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.

Despite this usage, most of us know that randomness has something to do with probability, and that it often implies a lack of conscious intentionality. But what do mathematicians and scientists mean when they say something is random? Can a random process lead to an ordered, even predictable outcome? Is there evidence that God makes use of random processes to fulfill his creative purposes?

These are big questions, and we won’t address them all today. But I think randomness is an important topic to cover for two reasons: 1) it is integral to many processes in biology (and math, physics, chemistry, etc.), and 2) it is commonly misunderstood to be incompatible with Christianity.

As I said above, most of us know that randomness has something to do with probability. If you pick a card “at random” from a shuffled deck, you have a small probability of drawing an ace (4 out of 52, or a 7.7% chance). If you flip a coin, you have an equal probability of getting heads or tails.

Randomness also seems to imply a lack of intentionality or purposefulness. After all, you might hope for an ace when you draw a card, but you can’t choose one on purpose. You might call heads when you flip a coin, but you can’t know beforehand what the outcome will be. Thus the outcome is indeterminate, but is it purposeless? Not necessarily. Indeterminacy simply means the result cannot be predicted from the outset.

It should be noted that indeterminacy does not imply that God does not have foreknowledge of future events. Christians ought not to be uncomfortable with the idea of God interacting with his creation through chance. We often describe a seemingly-random (i.e. unplanned by us) sequence of events as being “providential,” or planned by God.

In biology, it is very hard or impossible to calculate precise probabilities for most processes, so when we say a process is random, we typically mean it is extremely unpredictable. Eventually we will discuss randomness within biological evolution, but first we must consider some simpler processes, like the self-assembly of a virus.

Viruses are remarkably efficient entities. Coiled tightly within a protein-based shell is a small amount of DNA needed for self-replication. The shell, called a capsid, is made of many repeating protein subunits and is therefore highly symmetrical (see figure). Important biomedical insights have certainly been gleaned from structural studies of viruses, but viruses also teach us about the emergence of order from non-order.

The virus life cycle has four main steps: 1) enter a host cell, 2) hijack the cell’s replication and translation machinery to make many copies of itself, 3) assemble into many virus particles, and 4) exit the cell to invade another host.

When I first learned about this process, I found it very hard to believe it just “happens.” The idea that a bunch of molecules bumping into each other inside a crowded cell could spontaneously assembly into a fully-functional virus seemed a bit far-fetched. Many viral capsids have over 100 protein subunits that must interact with each other in just the right way, or it won’t work. Surely there must be something driving this process, right?

There is! Random motion. I had to see it to believe it. I distinctly remember sitting in class during my first year of graduate school when the professor demonstrated self-assembly of a virus using a 3D model as shown in the following video. In less than 30 seconds, you can watch a jumbled heap of proteins become a beautifully ordered structure.

As the narrator explains, sub-assemblies form and break apart en route to the most stable structure, the full capsid. As the sub-assemblies begin to form, further associations with free subunits become more favorable and as a result occur rapidly, while the final steps may take considerably longer. While the subunits in the model are rigid, in reality the proteins take on multiple conformations, allowing the capsid to “breathe.”

Amazing as it is, the system we just considered—one virus capsid in a jar—is pretty simple. One wonders how self-assembly can happen in a crowded cell, where there are countless other molecules diffusing around, potentially getting in the way. We can’t directly see how it happens in a cell, but we can reconstitute the process in a test tube using different combinations of constituent molecules.

Consider two viruses, where each protein subunit in one virus is the mirror image of the corresponding subunit in the other. Putting the two viruses together by hand would be pretty tricky, because the constituent parts look so similar. But random motion can do the job in short order:

From this model, we can see clearly, in real-time, how distinct complex structures can arise from their parts randomly interacting with one another. Many large viruses also use special scaffolding proteins to assist in the assembly process, and some even use their own genomes as a scaffold. In addition, two closely-related viruses that happen to infect the same cell can exchange parts to create a new virus. This is one way viruses can evolve quickly to evade the host’s immune system.

Here we have seen how viruses demonstrate a principle inherent in God’s world—that order can emerge out of chaos from random processes. In my next post, we will look at some other biological processes that make use of—rather, depend on—randomness. This will set the stage for us to see that such processes can not only assemble a structure within seconds or minutes, but also generate complex, information-bearing molecules over billions of years. Even though the freedom inherent in nature sometimes produces unintelligently-designed structures (like viruses, which can kill us), we see that God has made, and continues to oversee by his providence, a good creation that, at least in part, is capable of creating itself.

