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.

"Anyone approaching the Resurrection accounts in the belief that he knows what rising from the dead means will inevitably misunderstand those accounts and will then dismiss them as meaningless" (p. 243).

In fact, if Jesus' Resurrection were "merely" coming back to life in any way that we might comprehend, then it would be of little significance.

"Now it must be acknowledged that if in Jesus' Resurrection we were dealing simply with the miracle of a resuscitated corpse, it would ultimately be of no concern to us" (p. 243).

So what then does Resurrection mean? For Benedict it represents a new dimension of reality breaking through into human experience. It is not a violation of the old; it is the manifestation of something new.

"Jesus had not returned to a normal human life in this world like Lazarus and the others whom Jesus raised from the dead. He has entered upon a different life, a new life -- he has entered the vast breadth of God himself..." (p. 244).

Because it is something entirely new, it cannot represent a violation of natural law as understood by science.

"Naturally there can be no contradiction of clear scientific data. The Resurrection accounts certainly speak of something outside our world of experience. They speak of something new, something unprecedented -- a new dimension of reality that is revealed. What already exists is not called into question. Rather we are told that there is a further dimension, beyond what was previously known. Does that contradict science? Can there really only ever be what there has always been? Can there not be something unexpected, something unimaginable, something new? If there really is a God, is he not able to create a new dimension of human existence, a new dimension of reality altogether?" (p. 246-7)

Thus, in this view, Resurrection (as with all true miracles) is not contrary to science, but an indicator that science does not (yet?) describe the full expanse of reality. Indeed, some may argue that science itself contains similar "indicators." The 11 (or so) dimensional universe required by some versions of string theory, the multiverse theory of the universe where ours is but one of an infinite array of universes with variable physical laws, quantum entanglements, "spooky" action at a distance, the mysterious emergence of consciousness from inorganic matter -- all push the limits of human reason and imagination, suggesting to some that reality may be far more complex than the human mind can grasp.

For a moment, let us entertain the possibility that Resurrection is as Benedict interprets it: not a violation of natural law but an indicator of something beyond our scientific understanding of the universe. This has interesting implications for understanding how believers and skeptics approach the issue. If Resurrection does not violate science, then science does not necessarily constitute an impediment to accepting the reality of Resurrection. If the difference between the skeptic and believer is not science, then is it just a matter of imagination? The believer imagines greater possibilities for the universe than the non-believer. While this is possible, it seems questionable. To my knowledge, no research has found differences in imaginative abilities between religious and non-religious people. Moreover, contrarian examples easily come to mind: Isaac Asimov was an atheist but hardly lacking in imagination when it came to science fiction. I tend to think that both believers and non-believers can imagine (with varying degrees of effort, I'm sure) the new possibilities implied by Resurrection.

Thus, if it is neither imagination nor science that prompts skepticism about Resurrection, then what is left? I suggest that it comes down to a question of authority: At what point does one allow imaginative possibilities to have authority over how one lives? To the believer, Resurrection has an authority that science fiction does not. Resurrection is not thought-provoking entertainment. It requires far more than just imagining greater possibilities for the universe. It requires a change of life, here and now. Unlike the microscopic hidden dimensions of string theory, the new dimension implied by Resurrection has "broken though" into everyday reality and demands a response -- even if that response is to actively ignore it.

Now, what convinces the believer that Resurrection merits such authority when other imaginative possibilities such as extraterrestrial life or time-travel do not? The answer here appears to be historical commitment. There's no record of people committing themselves to the point of martyrdom to other imaginative possibilities as they have to Resurrection. The earliest example of such commitment being found, of course, in the dramatic post-crucifixion turn-around of the Apostles. Such an astounding change of heart, followed by an unwavering commitment capable of altering human history demands a categorically unique explanation: Resurrection.

The believer's argument, however, remains unconvincing to the skeptic. However impressive they might be, a change of heart and steadfast commitment do not necessarily add up to a new dimension of reality. Extraordinary claims require extraordinary evidence. Fair enough. So a key question regarding the interpretation of Resurrection is this: Is the post-crucifixion history of Christianity extraordinary? Does it compel the dispassionate observer to concede that a categorically unique event could plausibly be its best explanation?

It ought to be upon questions such as those above that skeptics and believers respectfully engage one another, rather than the simplistic and often acrimonious sloganeering that has increasingly become the norm.

Understanding John Polkinghorne: Theology of Nature

John Polkinghorne’s interest in natural theology is important, but what really sets him apart from most others is that he combines it with an equally strong interest in theology of nature, which is not the same thing. Where natural theology involves, “metaquestions about the pattern and structure of the physical world,” theology of nature involves, “metaquestions about how its historical process is to be understood.” Rather than “looking to the physical world for hints of God’s existence,” we look “to God’s existence as an aid for understanding why things have developed in the physical world in the manner that they have.” (Belief in God in an Age of Science, p. 13)

On this front, Polkinghorne advances a strongly Christocentric theology of creation, stressing Jürgen Moltmann’s notion of The Crucified God . In the context of Polkinghorne’s theology of nature, the point is that the Creator is the crucified and resurrected second person of the Trinity. Since I devoted a column to this before, I won’t say more here, except to alert readers to the singular importance this particular idea has for him—especially when facing the problem of suffering. “The insight of the Crucified God lies at the very heart of my own Christian belief, indeed of the possibility of such belief in the face of the way the world is.” (Belief in God in an Age of Science, p. 44)

Situating John Polkinghorne: The Resurrection of Jesus

Many Christians today see science as posing dangerous threats to their faith, challenging their understanding of the Bible and undermining core tenets such as the bodily Resurrection of Jesus, the historical basis on which the Christian faith stands or falls. “Evolution” is often identified as the problem, but the real danger is unbridled naturalism. A commitment to naturalistic methods, known as “methodological naturalism,” (MN) has been an integral part of science and medicine since the ancient Greeks. Those methods have been highly successful at producing a coherent, often very convincing picture of nature and the history of nature.

Advocates of Intelligent Design and some other Christians reject MN, but many Christians who work in the sciences and related fields (such as engineering, medicine, or the history and philosophy science) support MN as a properly grounded and properly limited way of understanding reality. In their view, a robust Christian faith is consistent with a commitment to MN, provided that the limits of scientific inquiry are not simply equated with the limits of rationally grounded belief. Polkinghorne fits squarely in this category.

To understand more clearly where Polkinghorne lies on the larger landscape of science and religion, let’s consider his approach to the Resurrection. Many contemporary thinkers, including some theologians and clergy, believe that “science” has somehow made it impossible to believe in the Resurrection, the deity of Jesus, and even belief in the transcendent God of the Bible.

