Jesus' tears still fall.

Jesus wept for Lazarus, but also, perhaps, for Jefferson as he snipped out John 11 with his own hands; for to dismiss Jesus’ tears as irrational and unnecessary is to miss Jesus entirely. Jefferson sought to cut out the Deity, but also lost the Man. Without Jesus' full humanity, coupled with his Divinity, we do not have a Savior. Without this fullness of humanity—concrete and ephemeral, intuitive and objective—we lose perspective on why we are doing our research to begin with. If we assent to the fragmenting, segmental assumptions of modernity, we will have stitched the frog back together only to bury him anyway. If the dead are to live, we will require a Miracle Worker to show us that the world that is cohesive, and rational, but only when seen through a veil of tears.

When astrophysicist Dr. Jennifer Wiseman first published the following posts as a paper in the BioLogos Scholarly Essay series, the essay’s subtitle asked the question, “Can Recent Scientific Discovery Inform and Inspire Our Worship and Service?” Over the next few weeks, we will look at Dr. Wiseman's answer to that query—an emphatic “Yes!”. But in this first installment we begin by describing some of the reasons such a posture of worship through science is not more common in the contemporary church than it already is.

Oh Lord My God, when I in awesome wonder, Consider all the worlds Thy hands have made; I see the stars, I hear the rolling thunder, Thy power throughout the universe displayed.
Then sings my soul, my Savior God, to Thee; How great Thou art, how great Thou art

(Carl Boberg, 1885; Trans. Stuart Hine 1949)

The words of this great hymn convey the proper overwhelming sense in which the wondrous Creation of God should translate directly into a response of awe and praise from mind, body, and spirit. The writer sees and hears the wonders of nature with his body, considers with his mind what all this implies, and responds with songs from his soul.

But is this worshipful response happening in our Christian congregations today? I believe this kind of response to the Creation can and should happen within the hearts of God’s people and wherever congregations of believers are gathered. Such power can even unify believers who differ on lesser matters as we all look up outside of ourselves at the same wonders and respond with the same praise. As an astronomer, I have felt the sense of being “blown away” by seeing images of countless distant galaxies, or even by just looking up at the array of stars overhead on a dark moonless night and sensing something of the “big-ness” of God.

There are impediments to realizing the fullness of this kind of worship experience for many Christian congregations today. I believe four of the main culprits are ignorance, distraction, controversy, and uncertainty.

Let me start with the first, and clarify up front that by ignorance I am simply referring to being uninformed, rather than the sometimes more negative connotations of the word. How up-to-date is the scientific knowledge of average, educated, committed evangelical church members and pastors?Americans, both adults and schoolchildren, are not ranking favorably compared to the rest of the world’s developed nations in science knowledge these days. We enjoy our technological achievements and resulting gadgets, but true comprehension of scientific principles and recent discoveries is not a strong part of our culture and national conversation these days.

This is reflected directly in what kinds of things are (and are not) discussed in church. In my own generally very good church experience growing up in mainstream America, I can only remember science and nature being discussed in a general way (e.g., we should look at the beauty of flowers and mountains and animals and thank God), except for once in a specific way in a children’s sermon (where we were told we should not believe we came from monkeys!). That was a while ago, but how are science issues handled today? Do pastors speak about the evidence from cosmic background light for a spectacular beginning to the universe? Are the genetic codes being mapped out for animals and humans resulting in praise for God’s amazing “blueprint”? Are the advancements in nanotechnology and biotechnology and medicine subjects for discussion of good and poor uses of technology in church? The answer to these is, of course, “no”, for the most part, yet even issues seemingly more relevant to the daily lives of parishioners are often driven by current technology and scientific advancement, and an informed congregation can better understand how to praise, pray, discern, dialogue, and serve.

Related to being uninformed is the condition of distraction for many evangelical Christians today. The distractions of overloaded schedules, pressured jobs, divided families, and even church environments of entertainment-based worship and activities can impede a lifetime of quiet listening, learning, and contemplation. If there is no encouragement from church leaders to learn and incorporate nature and current scientific discovery into contemplation and praise and service, then there will be no space available in the lives and activities of congregants for what should be the resulting awe and praise.