Next weekend, we’ll continue this series about randomness and God’s divine will. Up next: how God created the body to heal itself, and how can random mutations can be both harmful and benign.

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.

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.

Suppose a man falls among thieves, or wild beasts; is shipwrecked at sea by a sudden gale; is killed by a falling house or tree. Suppose another man wandering through the desert finds help in his straits; having been tossed by the waves, reaches harbor; miraculously escapes death by a finger’s breadth. Carnal reason ascribes all such happenings, whether prosperous or adverse, to fortune. But anyone who has been taught by Christ’s lips that all the hairs if his head are numbered [Matt. 10:30] will look further afield for a cause, and will consider that all events are governed by God’s secret plan.

In this passage, Calvin presents belief in “fortune” as evidence of carnal reasoning, and statements like this one have contributed to a widely-held notion that modern scientific understandings of the role that randomness plays in nature is inconsistent with belief in divine providence. In other words, if “randomness” equals blind and capricious “fortune,” then how can God be said to be working all things to his ends?

But Calvin could not have known of the very different understanding of randomness held by today’s scholars. Physical scientists, mathematicians, and statisticians have not yet agreed on a single unambiguous definition of the term “randomness,” but among these scientists, the term consistently refers to a family of related concepts focusing on unpredictability of the outcomes of single events and the absence of pattern in sequences of outcomes. I like this statement by John Polkinghorne, “Chance doesn't mean meaningless randomness, but historical contingency. This happens rather than that, and that's the way that novelty, new things, come about.” In Polkinghorne’s view, chance is an agent of creativity and can be perceived as being purposeful.

In fact, there are abundant examples of phenomena in nature in which randomness plays a role one could understand as being purposeful. For example, osmosis is a marvelous mechanism that enables all 10 trillion cells in our bodies to be nourished – it depends on the random motion of molecules. The human immune system is able to defend the body against attacks from millions of different microorganisms using a relatively small number of building blocks and random combinations of these to fashion defenses specific to each adversary. We never take a breath and find it to be all nitrogen or carbon dioxide – random motion of molecules keeps oxygen close to uniformly distributed throughout the atmosphere.

In 2007, a British statistician, David Bartholomew published God, Chance, and Purpose in which he argues that God “can have it both ways”—that he can use low level randomness to accomplish divine purposes while simultaneously maintaining order at a higher level. Of course, we cannot prove that God ordained these random processes to achieve divine purposes in the world. But to a person of faith, such an interpretation in both consistent with the observations we make in science and with the Scriptural notion of God’s providential care for the world.

Considerations like these led the John Templeton Foundation to provide a generous grant of $1.69 million to support a new research initiative on the theme of Randomness and Divine providence. Beginning this past summer, the program has the purpose of providing support for solid theoretical exploration of the kinds of ideas and possibilities expressed above—involving theology, philosophy, natural science, mathematics, and statistics. The grant will support individual scholars and teams of scholars who are willing to devote a significant amount of time between March of 2013 and June of 2015 to such work, and the project’s request for proposals suggests the following as questions researchers might pursue:

• How might God work providentially through indeterminate processes? Can recent advances in understanding the nature of randomness offered by algorithmic information theory, physics, biology, and other sciences provide insight into this question?
• Can we bring clarity to the concept of "randomness"? Philosophers and scientists have tried on occasion to give precise definitions of when a process is random, but more work needs to be done on the question. How do (or should) conceptions of randomness vary across academic disciplines?
• What are some possible implications of randomness for hiding or unfolding divine creativity and purpose in the world? Could God use randomness to (1) generate creativity, (2) hide divine actions, or (3) unfold information? Why might God do so?
• How might we identify and come to understand a significant collection of nondeterministic processes in which agents could intentionally employ randomness to bring about purposeful results?
• How might we mathematically and physically model random processes in ways that help us understand how divine providence could be exercised in a "chance-governed" world?
• How do "laws and orders" in nature interplay with "chance and randomness" in bringing about results that can be interpreted as aspects of divine providence?
• Might randomness be evidence of limitations in human knowledge but nothing more? Or might it be evidence of ontological indeterminism? Might this be tested?
• What implications does randomness have for aspects of God’s relationship with the physical world such as God’s relationship to time and God’s role in causation? How might randomness be reconciled with God’s foreknowledge?
• How might an understanding of providence based on an extended Molinism and/or open theology incorporate randomness? For example, could an extended Molinism provide a plausible account of the relationship between quantum mechanics and divine providence?
• What are some theodical implications of randomness, particularly for the issue of natural evil?
• How have the theological traditions of Augustine, Maimonides, Aquinas, Luther, and Calvin addressed chance and fortune? In what ways might they incorporate ontological randomness?
• How do or could religions other than the Judeo/Christian tradition understand and incorporate randomness?
• How is the concept of randomness understood by advocates of secularism, naturalism, and new atheism? What are the strengths and weaknesses of these usages?
• How might an understanding of randomness in the world alter our conceptions of divinity, especially our understanding of divine providence?