A prime example is John Shelby Spong, a retired Episcopalian bishop whose books have sold more than one million copies. Spong sees the bodily Resurrection as a figment of the disciples’ imaginations, a vestige of a theism that now we must throw away like a threadbare suit of clothes. For Spong, Christians today need to go "beyond theism" throwing out the baby of divine transcendence—the fundamental truth of monotheism—along with the bath water of the credulity and mythology of the pre-modern authors of the Bible and the ecumenical creeds. Spong’s message is that “Christianity must change or die,” and all in the name of “science.”

As Spong likes to say, his work is very controversial, and not just among rank-and-file Christians. Scholars have also railed against him. “I have been attacked in books from the religious right by such people as Alistair MacGrath [whose surname is actually spelled McGrath], N.T. Wright, and Luke Timothy Johnson,” he complains (Why Christianity Must Change or Die, p. xvi).

I understand (with much sadness) that we live in a highly polarized age. Nevertheless, it’s difficult for me to grant much credibility to an author who identifies McGrath, Wright, and Johnson as representatives of the “religious right.” Indeed, if anyone here is distorting the news it is Spong, not they. As the (late) great Catholic biblical scholar Raymond Brown once observed, “I do not think that a single NT [New Testament] author would recognize Spong’s Jesus as the figure being proclaimed or written about.” (Birth of the Messiah, note 321 on p. 704)

Matthias Grünewald, The Resurrection (a wing of the
Isenheim Altarpiece, ca. 1515), Unterlinden Museum,
Colmar, France

Polkinghorne certainly understands science far more than Spong does, and his conclusions about the implications of science for Christian beliefs are markedly different. With respect to the Resurrection, he is basically on the same page with his friend Wright, whose profound book, The Resurrection of the Son of God, he cites with appreciation. Belief in the Resurrection is well supported by the evidence, and the Resurrection, itself, is “the pivot on which the claim of a unique and transcendent significance for Jesus must turn.” Considering authors like Spong (although he does not explicitly name him), he adds, “it would be a serious apologetic mistake if Christian theology thought that operating in the context of science should somehow discourage it from laying proper emphasis on the essential centrality of Christ’s Resurrection, however counterintuitive that belief may seem in the light of mundane expectation.” (Theology in the Context of Science, pp. 135-6)

Amen.

Looking Ahead

This is the Easter season, and I’ll return in a couple of weeks to begin examining Polkinghorne’s approach to the Resurrection more fully, using excerpts from the chapter on “Motivated Belief” from his recent book, Theology in the Context of Science.

References

Raymond E. Brown, Birth of the Messiah: A Commentary on the Infancy Narratives in the Gospels of Matthew and Luke. (1992).

John Polkinghorne, Belief in God in an Age of Science (1998).

John Polkinghorne, Theology in the Context of Science (2009). My review for First Things online is here.

John Shelby Spong, Why Christianity Must Change or Die (1998).

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.

Tonight and tomorrow, Christians around the world stop to remember and celebrate the birth of Jesus in Bethlehem just over two thousand years ago. The familiar narrative of Joseph leading Mary to the stable to give birth to the Messiah, of the angels telling the shepherds in the fields of the great event that was happening nearby, and of the three men from the east who came to pay homage to the new King of Israel is re-told or acted out in countless churches, schools and homes. And from countless pulpits, the message goes out that those events are not just a quaint story and an excuse to give gifts, but the central mystery of our faith—that God himself became one of us in order to redeem us and the cosmos from our bondage to sin and death. That mystery—that the Creator God is also the Redeemer Christ—has been to focus of our worship since the first days of the church, and is the subject of the 7th-century Latin hymn Conditor alme siderum, presented here in a new setting from Alex Mejias and High Street Hymns.

While this recording includes only verses one and three from the original text (given in full below), it adds a refrain that catches the spirit of the whole hymn and emphasizes the longing we still feel even in our Christmas joy—the “already, but not yet” state in which we find ourselves today, living between that first Advent and the second Advent yet to be: “Come, O come to us!” For while we know that God has come to us in Jesus—that his death and resurrection have redeemed us and the universe—we are still waiting for that final consummation, depending on the Spirit to be working out our salvation even now. Until the time when, as the hymn says, “all hearts must bow,” the entire BioLogos community invites you to join us in the blessed work of declaring, celebrating, and following the Christ who is both Creator and Savior.

Creator of the Stars at Night

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.

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.

Keeping History Safe

In the cold morning air with the sun not yet over the ridge, the place to begin preparation for summiting Mount Darwin is to ponder the reasonableness of miracles. Many Totalizers would like to ban miracles from university consideration and inquiry. Trouble is: human history is awash with credible people reporting miracles.

Modern academic tradition tends to try and maintain order. For historians it behooves us professionally to avoid accounts of alleged spiritual events. We find comfort in a little logical gymnastics that keeps history safe for us to wander in, a deceptively formulaic avoidance method that helps us avoid what people are telling us about extraordinary events in the past.

David Hume popularly articulated this logical gymnastics in an essay titled “Of Miracles” that was eventually printed in Enquires Concerning Human Understanding (1748). “I flatter myself,” Hume triumphantly proclaimed, “that I have discovered an argument . . . which, if just, will, with the wise and learned, be an everlasting check to all kinds of superstitious delusion, and consequently, will be useful as long as the world endures.”

His everlasting check on superstition begins with a circular argument that because miracles can’t happen, a reasonable person should not even listen to reports of them. Hume taught that though the normal job of a historian was to listen to the testimony that comes down to us from the past, there is a point at which you can close your ears. Hume knew that historical testimony can get wild, so he came up with a way to domesticate the wildness, a way to make history a zoo rather than allow it to be a jungle. His “Of Miracles” has been tremendously influential in the discipline of human history over the last two hundred and fifty years, not because his ideas are strong, but because his ideas are useful. Get rid of “superstitious delusions,” and the discipline of history can be turned from a safari into a form of home economics. Hume’s domestication of history is seductively simple. Instead of following the Aristotelian tradition of linking the credibility of hard-to-believe testimony to the credibility of the testifier, Hume recommended disregarding the testifier and focusing only on the testimony. This effectively removed the persuasive power from hard-to-believe testimony. Miracles need the credibility of an eyewitness in order to have persuasive power. Hume cut the power source from the unwanted testimony.