But what does it mean to be informed about science in today’s evangelical congregations? Too often this has implied a direct relation to controversy, the third reason science is not often inspiring worship these days. There are many voices trying to “inform” Christians about science, and for the average evangelical congregant, discernment about which authority figure to believe can be difficult. Many times Christians are presented with a clear and strong implication that scientific conclusions, especially on issues related to origins of the universe and of life, are part of the secular “World” camp rather than the camp of “God’s Truth”. And Christians “know” that they must be on one side or the other of this stark line of worldliness. Often in more conservative churches a teaching will come from the pulpit that goes something like this: “Scientists tell us that *...+, but they cannot give a reason how *...+ happened; but WE know how: God is responsible!” Therefore any serious consideration of a scientific understanding of the development of the universe and life implies that one is “compromising” the teaching of the Word of God, rather than studying the details of how God works. In Scripture, however, never is the study and experience of nature seen as somehow antithetical to knowing and following the Lord; just the opposite in fact!

This often boils down to the correct interpretation of Scripture. Through sermons, radio spots, television shows, and literature, evangelical Christians are hearing adamant messages conflating the acceptance of modern scientific discovery with worldly compromise, or else providing alternative ideas that are not entirely satisfying. From Young-Earth Creationists, they hear that a literal reading of the Biblical creation account is the only correct one, so all scientific discovery must be reinterpreted to fit a recent Creation. But this robs them of the sense of awe we glean from the magnitude of space and time revealed by astronomy, geology, and fossils. From the Intelligent Design community, they hear the message that life (and perhaps the entire universe) is too complicated to develop through natural processes alone, and therefore that God’s work requires miraculous inputs of information into the natural world. This implies that somehow natural processes must not be fully God’s processes, or that God’s work through them is somehow inadequate. They also hear the message to “teach the controversy,” so that somehow by proclaiming that there is a controversy about natural processes as an adequate explanatory tool for natural history, the controversy will in fact become real. They are then surprised to find out from either advanced scientific study or from the Evolutionary Creation voices that in fact there is no great controversy in the scientific community about the basic structure and timeline of the natural history of the universe and life; that in fact there need be no theological debate about how God brought (and is bringing) the universe and life into being, rather, the issue is whether God is in fact real and responsible for all we know and are. And yet even this unifying message can sometimes seem to gloss over the central theological issues of suffering and death and fallen-ness in Creation. So every approach to origins and evolution evokes some difficulties and challenges with which the Christian congregant must grapple.

Next week, Part 2 concludes Dr. Wiseman's discussion of the stumbling blocks that can stand between the church and its appreciation of science as a means of worship, and turns to the ways that the pursuit of God through study of the created world can help overcome those difficulties by pointing us directly to the Lord.

Knowing your context, 12” x 16” Mixed media on panel, 2009. ©R. Sawan White.

The heavens declare the glory of God, 
and the sky above proclaims his handiwork.
 Day to day pours out speech,
 and night to night reveals knowledge.
 There is no speech, nor are there words,
 whose voice is not heard.
 Their voice goes out through all the earth,
 and their words to the end of the world. (Psalm 19:1-4)

The Psalmist affirms that the created world speaks of its Creator, and that everywhere we look or listen there are words, speech pouring forth in abundance. But are we prepared to hear that speech? Will we listen to it on its own terms, in the context in which it occurs? Or will we hear only what we already ‘know,’ see only what we want to see? Psalm 19 affirms that the speech of the world is heard, but it does not say that speech is necessarily listened to, much less understood. For the speech of the world is as a foreign dialect to us, and if we want to hear what it has to say about the Creator (and overhear the praise it offers to the Creator), we need to learn to listen differently.

As Bible translators know, learning a language is much more than a matter of vocabulary. We may master a list of names or definitions, but still miss the heart of what a language is about, what its speakers are making known about themselves and the world. Just as important as the individual terms is the structure of the language—its grammar and syntax—the way it tells its stories more than the objects and characters that populate them. This may or may not be the way the hearer’s own language casts its narrative thread, so we must be aware of our own practices and patterns in order to recognize the sameness and difference of the foreign tongue. In other words, understanding another language is doubly relational: we must explore the relationships within a given dialect, but also the relationships between it and our own linguistic home.