Despite the range of issues mentioned above, research is by no means restricted only to these topics. In fact, the structure of the program is designed to foster collaboration and build community between scholars, with the end of expanding the range and integration of their work: two conferences will be held to bring scholars together with each other and then with members of the public—one at Calvin College in 2013 and the other at Fuller Theological Seminary in 2015. To get more information and to learn how to submit a proposal, see the project website; then join us in exploring the truth that all creation glorifies God—even randomness!

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.

For more, be sure to read Randall Pruim's recent series Randomness and God’s Governance, Kathryn Applegate's post That's Random: A Look at Viral Self-Assembly, and our FAQ How Do Randomness and Chance Align with Belief in God's Sovereignty and Purpose?.

Author's Note

I am so thankful that I grew up in a Christian environment, which both kindled and nurtured my relationship with Jesus Christ. The Biblical instruction I received from my parents, pastors, and teachers has been invaluable as I walk out my love for the Lord from day to day. However, there was one specific topic growing up which was not fully addressed, namely evolutionary theory.

Coming from a conservative Christian background, evolution was given little or no thought because of its seeming contradiction to the creation story in Genesis. To me, evolution meant a monkey became a human, and as far as I knew, I had never seen that happen! So, of course, it appeared too improbable to hold any truth. When it was discussed, an inadequate picture of its ideas was often painted, which caused immediate suspicion and rejection of the theory. I don’t think this was intentional, but most Christians have never learned an unbiased, in-depth theory of evolution that is completely detached from societal agendas and philosophical conclusions. Therefore, their explanations of the theory are often misinformed.

My senior year of high school, I took AP Biology, and finally learned the scientific reasoning supporting this theory. I was surprised by how logical and obvious the mechanisms of change (such as mutations, natural selection, genetic drift, and so on) were that gave rise to new species. My subsequent response was, “No wonder people believe evolution occurred.” At that point, I was convinced that microevolution (evolution within a species) existed, but I was still questioning macroevolution.

Now, being at Point Loma Nazarene University as an undergrad in the Biology-Chemistry major and a year-round, student intern at BioLogos, my understanding of evolution has expanded enormously. I have enjoyed critically thinking through the evidence for evolution and reading articles that tackle difficult issues at the interface of science and Christian faith. Ultimately, I know that God has created all things, but the processes he used surpass my small understanding.

My personal wrestling with evolution and quest for truth has led to times of prayer and studying God’s Word, which has deepened my love for him in ways I cannot express. The first chapters of Genesis, in particular, have come alive. My whole life, the creation story was a straightforward list of facts about the creation of the world; I never searched further. I didn’t even perceive the truths Genesis declared over my very identity and God’s character. The more I study his Word and handiwork, I glimpse the awesomeness and majesty of the Creator, who loves me much more than I know. There is still so much to learn, but I am confident that he will lead me into all truth as I seek him out.

I desire to give others the opportunity to see evolution accurately and to distinguish it from the traditional, philosophical, and personal conclusions that too often cloud the scientific theory. I believe these conclusions alienate Christians from evolution more than the scientific theory itself. Ultimately, I do not mean to convince someone about evolution, but simply to give them the freedom to understand it.

Therefore, my goal for this podcast is two-fold:

• First, to offer a new perspective on randomness within natural processes that removes its negative connotations (especially as it relates to evolution).
• Second, to expose why evolution is powerless to support conclusions beyond the physical realm.

This will hopefully encourage others to study evolutionary theory and draw their own conclusions about its meaning in the framework of their faith.

Many of the games I enjoyed playing involve a combination of strategy and randomness: card games of various sorts, backgammon, and board games like Monopoly and Parcheesi. Some games that rely exclusively on chance (like War and Candy Land) or too heavily on chance (like Sorry) quickly became uninteresting to me. In fact, for Sorry, War, and several other games, I introduced additional rules to change the balance of strategy and luck—for example, by allowing each player to hold a hand of cards rather than merely flip a card and follow its bidding.