Essentially, Hume adopted the modeling technique that Darwin later used and is best seen in Global Positioning System (GPS) units. Hume recommended gathering testimony from the past and every region to create a general model of what humans generally experience. Using this mass of information, one should generalize standards of common experience. Now if anyone reports a miracle, the alleged event can’t be true because it does not conform to the generalized standards of common experience. (Of course, Hume had already refused to allow that any reports of miracles could be used even to generalize common experience.) It’s tricky. Its logic is circular. But it works to weed out awkward, quirky information. It is as if a domineering GPS unit created a sphere to serve as an abstraction for the earth, then insisted that the earth can’t have wobbling poles and flattening in the upper latitudes because the sphere in the GPS shows it can’t be true. Given a useful and trustworthy GPS, don’t listen to a scientist who might tell you something different than what the GPS tells you.

The circularity of this argument has been noted ever since Hume first proposed it, but Hume was a good writer and said what a lot of people wanted to hear. Miracles are impossible so miracle reports can’t be true. Don’t even listen to reports of them.

Balancing Likelihoods

Also embedded in Hume’s essay is the awkward “rule of logic,” most often called “Balancing Likelihoods.” By combining math and logic in an odd way, Hume’s “Of Miracles “ offered another way for historians to avoid thinking about miracles. Balancing Likelihoods has many names but is probably best stated by David Hackett Fischer, in his Historians’ Fallacies: Toward a Logic of Historical Thought, as “the rule of probability:”

“[A]ll inferences from empirical evidence are probabilistic. It is not, therefore, sufficient to demonstrate merely that A was possibly the case. A historian must determine, as best he can, the probability of A in relation to the probability of alternatives. In the same fashion he cannot disprove A by demonstrating that not-A was possible, but only by demonstrating that not-A was more probable than A. This is the rule of probability.”

This seems to be practical but is impossible. Balancing Likelihoods, in the way described by Fischer, cannot be used by historians in any normal practice. It is a talisman to keep history mentally safe from the wildness that is reported to exist. Logicians, especially mathematicians, have long criticized intellectual constructions like this. The “probability” that Fischer writes about is seemingly mathematical, but the math is simply implied to give a sense of strength to human feelings.

Before Hume wrote “Of Miracles” probabilistic logic had been advancing rapidly and there was a great hope that mathematical analogies would strengthen human thinking—even Christian apologetics. “Pascal’s Wager,” the most famous mathematical apologetic from the seventeenth century, equated eternal salvation with mathematical infinity and then applied it to a gambling formula. Antoine Arnauld, in The Port-Royal Logic (1662), and John Locke, in his Essay Concerning Human Understanding (1690) and Discourse on Miracles (1706), carried probabilistic math and logic into the handling of reported miracles. A half-century later, however, Hume reacted against Arnauld and Locke’s teachings that mathematical analogies could help in the discussion of the credibility of miracles. Hume insisted that to handle a reported miracle, a historian had to create two separate ratios, pro and con, for believability. The ratios were then to be weighed against each other. This is Fischer’s “rule of probability” quoted above. In the language of Hume’s era, this was proclaimed as the “calculus of good sense.”

Lorraine Daston, in Classical Probability in the Enlightenment (1988), offers an excellent study of Hume and the many eighteenth-century mathematicians who wanted to help bring rigorous quantitative thinking to what today would be called the humanities. Daston writes that by the 1840s, mathematicians realized that “the ‘calculus of good sense’ had become antithetical to good sense,” and that today most of what these early probabilists were trying to do is considered “patently absurd.”

In 1901, one of America’s preeminent philosopher-mathematician-logicians, Charles Sanders Peirce, wrote three essays attacking the way historians had adopted Hume’s bad logic: “A Preliminary Chapter, Toward an Examination of Hume’s Argument Against Miracles, in its Logic and in its History,” “Hume’s Arguments Against Miracles, and the Idea of Natural Law,” and “On the Logic of Drawing History from Ancient Documents especially from Testimonies.” Peirce showed that historians are in error when they talk of judging testimony by balancing probabilities because “in a scientific sense, there are no ‘probabilities’ to be judged.”

Probability, Peirce wrote, “is the ratio of the frequency of occurrence of a specific event to a generic event.” A testimony “is neither a specific event, nor a generic event, but an individual event.” Peirce further pointed out that what people were justifying by claiming Balancing Likelihoods was really simply relating “what they prefer to do” to what they don’t prefer. “Likelihood is merely a reflection of our preconceived ideas.”

Historians like me who teach in universities about the reasonable credibility of Jesus’ resurrection need to be students of Peirce not Hume on the subject of assessing the credibility of reports that come down to us from ancient history. Dealing wisely with reports of events verging on the incredible is just part of the normal job of being grounded in the social study of our complex human past.

“Come to history as a doubter,” Richard Marius advises in a historical methods manual. “Skepticism is one of the historian’s finest qualities. Historians don’t trust their sources. . . . Nothing is quite so destructive to a historian’s reputation as to present conclusions that prove gullibility.”

But Marius is wrong. In practice, historians have to trust more than doubt. In practice, historians, especially ancient historians, can’t rely on doubting. Historians have to be close listeners, discerning listeners, wise listeners, who sometimes have to make harmonies and stretch for belief.

There are several different kinds of arguments that people bring along these lines; I want to talk about just one. So first… the Heidelberg catechism, one of the forms of unity of the church I go to (the Christian Reformed Church), says

Providence is the almighty and ever-present power of God, by which he upholds as with his hand heaven and Earth and all creatures and so rules them, that leaf and blade, rain and drought, fruitful and lean years, food and drink, health and sickness, prosperity and poverty. All things, in fact, come to us not by chance, but from his fatherly hand.

And part of the way it comes to us—not by chance, but from his fatherly hand—part of the way God has designed our world, is that there is a great deal of regularity and dependability in our world. Of course, if it were not for this regularity and dependability, we couldn’t do the things that we actually do. I mean, for example, if I just wanted to walk off the stage—if, for example, all the sudden those stairs over there suddenly turned into a ladder going up—well, that would make it really difficult.

If you are trying to build a house, for example, you have this hammer, but all the sudden the hammer turns in to a goose or a pigeon. Again, that would make things really difficult…or if the nail turned into a worm…or if you get in the car and turn the key and the car turns into a camel, things would be really hard, much harder than they are. This regularity and dependability in our world is an essential condition of our being able to live in the world in which we actually do.

If the world were irregular enough, we would not even be able to live in it, but there are also, according to classical Christianity here (the Heidelberg catechism, for example) there are also special divine actions; sometimes God does things specially. There are miracles in Scripture: the parting of the Red Sea, for example, Jesus walking on water, Jesus changing water into wine. There are miraculous healings: Jesus rising from the dead, Jesus raising Lazarus from the dead, and so on. And according to classical Christians, many of them, perhaps most of them, are special divine actions. God, for example, responds to prayers. He works in the hearts and minds of his children to effect sanctification. There is, what Calvin called, the internal testimony or witness of the Holy Spirit, and there is what Thomas Aquinas called the internal instigation of the Holy Spirit. So, these things are all special actions on the part of God. God constantly causes events in the world. Ok, so far fair enough—what is the problem?