An awareness of this relational, provisional quality of language is at the heart of R. Sawan White’s practice as an artist, rooted in her own experiences of being linguistically out-of-sync, notably during her art training as a printmaker in England. There, she mistakenly assumed she would be speaking the same tongue as those around her, only to discover that profound differences can be communicated (or lost) through inflection and cadence of speech, let alone vocabulary. Beginning by including old maps and encyclopedia pages in her prints, then by encasing others’ anonymously-deposited secrets in plaster, and later moving into an abstracted but personal exploration of graphic elements that stand in for words, White has been using paint and wax and her etching stylus to engage with the richness and limitations of “local knowledge.” Aware that each cultural context has its own way of framing the world—its own dialect—that must be taken on its own terms, she highlights the necessity of conversation between ‘locals’ across boundaries, and holds out the promise that piece by piece and layer by layer, we will approach a more wholly encompassing sense of who we are and how the world is.

White’s oil and wax painting, Knowing your context (2009), is a visual enactment of that process of negotiation between words and syntax, between medium and meaning—using forms and figures that struggle to find and dwell in their proper physical, relational context. While we are tempted to read it as a landscape, that overall pattern is a byproduct of White’s primary visual interest, the way those small graphic elements and lines—emblematic of words (and sometimes people)—relate to each other and to larger shapes and fields of color, built up in the layers of wax and oil paint that define the overall structure of the work. Thus, both small, oscillation-like squiggles and large, organic shapes arrange themselves across the surface of the panel, but also emerge from and disappear into the irregular strata.

The red-orange circular shape at the upper right, for instance, is not defined by the application of color onto the white surface, but by a final application of thick, matte strokes of white paint over the ruddy, under-layers; meanwhile, the white is itself bounded by curving lines previously inscribed into the wax. Below those layers, we can see a more directly-formed oval of blue, whose top half is now obscured, but whose bottom half influences the curvature of the lines in the lower section of the painting. Finally, the detail image of the lower right edge of the panel shows incised ciphers buried deep in the wax and paint, as well as some holding their own at the surface.

These small re-curving figures are what function most like words in White’s work, but perhaps a better way of describing them is as indeterminate or extremely flexible ideographs—a symbolic shorthand for exploring relationship without referencing specific things outside the painting itself. Her squiggles usually enjoy a kind of freedom within a painting—hovering, floating, sometimes dangling in a way that is “haphazardly self-contained, unconnected”—and seldom tied down or to each other as they are here at both the left and right lower edges. As White said of the now-marginalized characters, “They’re stuck but also foundational, they don’t get to go, but they’re crucial to this part [of the painting].” Comparing these shapes with the ones floating but isolated in the white area at the upper left, White continued, “the ones down here, though tethered down, are in a more dynamic space, their crossing is causing many things to happen with boundaries, overlaps, etc.” This is a dialogue, then, between the artist and her medium about what happens when things get confusing and we begin to notice novel relationships emerging—how a new sense of connection and order arises there, too, even if it seems unfamiliar and uncomfortable to all involved.

Again, what’s being abstracted in Knowing your context is language, not material objects—and not even specific words, but their role as place-holders and connectors between people, local places, whole worlds. White’s reference to the drawn characters as “discovering” their situation, learning to “know their context,” reminds us that her work is also a narrative: it is the trace of her negotiation with the piece itself about how words and ideas and images are situated in particular places and moments, about how slippage, misunderstanding and newness occur when ‘figures of speech’ are removed from their usual homes or asked to do work which they are unaccustomed to doing. Indeed, even her titles are part of that process, for they often find their genesis in phrases only partially heard and mis-understood; they, too, are artifacts that emerge from the process of engagement with words rather than descriptors added at the end.

So circling back now to the familiar psalm with which we began, how might this visual exercise about the complexity of speech in all its forms help us reflect on the relationship between science and Christian faith, between God’s word and his world? We are now very well accustomed to reminders that the first chapters of Genesis were not written to tell us the kinds of things we sometimes want to hear. But it is also easy to ask the material world to say things it is not equipped to say, as when we expect it to speak unambiguously about of God’s activity within it. If we truly wish to hear the speech that pours out day after day in praise of the Lord, we need to let the heavens speak in their own way and strain to listen to them in the voice God made them to have—not in the voice we wish they had. In taking hold of the difference between those ways of listening, we not only understand the world more truly, we unearth our own biases, our own deafness, our own unwillingness to hear God the way he wants to be heard.