When my children were young, I played many games with them, especially those involving some amount of chance. I always play to win, so games of pure strategy like chess gave me too great an advantage—at least when they were still young. I still remember the first time I played the German game Mitternachtspartie with my children and some of their cousins. The game uses a die on which the number 5 has been replaced with the image of Hugo the ghost. Each player rolls the die and moves one of his figures the specified number of squares, unless Hugo is rolled, in which case Hugo moves instead.

I quickly worked out the expected distance Hugo would move for each of my turns and the expected number of squares I would get to move my own figures each turn. Using that information, I could strategically place my figures in the opening portion of the game. I fully expected to win this first game, since my young children were going to have to learn from experience what I already knew by the mathematics of probability. I lost—badly. As it turned out, the die had two Hugos on it. So compared to my expectations, Hugo moved twice as often, and my figures moved slightly less far. That combination turned the carefully calculated positioning of my figures into a disaster.

From Fun and Games to Science

I still enjoy playing games, including games that involve chance. But these days I encounter randomness even more often in my profession. I was trained as a mathematician and now work at the intersection of mathematics, statistics, and computer science. Like many scientists, I use randomness on a daily basis as part of our toolkit for modeling and investigating all sorts of phenomena. Models known as stochastic models, which explicitly incorporate random components, often via simulation in computer software, are used to model everything from diffusion to genetics to quantum mechanics. Insurance companies and financial institutions use stochastic models to manage risk. If we include all the applications of statistics, then almost no area of science is untouched by the use of randomness.

Most of the time, scientists and game players alike don’t devote much thought to just what makes randomness tick. But they both know that the better they understand the probabilities, the more successful they are. Nevertheless, if you ask many of them what it means for something to be random, they may struggle to put it into words. I won’t try to give a precise definition either, but it is important that we have some idea what we are talking about, so let’s consider one of the prototypical examples of randomness: the tossing of a fair coin.

If I flip a coin, the result could be heads or tails. Until I flip the coin, I don’t know which it will be. In this sense, the coin toss is unpredictable. If the coin is fair, each result is equally likely, so while I cannot say in advance whether a particular result will be heads or tails, I can say something about a large number of flips: approximately half should be heads and the other half tails.

A little mathematics even allows me to determine a range around 50% in which the percentage will almost surely lie. For example, if I flip a fair coin 1,000 times, the percentage of heads will most likely be between 45% and 55% (where “most likely” means a 99% chance). If the percentage of heads lies outside this range—especially if it is quite far outside this range—I am going to be suspicious that the coin flipping process is not fair. That’s one of the key ideas in statistics: not only can we calculate the frequency with which an event occurs, but we can compare data to a stochastic model to see if they are compatible or incompatible.

There are several interesting things we can learn by considering a coin toss. First, probability calculations rely on assumptions. If the assumptions are incorrect, then the probability calculations will also be incorrect. For example, if the coin is biased (such as one that is heads 60% of the time), but we assume it is fair, then the probability calculations given above will be wrong. Of course, if the assumptions are not too far from correct, the results may still be sufficiently accurate for scientific conclusions. If we have an appropriate way to collect data, then we can test our assumptions by comparing data to projections made based on the assumptions.

Second, “random” does not imply “equally likely.” A fair coin should have equal probabilities of heads or tails, but a biased coin is no less random. It’s just different. It is not as simple to handle arithmetically as a situation in which all outcomes are equally likely, but it is not otherwise special. It is a common mistake to assume random events are equally likely when they are not (or when that assumption is not justified).

Third, randomness is about the process. It is a fun experiment to flip a penny 100 times, then spin a penny 100 times and record the side that is showing when it finally tips over, then to stand the penny on end (this takes a steady hand and a little practice) and record which side is showing after pounding the table. These are three different processes, and they do not yield the same results.

Fourth, random processes produce patterns. I sometimes ask my students to mentally flip a coin and record the results as a sequence of letters (e.g., “HTTHHTHT”). Then I have them actually flip a coin and record the results. If the sequences are long enough, I can almost always tell them which is which. The sequences imagined by the students tend to have too few runs of consecutive heads or tails. The sequences based on real coin flips usually include several heads in a row. People not familiar with randomness are often surprised at the patterns that result and assume that the process must not have been random when they perceive a pattern. Our eyes and minds are drawn to similarities and patterns—even those that are produced purely randomly. This can lead us to draw false conclusions from coincidences of all sorts.