Many theologians seem to think there is a science-religion problem here. I don’t think any of the theologians of Biola think this, (I don’t know, but I doubt it) but many theologians do. For example, Rudolf Bultmann says, “The historical method,” which of course he thinks that is the method we should use, “includes the presupposition that history is a unity in the sense of a closed continuum of effects in which individual events are connected by the succession of cause and effect. This continuum, furthermore, cannot be rent by the interference of supernatural, transcendent powers.”

That’s what he says. Alright, there is this continuum that cannot be rent by the interference of supernatural (that would be God) or transcendent powers. So, it is a little bit like the laws of the Medes and Persians. You probably remember Daniel. Daniel was a favorite of King Darius, and well, the other courtiers became jealous of Daniel (they didn’t like it that the king liked him so well). So, they came to the king and said, “Oh king, live forever, we think it would be a great idea if you passed an edict to the effect that you alone can be worshipped. Everybody has to worship you and nothing else.” Well the king thought that over for a minute, and that sounded pretty good to him so he said, “I guess that it is a pretty good idea.” So he made this edict; he made this declaration: “Only King Darius is to be worshipped—no one else, nothing else.”

These courtiers knew that Daniel worshipped God, and they thought probably Daniel would keep right on worshipping God despite this edict. So they were watching Daniel, and he was, in fact, worshipping God. So they came to the king. Now the penalty for worshipping something else was to be thrown into the lion’s den and they said, “Well, king live forever, looks like Daniel has been violating this edict. You have got to throw him in the lion’s den.”

Well, the king didn’t want to do this because he really liked Daniel. He thought this was a miserable way to proceed, and he didn’t want to do it, but then they said to him, “O king live forever, and remember a law of the Medes and Persians cannot be abrogated, even by the king himself.” So once it’s put in place, not even the king himself can change it or abrogate it or go against it.

That is sort of the suggestion that you get here from Bultmann. Bultmann thinks, “Maybe God created the world and set it up in a certain way, but once he did that, not even he can interfere in it”—he uses that word interference—“not even he can do anything in it. He just has to keep hands off.” It is like the law of the Medes and the Persians.

Another theologian who agrees is John Macquarrie, who says,

The way of understanding miracle (and that would be one kind of special divine action) that appeals to breaks in the natural order and to supernatural intervention belongs to the mythological outlook, and cannot commend itself in a post-mythological climate of thought. The traditional conception of miracle is irreconcilable with our modern understanding of both science and history. Science proceeds on the assumption that whatever events occur in the world, can be accounted for in terms of other events that also belong within the world, and if on some occasion, we are unable to give a complete account of some happening, the scientific conviction is that further research will bring to light further factors in the situation that will turn out to be just as imminent and this worldly as the factors already known.

Ok again, no room there for special action. And the third thinker here, Langdon Gilkey (still another theologian), says something similar, but I will pass. I will not read that one in the interest of saving a little bit of time, but these three theologians, plus many others want to assert that there is something wrong with the idea of God acting in the world, acting in the world in a way that goes beyond creation and sustaining, or creation and holding things in existence. So they think, “Ok, God created the world; God sustains it in existence”…that is ok with them, but anything beyond that, God performing any miracles, raising Jesus from the dead, or for that matter working in somebody’s heart and mind in a special way, that, they say, is a real problem. The question is, what is the problem?

Well, the next little bit here…according to the Christian and theistic idea, God is a person; he has knowledge, loves, and hates. He has aims and ends. He acts on the basis of his knowledge to achieve his ends. He is all-powerful, all-knowing, and wholly good. Thirdly (noted above by the Heidelberg catechism), God has created the world. Fourth is God conserves and sustains and maintains in being this world he created, but fifth, at least sometimes, God acts in a way going beyond creation and conservation in miracles, but also in his providential guiding of history, his working in the hearts of people, his internal instigation of the Holy Spirit, and so on, and it is with that fifth category that these people have a problem. It is God’s special action in the world—action beyond conservation and creation—and miracles would be an example.

So we might think of these theologians as endorsing what we could call hands off theology. God has got to keep his hands off. God could create the world. God conserves the world, sustains it in being, but he can’t do anything else—that is as far as he could go. It is hands off theology, and Bultmann, even in this context, even talks about interfering. I mean if God did something in the world that would be interfering, which, when you think about it, is a sort of strange thing to say—I mean if God created the world, he is the omnipotent, omniscient, holy, good creator of the world—when you accuse someone of interfering, you are saying they are doing something they should not be doing, right?

So Bultmann thinks if God did something in the world that would be interfering, and he should be ashamed of himself. Ok, now why is this a problem? Their suggestion is that somehow it is contrary to science. It is contrary to science the suggestion that God acts specially in the world. I didn’t read that bit, but Gilkey says, "The causal nexus in space and time which the enlightenment science and philosophy introduced into the western mind is also assumed by modern theologians and scholars. Since they participate in the modern world of science, both intellectually and existentially, they can scarcely do anything else.”

From a presentation sponsored by Biola University’s Center for Christian Thought, and delivered February 12, 2012 at EV Free Church, Fullerton, CA. Used by permission.

In my previous essay, I discussed “Darwin’s finches” and how surprisingly little Charles Darwin himself had to say about them. In fact, it was actually the British ornithologist David Lack (1910-1973) who conducted the critical research that immortalized the finches in biology textbooks and popular lore. In 1973, the eminent German zoologist Ernst Mayr wrote:

Already well known among professional ornithologists, his work on the Galapagos finches gave David Lack world fame… There is no modern textbook of zoology, evolution or ecology which does not include an account of his work.¹

Ernst W. Mayr

Decades have passed since Mayr wrote these words, and David Lack’s name has largely faded from public discourse. On the other hand, the Galapagos finches have become one of the most recognized symbols of evolution in the world today. Does it really matter whether Lack or Darwin gets credit for describing the evolution of these remarkable birds?