We can’t force Scripture or the natural world to speak to us in our ordinary tongue. But by listening to them both on their own terms, and by creating and dwelling in imagery that enables them to speak to each other through us, guided by the Spirit, we may be privy to interactions that reveal unexpected and elegant truths about their dialects, but more importantly, about the God whose Word brought both into being.

R. Sawan White was a Provost Scholar at Virginia Commonwealth University before transferring to Loughborough University in England to complete her First Degree in Fine Art Printmaking with highest honors. Since returning to the US in 2000, she has exhibited her work regularly in group and solo shows, and taught and lectured at museums, art centers, colleges and middle schools. To see more of her work, please click here.

Vox Balaenae, or “Voice of the Whale,” was composed by American composer George Crumb (b. 1929) and was first performed by the New York Camerata in 1971. It was only four years before that, in 1967, that biologists Roger Payne and Scott McVay discovered that humpback whales “sing” and published recordings of the whales’ complex vocalizations, after which “whale song” quickly entered the popular consciousness and helped propel the “save the whales” environmental movement forward. (In 1970, Folk singer Judy Collins even put out a version of the traditional melody "Farewell To Tarwathie" over a background of recorded humpback whale songs.) For many, the fact that the massive creatures might share the human capacity and desire to engage in music as a social activity only made their wholesale destruction at our hands more egregious.

Though he was himself inspired by hearing those early whale song recordings, Crumb’s work does not utilize tapes of real whales or attempt merely to reproduce the effect in the context of an ordinary musical form. Instead, he asks three chamber musicians with modified and electrically amplified instruments (piano, flute and cello) to create sounds that evoke the entire natural history of the sea. The piano is played and strummed from inside the case and with a glass rod or plate on the strings, the cello part emphasizes a string’s abilities to produce high harmonic tones, and the flautist sings into her instrument as she plays. Many of these effects are intended to suggest natural sounds—as in the cello’s "seagull effect" (audible at 5:59 in the video linked blow), and the whale-like beginning cadenza by the flute—but not always in a direct way. In addition, all three players perform wearing half-masks, which, according to Crumb help “effac[e] the sense of human projection,” especially when they play under blue stage lighting as he envisioned. (Most of these features can be seen and heard in this April 2011 performance in Montreal by Philippe Prud'homme, piano; Stephane Tetreault, cello

; and Camille Lambert-Chan, flute, though it omits the blue stage lighting.)

In this multi-sensory impressionistic scene, the whales become representatives of a natural world that predates humanity, yet whose fate is inextricably bound up with the will of mankind. Indeed, the tension between the measured vastness of geologic time and the “Age of Man” is written into the score, as an opening prologue is followed by variations on the initial “Sea Theme” (beginning at 4:20), each named after geologic epochs: Archeozoic, Paleozoic, Mesozoic, and finally, the Cenozoic. It is in this last age—when mankind arrives on the scene—that the sometimes atonal and harsh combinations of sound reach a dissonant climax that the score indicates should be played as “dramatic, with a feeling of imminent destiny” (beginning at 11:26). Finally, the piece moves towards its conclusion with a haunting restatement and renewal of the Sea Theme (at just after 13:00), with the musicians gradually playing more and more quietly until ending with a pantomime, as if creating sounds beyond the limits of human hearing. Again, the sense of resolution in the music is named by Crumb in the score’s instructions to the players: “serene, pure, transfigured.”

So what do we make of this musical narrative and what Crumb seems to be saying about both whales (standing—or swimming—for the natural world) and humankind? Is it truly an anti-human statement, a “whales vs. people” image in response to environmental damage we were only really beginning to understand (via science) at the time the piece was written? There is certainly a skepticism here about human hubris, made explicit at the end of the prologue section by a “parody” of the opening phrase of Strauss’ Thus Spake Zarathustra (at 2:40). Contemporary listeners then and now will likely recognize that borrowed theme as the music from the film 2001: A Space Odyssey (1968), but before that it was a musical homage to Nietzsche’s view of ascendant Man. In this ironic re-use of Strauss’ work, Crumb seems to say that against the span of geologic time and a vast (musical) world previously unknown to human ears, our claims of knowledge and technological mastery seem laughable.

Yet there are several clues that that sort of reading misses the mark, or that it is, at best, incomplete—beginning with the experience of playing and hearing it in person. I first heard Vox Balaenae in about 2002 with my then 6-year-old son. It was played in a small hall (under blue lights) at our local art museum by the Quadrivium Players, a group that included my friend Mary Boodell on the flute. While the masks were surprising at first, they did, indeed, de-emphasize the personality of the players as individuals, while emphasizing the atmospheric, world-creating power of art-forms, especially music.

Rather than a symbolic effacement of the human presence in the world (in keeping with the anti-Nietzschian not above), the effect was to move away from the ritualized performative aspect of modern chamber music and bridge the divide between players and observers, creating a more participatory community. Because of the piece’s distinctive, impressionistic kind of narrativity, one isn’t so much as “carried away by” the music as submerged and suspended in the world created by it, and Boodell describes the effect (especially at the end of the piece) of feeling like the audience is holding it’s breath to hear the silences Crumb has written into the score.

But Boodell also recounts the story of being drawn into the conceptual frame of the piece in a very physical, way when she found herself alone in a swimming pool in the weeks leading up to a performance. Though hesitantly at first, she couldn’t help but wonder how the sounds she made in Vox Balaenae would sound underwater, and so went under in the pool to find out. While the image makes one smile and probably reminds most of us of similar, less technically-proficient underwater experiments of our own, it also suggests how the piece helps hearers make a connection in addition to that between player and listener—that between humanity and the rest of the natural world. If the unexpected flow and soundscape created by Crumb helps audience and players achieve the kind of connection music scholar Jeff Warren has elsewhere on this site discussed as “entrainment,” it is also an invitation to a similarly compassionate state with the rest of creation, based on the new-found knowledge that other creatures have complex, even musical relationships with each other, and that we are privileged to discover and begin to understand them.

Clearly, then, Crumb’s Vox Balaenae touches on scientific knowledge of the world both in its genesis in recordings of whale songs and its structure keyed to geologic, evolutionary ages. But does it have more to say to us here than that we should avoid killing whales because they sing? While we can recognize that the biblical call to have dominion over the earth guides us towards cultivation and care for its creatures and remember that Jesus exemplified such a shepherding role, we should also remember his priestly one, and ours. For just as he remains the High Priest of heaven, holding our prayers in the presence of the Father, we have similar joy in being between heaven and earth, “a little lower than the angels.” Thus we can hold up the great whales (and their songs) as monuments to the depth of God’s creative activity in and through nature—and even revel in our musical, creaturely fellowship with them—without denying the special place of humanity. On the contrary, we affirm that special place when we humble ourselves to listen, seek to understand the native tongues of creation, and then, through Christ, present its songs before the throne of the Almighty Creator and King.

In last week’s post I framed Sørina Higgins’ poem on the gentle humpback whales by noting the near-universal mixture of fascination and fear with which we greet such awesome creatures, especially when we meet them in their own element rather than ours. This week’s artistic treatment of the great whales takes as its subject a more-storied and decidedly less-gentle member of the family, but returns to our fascination with and desire to know about whatever is dramatically not us: a 52-foot-long inflatable felt sperm whale on display most recently at the Virginia Museum of Fine Arts in Richmond, Virginia.

Tristin Lowe’s Mocha Dick is a recreation and interpretation of the albino sperm whale that, in the early nineteenth century, attacked as many as twenty whaling ships near Chile’s Mocha Island in the South Pacific Ocean, sinking more than a few of the smaller vessels. In an 1839 article from The Knicker-bocker magazine, a New England sailor described him as “white as wool . . . as white as a snow drift . . . as white as the surf around him.” The whale was a source of inspiration for Herman Melville’s epic Moby Dick, and with this work, Lowe gives us an opportunity to consider the relationship between ourselves and creation in terms of human and divine making.

Lowe works in a variety of different media (including edible ones), but in recent years sculptural and installation works have been the main part of his practice. Often they are considerably less grand that Mocha Dick, tending instead towards absurd and occasionally somewhat vulgar “wry re-imaginings” of ordinary objects: chairs that spontaneously fall apart, beds that wet themselves, and—early in his experiments with industrial felt—an overturned trashcan. But there is also a sense of wonder, curiosity and even awe at the frailty of the human condition built into the seemingly-ironic works. And while the idea of human making is contrasted to natural creation in Mocha Dick, the trash-can and his large-scale felt model of the moon and Apollo lunar lander contrast the hands-on, personal side of creation with industrial and technological processes.