Insofar as evolutionary theory contrasted with religious belief, it makes a big difference. In a culture that is eager to equate evolution with atheism, it should come as no surprise that these birds are only known as “Darwin’s finches”. Darwin’s personal struggles and ultimate rejection of Christianity are well documented, and people are eager to link his loss of faith to his evolutionary theory. David Lack, on the other hand, began his scientific career as an agnostic, but shortly after publishing his famous book on the evolution of Galápagos finches, he converted to Christianity! ²

A Christian at the forefront of evolutionary biology

Lack’s Christian conversion did not mark the end of his scientific achievements, either. In fact, he continued as a prolific researcher until just weeks before he died. Among his many achievements, he was Director of the Edward Grey Institute of Field Ornithology (1945-1973), Fellow of the Royal Society, and President of both the International Ornithological Congress (1962-66) and the British Ecological Society (1964-65). His fellow scientists held him in great esteem:

He was described as one of the most outstanding among world ornithologists; he was certainly this, but he was also one of the world’s leading evolutionists. All the time one saw developing his use of birds as material for the study of wider, deeper, biological problems.³

David Lack at the International Ornithological Congress, 1962.

Clearly David Lack was an outstanding scientist, and his commitment to Christianity did not tarnish, hinder, or undermine his research on evolution. But we might also ask, what was Lack like as a Christian? Did he keep his faith hidden from view, afraid that it might compromise his reputation as a scientist? Ernst Mayr, who interacted with David Lack professionally and personally for nearly 40 years, had this to say:

I have known only few people with such deep moral convictions as David Lack. He applied very high standards to his own work and was not inclined to condone shoddiness, superficiality and lack of sincerity in others. This did not always go well with those who preferred to compromise in favour of temporary expediency. David had been raised in an environment in which great stress was layed on moral principles and this attitude was later reinforced by his Christian faith. This explains his extraordinary unselfishness and modesty, and his great devotion to his family, to his students, to his friends, and to all the things that he lived for. The equanimity, indeed serenity, with which he faced death after his terminal cancer had been diagnosed is further evidence of the strength which his faith gave him.⁴

Like Asa Gray⁵ before him, and Francis Collins⁶ after, David Lack was an sincere, devout Christian, as well as a leading scientist who employed evolutionary theory to make brilliant discoveries about the natural world. Though Lack did not see any conflict between his scientific and Christian beliefs, he was sympathetic to the concerns of his fellow Christians. Therefore, ten years after publishing his masterpiece on Darwin’s Finches, Lack wrote another book entitled Evolutionary Theory and Christian Belief: The Unresolved Conflict.

Originally published in 1957, this book deals with the very same science and faith questions that Christians struggle with today— topics like randomness and chance, death in nature, miracles, and evolutionary ethics. While it would be unreasonable to expect anyone to completely resolve these matters, Lack offered numerous insights both as a devout Christian and one of the world’s leading biologists.

Let’s take a brief look at how Lack addressed some of these questions.

Blind Chance or Divine Plan?

Evolutionary theory does not invoke supernatural forces in explaining the history of life on Earth; instead, it relies on naturally-occurring processes to account for the vast diversity of life. Additionally, it explains animal behavior largely in terms of survival and reproduction, without appealing to any higher purpose of life. Taken together, does this imply that God is absent, and that our lives are ultimately meaningless?

David Lack responded,

Behind the criticism that Darwinism means that evolution is either random or rigidly determined lies the fear that evolution proceeds blindly, and not in accordance with a divine plan. This is another problem that really lies outside the terms of reference of biology. It is true that biologists have inferred that, because evolution occurs by natural selection, there is no divine plan; but they are being as illogical as those theologians whom they rightly criticize for inferring that, because there is a divine plan, evolution cannot be the result of natural selection.⁷

When rendering judgment on the ultimate meaning of life, biologists are speaking from their person beliefs, not from scientific authority. Moreover, Lack pointed out that many science enthusiasts have employed the concept of “randomness” in ambiguous and misleading ways:

Mutations are random in relation to the needs of the animal, but natural selection is not. Selection, as the word implies, is the reverse of chance.⁸

In support of his view, Lack pointed out that convergent evolution has produced uncanny resemblances between distantly-related species across the world, notably among marsupials in Australia. Different evolutionary trajectories can lead to very similar results.⁹

Death in Nature

After addressing concerns about the seeming “randomness” of evolution, Lack turned to another great concern, the role of death in natural selection:

Various writers–some Christian and others agnostic–have been troubled about natural selection not only because it seems too random, but also because it is so unpleasant.¹⁰

Image courtesy John Marsh Photography via Flikr

Genetic mutations are generally harmful, and for evolution by natural selection to produce new forms of life, an awful lot of organisms must die. For many Christians, it is inconceivable that a loving and merciful God would allow death on such a vast scale.

But Lack also pointed out that rejecting evolutionary theory doesn’t actually get rid of the problem of death. Regardless of what we think about evolution, the brute fact of mass extinction remains. Fossils of innumerable animals, plants, and microorganisms clearly demonstrate that the vast majority of species that have ever lived are now dead. It may be quite troubling for us to observe that our planet is a giant graveyard of natural history, but rejecting evolution will not change this fact.

Some Christians conclude that death could not have been part of the divine plan; instead, it must be the work of the devil, or the result of human sin. But this interpretation contains an implicit assumption that death is always evil. Is this really true? David Lack offered two intriguing insights:

Blue-cheeked Bee-eater (Merops persicus) pair in
courtship, seen in Basai, Gurgaon, India.
Image courtesy Koshy Koshy.

1. For a population to maintain a stable size, all births must be balanced by a corresponding number of deaths. A world in which no animals die is a world in which no animals are born. That means no reproduction, no courtship, and by implication, no singing birds—much to the dismay of ornithologists and people in love!

2. Some people, taking cues from Isaiah 11:6-7, suppose that in a perfect world, animals only eat plants. But in fact, plants themselves depend on the bacterial decay of dead organisms. If animals didn't die, then essential nutrients would disappear from the ground, and plants could not continue to grow. Eventually, there would be nothing left for animals to eat, and all life would cease.¹¹

Miracles

Many Christians are uncomfortable with evolutionary theory because it denies a miraculous, supernatural origin of life. They fear that if those miracles are denied, it might lead people to reject the possibility of miracles altogether, including the central feature of the Christian faith—the resurrection of Jesus from the dead.

As a devout Christian, David Lack certainly affirmed the fundamental tenets of the gospel. But at the same time, he explained to his readers that invoking miracles to account for unusual features of the natural world is not particularly helpful when trying to deepen our understanding of God’s great multitude of creatures:

[The biologist's] research depends on repeated observations. It need not, as popularly supposed, consist solely, or even mainly of measurements and experiments, but unless events are repeated, they cannot be assessed by science. Hence truly unique events come outside the domain of science, though biologists are not usually convinced when told they must, therefore, leave such problems as miracles to others. For one of the chief ways in which research has advanced is through the discovery of apparent exceptions to the known rules, and if further study shows the exceptions to be replicable, new regularities are revealed from which modified rules can be propounded. This method has been so successful that the biologist tends to doubt whether there are any types of irregularity, or seeming irregularity, that will not yield to it.¹²

But just because a scientist cannot repeat a particular event doesn’t mean it didn’t happen. Both natural history and human history contain unique events that only happened once. As we peer into the past, the difficulty of discerning fact from fiction inspires us to further investigate the mysteries that surround us.