To create the life-size whale, Lowe first spent time in very science-like pursuits: incessantly watching video footage of sperm whales in the wild, studying and sketching their anatomy to understand the muscular structures underneath the smooth exterior as well as their movements through the water. Next, he developed an inflatable vinyl armature to serve as the supporting understructure, manufactured for him using the basic techniques and materials that go into the “bounce houses” or inflatable “moon walks” popular at fairs and children’s birthday parties. (Art and science should not devoid of fun, after all.) The sections of the armature were built to mimic the muscle groups Lowe had studied in the live whales, and the bundles of air-filled chambers are kept under tension by a network of ropes that criss-cross the hollow center.

Creating the exterior of Mocha Dick also required collaborative effort, as the entire armature is sheathed in sections of thick, white industrial felt held together with very long, large white zippers. Artisans at Philadelphia’s Fabric Workshop used skills borrowed from upholstery and dress-making to fit the skin of the whale to the structure underneath, again conforming it to the bundles of "muscles." Finally, the whale was given a wonderfully naturalistic finish in the form of a complex network of wrinkles, scars, and appliquéd barnacles like the ones that are found on seagoing whales, but all crafted from the same basic felt material and stitched thread. Again, Lowe paid close attention to the natural context and activities of sperm whales as well as the historic story of this particular whale, and the scarring includes carefully placed marks corresponding to the injuries such whales receive from battles with their chief natural adversaries and prey—giant squid—in addition to injuries from the harpoons and ship hulls that earned Mocha Dick notoriety and literary fame.

Seeing the whale in person is a marvelously fun experience—beginning with finding such an enormous “fish out of water” (pace marine biologists who will note that whales are mammals) in an institutional art setting, but continuing as one tries to figure out how it was made. A viewer can hardly help tracing the length of the zippers, peering into the barnacles, and imagining the giant white tentacles that must have wrapped around the whale’s face in its battle with the equally mythic giant (felt) squid. Indeed, the desire to touch the whale, pry open the seams a bit, and see if there might be even smaller felt creatures hiding in the barnacles on its giant prow is so common and compelling that the museum needed to add a small piece of the same felt on a wall nearby, so that children and adults alike would have something to touch, if not Mocha himself.

This drive to touch the giant felt whale is likely very much the same as Lowe’s own drive to build it in the first place, and is also analogous to the curiosity that leads scientists to investigate, take things apart, and then try to build them again. It speaks to the God-given longing all men and women have to touch the world around us, make sense of it, and know and understand the ultimate source of things—what Paul describes as having “eternity in [our] hearts.” Below the artist’s name and the work’s title on the wall of the museum was this quote from Lowe himself:

“The project was like the story of Moby-Dick—embarking on a journey, transfixed by the call of the sea. It is not about Ahab’s quest for revenge, and not even about the whale itself, but more about Ishmael’s search for the unattainable.”

That search and the longing from which it comes are not exhausted or cheapened by discovery of specific mechanisms or processes by which God created the great whales, any more than our fascination and delight in Lowe’s Mocha Dick is diminished when we see (or read) how it is put together. The last mystery is not to be found in the process of the making, after all, but in discovering that there is a Maker who would do such a thing for us to discover. And in contrast to Lowe’s suggestion that such meaning is “unattainable,” or the VMFA’s admonition that we should only touch the “stuff’ of reality and not the thing itself, the ancient witness of the Scriptures and of generations of believing scientists is that we can know something true about the world and its Maker by looking and touching. Even more, both Scripture and the witness of Christian scientists assures us that even as we reach out to touch the creation, the Creator has already and is even now reaching out to touch us.

Philadelphia resident Tristin Lowe studied at Parsons School of Design before earning a BFA from Massachusetts College of Art, Boston. In addition to the exhibition of Mocha Dick at the Virginia Museum of Fine Art, Lowe has had solo exhibitions at New Langton Arts in San Francisco, the Rosenbach Museum and Library in Philadelphia, and the Royal Hibernian Academy in Dublin, among others. A more complete list of work and record of his exhibition history can be found here.