Conclusion

David Lack’s book Evolutionary Theory and Christian Belief was quite insightful, but his enduring achievements took place in evolutionary biology, a place where many Christians are afraid to tread. While it is significant that he himself found no contradiction between his faith and his science, perhaps the greatest testament to the compatibility between Christian faith and evolution is the life he led as a believer in both. As we saw in Ernst Mayr’s candid praise, Lack reflected the light of Christ through both his personal and his professional relationships.

Today, many voices in our culture still insist that evolution is incompatible with a sincere faith in Jesus, but a careful look at history demonstrates otherwise. In the future, perhaps more people of faith will have confidence to study biology knowing that one of the most iconic symbols of evolution—the Galapagos finches—owe their fame in large part to a devout Christian named David Lack.

Notes

1. Mayr (1973) “David L. Lack.” Ibis: 433.
2. Larson, E. J. Evolution's Workshop: God and Science on the Galapagos Islands. New York, Basic Books, 2001: 218. See also Lack, David. (1973) “My life as an amateur ornithologist.” Ibis: 431.
3. Alister C. Hardy (1973). "David L. Lack." Ibis: 436.
4. Mayr (1973) “David L. Lack.” Ibis: 433.
5. For more about Asa Gray, see the BioLogos FAQ “How have Christians responded to Darwin’s Origin of Species?”
6. See Francis Collins’ autobiography The Language of God: A Scientist Presents Evidence for his Belief (New York: Free Press, 2007) (book info)
7. Lack, David. Evolutionary Theory and Christian Belief: The Unresolved Conflict. Methuen & Co., 1957: 67.
8. Lack, p65.
9. For more on convergent evolution and the possibility that evolution could be compatible with some form of divine purpose, see the work of Simon Conway Morris, especially The Deep Structure of Biology: Is Convergence Sufficiently Ubiquitous to Give a Directional Signal? Templeton Press, 2008.
10. Lack, p72.
11. Lack, pp75-76.
12. Lack, p82.

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.

(Written by the BioLogos editorial team)

In a recent lecture in Washington, D.C., Intelligent Design advocate Stephen Meyer noted that scientists and theologians are generally uncomfortable with the idea of "supernatural intervention" in natural processes such as evolution. He then posed the question, “What's so bad about supernatural intervention?” Meyer’s comment touches on a point of particular tension among Christians engaged in understanding how our science and our theology interact: the nature of divine action.

Much of the confusion in this area, however, stems from the inexact meaning of intervention, which—like evolution or Darwinism—implies different things to different people. All Christians affirm that God works powerfully in the world, doing extraordinary acts of creation and salvation. In common conversation, then, intervention tends to mean simply “acts that are recognizably or obviously God’s,” whether as dramatic as the parting of the Red Sea or as subtle as an individual believer hearing a clear call to repentance or to mission from the Lord. Even in this most casual sense, intervention tends to mean special occasions of God’s providential care, rather than his ordinary sustaining work.

But to Christian scientists and philosophers trying to understand God’s action in creation—especially how he might go about his sustaining role—intervention has another connotation: namely, that recognizing something as “divine action” requires it to be in violation of the natural laws which God himself established. Put another way, many Christian thinkers associate the word intervention with the idea that to act in the world God “must” act from outside the world. That view is a central tenet of deism, not Christianity. One response to Meyer’s comment, then, is to ask whether intervention is the only (or even a helpful) way of thinking about God’s work in biological creation. Is there another way of talking about “divine action” that does not restrict God's work to only extraordinary events? Can we conceive of divine action in a way God is never absent, distant, or in any way removed from the creation he sustains at every moment?

Finding such an alternative vocabulary to talk about the different ways God acts in his creation is the purpose of this short series introducing the work of theologian and physicist Robert John Russell. Russell’s book Cosmology: From Alpha to Omega explores the history of Christian thinking about divine action and proposes one model for how we might understand it in light of Scripture, the traditions of the church, and contemporary scientific explorations of the material world.

To be clear, Russell argues that God does unmistakably act in the world. He singles out the bodily resurrection of Jesus not only as a prime example, but as a truly unique event distinct even from Christ’s other miraculous acts during his ministry on earth. That is, the resurrection was an in-breaking of God’s new reality into the present one, something “beyond miraculous.” This series, though, offers his perspective on the more basic issue of how God might be at work in what we have called the “ordinary processes” of his world.

We begin our three-part series below with Professor Russell’s description of how views of divine action have changed throughout history (excerpted from Chapter 4 of Cosmology: From Alpha to Omega).

Historical background to the problem of divine action

The notion of God’s acting in the world is central to the biblical witness. From the call of Abraham and the Exodus from Egypt to the birth, ministry, death and raising of Jesus and the founding of the church at Pentecost, God is represented as making new things happen. Through these “mighty acts,” God creates and saves. Rather than seeing divine acts as occasional events in what are otherwise entirely natural and historical processes, both the Hebrews and the early Christians conceived of God as the creator of the world and of divine action as the continuing basis of all that happens in nature and in history.

The view that God works in and through all the processes of the world continued throughout Patristic and Medieval times. For example, God was understood as the first or primary cause of all events—where all natural causes are instrumental or secondary causes through which God works. The conviction that God acts universally in all events, and that we act together with God in specific events, was maintained by the Reformers and the ensuing Protestant orthodoxy. John Calvin (1509-1564) argued that God is in absolute control over the world and at the same time maintained that people are responsible for evil deeds. Questions about human freedom and the reality of evil were seen more as problems requiring serious theological attention than as reasons for abandoning belief in God’s universal agency.

Moreover, faith in God the creator was articulated through two distinct but interwoven doctrines: creation and providence. The doctrine of creation asserts that the ultimate source and absolute ground of the universe is God. Without God, the universe would not exist, nor would it exist as “universe.” Creation theology, in turn, has often included three related but distinct claims: 1) the universe had a beginning; 2) the universe depends absolutely and at every moment on God for its sheer existence; and 3) the universe is the locus of God’s continuing activity as Creator. The first two have traditionally been grouped in terms of creatio ex nihilo(creation from nothing), and the third in terms of creatio continua (continuing creation).

The doctrine of providence presupposes a doctrine of creation, but adds significantly to it. While creation stresses that God is the cause of all existence, providence stresses that God is the cause of the meaning and purpose of all that is. God not only creates but guides and directs the universe towards the fulfilling of God’s purposes. These purposes are mostly hidden to us, though they may be partially seen after the fact in the course of natural and historical events. The way God achieves them is hidden, too. Only in the eschatological future will God’s action throughout the history of the universe be fully revealed and our faith in it confirmed. General providence refers to God’s universal action in guiding all events; special providence refers to God’s particular acts in specific moments, whether found in personal life or in history.

Divine intervention arises in the Enlightenment

The rise of modern science in the seventeenth century and Enlightenment philosophy in the eighteenth, however, led many to reject the traditional views of divine action. Although Isaac Newton (1643-1727) argued for the essential role of God in relation to the metaphysical underpinnings of his mechanical system, and in this way defended the sovereignty of God in relation to nature, Newtonian mechanics depicted a causally closed universe with little, if any, room for God’s special action in specific events—and then only by intervention: that is, by acting as from outside that closed system. A century later, Pierre Simon Laplace (1749-1827, pictured left) combined the determinism of Newton’s equations with epistemological reductionism (the properties and behavior of the whole are reducible to those of the parts) and metaphysical reductionism (the whole is simply composed of its parts), to portray all of nature as a causally closed, impersonal mechanism. This in turn led to the concept of interventionism: if God were really to act in specific events in nature, God would apparently have to break the remorseless lock-step of natural cause and effect by intervening in the sequence and violating the laws of nature in the process.

The eighteenth century also saw the rise and fall of deism, in which the scope of divine agency was limited to an initial act of creation. According to deism, the universe was like a clock which, once built and set in place, proceeded to run on its own. David Hume (1711-1776) challenged the deistic (and theistic) arguments for God as first cause and as designer. In response, Immanuel Kant (1724-1804, pictured right) constructed a new metaphysical system which emphasized the mind’s role in organizing sense-data through universal categories of intuition and forms of sensibility. According to Kant, the sphere of religion lies not in our knowing (the activity of pure reason) but in our sense of moral obligation (the activity of practical reason). It is our ethical system, not our knowledge of nature, that requires us to postulate God, freedom and the immortality of the soul. The consequence of Kant’s thought for the West was the philosophical separation of the domains of science and religion into “two worlds”—a move which was to have an immeasurable effect on Christian theology up to the present.

Theology splits into conservative and liberal interpretations of divine action

As a consequence of the philosophical division of science and religion, theology in the nineteenth century was faced with a fundamental challenge not only to its contents and structure, but even to its method. The variety of responses to this challenge tend to fall into two groups: “liberals” largely accepted and worked within the terms of the discussion that modernity dictated while “conservatives” upheld traditional formulations and tended to reject “modernity.” The earliest and most influential figure among liberals was Friedrich Schleiermacher (1768-1834), who responded to Kant by locating religion as neither a knowing nor a doing. Instead religion is grounded in personal piety—the feeling of absolute dependence.

Schleiermacher held that theological assertions emerge from the immediacy of the religious self-consciousness. He understood God’s relation to the world in terms of “universal divine immanence” [the idea that God is present to the entire cosmos at all times], and he blurred the distinction between creation and providence by collapsing the later into the former. In a famous move he defined miracle as “. . . simply the religious name for event. Every event, even the most natural and usual, becomes a miracle, as soon as the religious view of it can be the dominant.” Schleiermacher’s arguments became characteristic of liberal Protestant theology throughout the nineteenth century and continued into much of twentieth century theological work.

The second half of the nineteenth century saw the rise of Darwinian evolution, which combined random variation and natural selection to explain biological complexity. To some in the nineteenth and twentieth centuries, the fundamental role of chance in nature seemed to undercut any notion of divine action in the world; to others, such as the Anglo-Catholic liberal movement in Britain and America, Darwinian evolution could be accommodated and even integrated into theology without interventionism, since God works immanently in and through the very processes of nature. In contrast, religious conservatives tended either to reject evolution as a whole or give it a limited acceptance with the proviso that the objective acts of special providence constitute divine interventions in nature.

The rise of neo-orthodoxy in the twentieth century

Protestant theology in the first half of the twentieth century was largely shaped by Karl Barth. In his rejection of nineteenth-century liberal theology, Barth returned theology to its biblical roots and focused it on the God who is “wholly other.” Recognizing that a religion founded exclusively on subjective experience is vulnerable to the critiques of Feuerbach and Freud, Barth and his followers held fast to the objective action of God in creating and redeeming the world. “The Gospel is . . . not an event, nor an experience, nor an emotion—however delicate! ... It is a communication which presumes faith in the living God, and which creates that which it presumes.” The ‘God who acts’ became a hallmark of the ensuing “biblical theology” movement which arose in the 1940s and 1950s. To many this movement seemed to offer a tertium quid between liberal and conservative theologies.

But do Barthian neo-orthodoxy and the biblical theology movement actually produce a credible account of divine action? On the one hand neo-orthodoxy attempts to distance itself from liberal theology by retaining biblical language about God acting through wondrous events and by viewing revelation as including an objective act. Yet on the other hand, it, like liberalism, accepts the modern premise that nature is a closed causal system, as depicted by classical physics. The result is that neo-orthodoxy seems to assert a contradiction: God does act objectively in nature (as conservatives believe) and God does so without intervening, violating, suspending or obstructing the ordinary processes of nature understood as a closed causal system (as liberals believe).

A third way between liberal and conservative theologies

Any purported “third option” will require an intelligible concept of objectively special providence which does not entail divine intervention. Such a concept could serve as a genuine tertium quid to conservative and liberal notions of special providence, combining strengths borrowed from each. Specifically, we will seek to speak about special divine acts in which God acts objectively in an unusual and particularly meaningful way in, with, and through events which serve to mediate God’s action. We will seek to do so without entertaining—in fact by refusing—the additional claim that God must intervene in, or at least suspend, the laws of nature. Those laws are themselves the result of and description of God’s continuous creation, after all. I call this type of divine action Non-Interventionist Objective Divine Action (NIODA).

In part 2 of this series, Tom Burnett will explore in more depth what Russell takes to be wrong with the Enlightenment concept of “supernatural intervention.” Part 3 will explain and clarify Russell’s theory of NIODA.

From Chapter 4, “Does ‘The God Who Acts’ Really Act? New Approaches to Divine Action In Light Of Contemporary Science,” in Cosmology: From Alpha to Omega by Robert John Russell, copyright © 2008 Fortress Press. Reproduced by permission of Augsburg Fortress Publishers. All rights reserved. No further reproduction allowed without the written permission of the publisher.

“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.

This ongoing series grew out of a conversation that Kenneth Keathley, the Senior Vice President for Academic Administration at Southeastern Baptist Theological Seminary and I had last year. We agreed that he would solicit a set of essays from scholars at Southern Baptist Seminaries who would specifically identify their concerns about what they perceive to be the BioLogos view of creation. In response to this request, Dr. William Dembski of Southwestern Baptist Seminary submitted the essay “Is Darwinism Theologically Neutral?” Although I do not consider my view Darwinian, I am sure that my view and that of others associated with BioLogos is perceived that way by some, so this gives me an opportunity not only to respond to his analysis, but to clarify my position on creation and how I think it is distinct from what Dembski calls “Darwinism."

God’s Activity in Creation

I will begin by summarizing my view of the nature of God’s activity in creation. I think that God created all living organisms, including humans, through the evolutionary process. Acceptance of creation through evolution does not mean that I reject the notion of a miracle-working God. On the contrary, I believe in the miracles of Scripture, and I believe that we’ve experienced God’s supernatural activity in our own lives. I stand in awe of a personal God whose activity is not constrained by natural laws, but also includes supernatural acts.

But what are the natural laws? Are not the the laws of nature simply a description of God’s ongoing and non-ceasing activity in the universe? The Law of Gravity, for example, is not something that God set up in the beginning, thereafter recusing himself from further involvement and exiting from the scene. Instead, the Law of Gravity works as it does because of the ongoing activity of God’s Spirit in the universe. So consistent is that activity that it can be described mathematically through scientific analysis. If God ceased to be active, however, then not only would the matter of this universe no longer function in a way which enables a mathematical description of gravity, matter itself would cease to exist. Paul, referring to Christ, writes “All things are created by him and through him.” Continuing, he goes on to state that “He himself is before all things and in him all things hold together” (Colossians 1:17). So he created in the beginning and, indeed, “…without him not one thing came into being.” (John 1:3) But it doesn’t end there: his ongoing activity is necessary for the universe to function. As the writer to the Hebrews declares “He sustains all things by his powerful word.” (Hebrews 1:4) The laws of nature, then, are simply a description of the ongoing activity of God which—because it is so consistent, dependable, and pervasive—points to the trustworthiness of God. Put another way, the activity of God is not restricted to that which we call the supernatural; it is all God’s activity. It is just that some aspects of God’s activity are so consistently repeatable that we can develop laws which describe the regularity of the divine activity which “holds” and “sustains” the universe. This latter type of activity is no less magnificent just because God does it continuously. Indeed, the Psalmist marveled at God’s natural activity and worshipfully reflected upon it.

On the other hand, the God we know through Scripture and personal experience also works in ways that are not mathematically predictable. We call this aspect of God’s action supernatural, and we seem to think of this facet of God’s work—this law-defying activity—as being more God-like. Indeed calling it super-natural suggests we think of it as God’s “turbo-charged” activity. But are not miracles simply a reflection of God choosing to work in a unique, non-customary manner to accomplish God’s purposes in God’s time? (See here for more detail.) When God works in this way, Scripture generally presents such activity in the context and purpose of God’s desire to enter into or renew a relationship with an individual or with a community of people. For example, God’s miraculous involvement in the lives of the elderly couple, Abraham and Sarah, led to the birth of their son, Isaac, and marks the beginning of God’s very special relationship with their descendents. God’s interaction with Moses through the burning bush initiated a new phase of God’s relationship with the Hebrew people as they moved out of slavery and back into the Promised Land. And of course, the supreme examples of miraculous activity are the incarnation, the empty tomb, and the resurrected Body. We worship a personal God whose desire for an ongoing loving relationship with humankind is first laid out in the early chapters of Genesis, but does not end there. In all divine activity—supernatural and natural—God is just being who God is: Creator, Sustainer, and loving Father. There are not two sets of activities, even though we label them “super” and “ordinary.” All are “super,” because all describe the activity of our supernatural God. Some are regular, predictable and ongoing, while other activities of God are not, for reasons often based in the fact that God is lovingly responsive and relational.

The Genesis narrative gives us no details about the mechanism by which God brought the universe and life into existence. God gave the charge: “Let there be lights in the dome of the sky..., “ “Let the waters bring forth…,” “Let the land bring forth…,” “Let the birds multiply…,” and, in response, we are told, it happened. Scripture does not explain how it happened, although as we read God’s other book—the book of nature—we see that God’s work extended over a long period of time. In these details, the Bible does not say whether the “bringing forth” was fulfilled through God’s natural activity (that which is regular, ongoing, and can be described by science) or God’s supernatural activity (that which is not regular and predictable). Given the many examples of supernatural activity in Scripture, we human beings tend to expect that for something as special as creation of stars or new species, supernatural activity would have been required. But we cannot derive this from the scriptural account and, therefore, it is wise not to second-guess how God might have worked based on the Scriptures.

Indeed, the distinction is softened by Scripture itself, which often speaks of God’s natural activity in ways that sound supernatural. For example, the Psalmist writes of God opening his hand to feed the living creatures (Psalm 104:28). We know how God does this and so did the Psalmist—he did it through natural means—but it was still God’s process and God’s provisions. Job speaks of thunder as being the voice of God (Job 40:9). We know God’s natural activity produces thunder and we can describe the laws that are responsible for it, but the fact that we know how it works certainly doesn’t negate the point being made in the book of Job. When the Psalmist describes the heavens as being the work of his fingers (Psalm 8:3), this does not negate astronomy’s description of the regular and ongoing processes that give rise to stars in God’s universe. Those processes are natural, but they are every bit as much God’s activity as if he were to take huge balls of matter and miraculously fashion sparkling stars with his hands.

Still, given that there is extensive supernatural activity exhibited in God’s interaction with Israel and in the life of Jesus, it is entirely possible that he did work supernaturally in fulfilling the creation command, as well. Even though the miracles described in the Bible primarily serve some theological or pastoral purpose that stems from God’s earnest desire to make his presence known and to deepen his relationship with humankind, we should reserve judgment about whether only God’s natural activity was responsible. It is not clear though, that supernatural activity would often be God’s chosen mode of action millions of years before humans had arrived. Thus, we should not assume with certainty that God would choose to use supernatural flurries of activity if his ongoing regular activity—that described through natural laws—would accomplish the same end, albeit over a longer period of time. For all we know, God may prefer slowness, even though we seem to be inclined to think that faster is better. After all, in the history of Israel and the church, God gave no new prophecy for 400 years before the coming of Christ, and it took the early church five centuries to come to a clear—albeit mysterious—understanding of the Trinity. Even now, two thousand years after Christ, we wait for his return.

In the next part, Darrel responds to Dembski’s lists of non-negotiables and clarifies how he sees BioLogos as different from “Darwinism”.

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.