Consider the image in Figure 1. It was constructed using a computer to randomly throw 300 darts at a square board. Every position on the board was equally likely to be hit by a dart. This does not, however, mean that the dots are evenly spaced. There are 100 smaller squares. The average is three dots per square. But your eye is likely drawn to some clusters and voids. My eye also catches a graceful downward swoop in the lower part of the upper left quarter. All of this is exactly what we should expect from this random process. If we repeated this experiment, we should expect similar results. Several of the smaller squares would be empty and some others would have two or three times the average number of dots, but these clusters and voids would appear in different places.

Finally, randomness can be used to produce patterns intentionally. Consider the two pictures in Figure 2. You may think the two pictures are identical, but they are not. However, they were each constructed using the same random process:

1. Start at the lower left corner of the big triangle.
2. Randomly choose one of the three corners of the big triangle.
3. Move half way to that corner, placing a dot at the new location.
4. Repeat steps 2 and 3, 50,000 times.

The first few steps of this process for each image are illustrated in Figure 3. Although the final images look very similar, the route taken to get there is very different. In fact, the only point the two images have in common is the starting point. As the creator of the program that generated these images, I knew full well that the result would resemble a fractal image known to mathematicians as Sierpinski’s Triangle, even though I did not know or exercise any control over how the individual points would be selected.

Despite our familiarity with children’s games and the importance of stochastic models throughout the sciences, many Christians have a reaction to randomness that falls somewhere between uneasy and antagonistic. And yet, those same Christians may well watch the evening news to learn about public opinion polls forecasting upcoming elections, take prescription drugs approved by the FDA based on statistics found in clinical trials, obtain electrical power from a nuclear power plant that uses random fission reactions, and insure their cars with companies that rely on stochastic models to set the rates. The foundation of each of these activities is a thorough understanding of randomness that begins with the simple description above.

So where does the uneasiness come from? Likely it comes from the feeling that taking randomness seriously means not taking God seriously. Or put more strongly, it comes from a fear that believing in randomness means not believing in God. Next week we’ll address that problem by asking the question, “Could God use randomness to achieve his purposes?”

In the 1950s, Cage began using various methods of “casting lots” to determine how elements of his music would be chosen and arranged—principally the Chinese system of I Ching. His controversial program was to distance himself from his own creative process, and he explored many additional strategies to transform the role of “creator” into one of “observer.” Most famous of these was his musical composition, “4.33,” which consisted of a pianist sitting at the instrument doing nothing at all for four minutes and thirty-three seconds, while musician and audience listened to the ambient sounds of the concert hall. Yet contrary to that main thrust of Cage’s work, a description of the activities during the week-long residency at the Mountain Lake Workshop where the New River Watercolor Series were made suggests that choice, constraint, and intention were integral and inescapable tools in putting randomness to work for creative ends.

Here’s art historian and theorist Howard Risatti’s description of Cage’s plan of action for the New River Watercolors, from the website of artist Ray Kass, who runs the Mountain Lake program and was Cage’s collaborator for his work there:

Following upon [a previous (1983) Mountain Lake workshop] “painting experiment,” stones collected from the New River were sorted into three groups according to size, which were separately numbered; numerous and varied brushes were divided into two separately numbered groups; likewise, feathers to paint with, colors and washes, and papers were also divided and numbered. In this way, chance procedures using pages of random numbers that were now generated by a computer program could be used to determine the specific materials utilized for each painting (e.g., which painting instruments, what type of paper and which colors, how many washes, which stones to paint around, where to locate the stones on the paper).

While this list enumerates all the specific variables that Cage and his team submitted to chance, there was an incredible level of personal engagement with the materials: Cage didn’t just show us drawings of where the I Ching said the rocks ought to be, he (or his assistants) placed them on the paper and used them as guides to paint around. Large custom brushes were constructed to lay on washes of color, and even the paints were hand mixed, combined, and diluted according to his desires.

Cage’s use of chance, then, was not a “hands off” process, but neither was it a matter of total control: Cage selected processes to create a space of play between himself and the materials he used: the feather between himself and the paper, for instance, introduced variability of resistance and spring, its ability to hold paint, the width of the line. All of these things were elements of material ‘freedom,’ areas in which Cage asked the stuff he used to make the paintings to take part in the process—to contribute its own identity to the intentional, purposeful, and determined work of creating “based on chance.” This should not be surprising, as all art, all creation that we can observe, happens as a dialectic between materials and the creator, and such engagement and interaction in no way lessons the purpose of making, the end in sight.

Kass’ book The Sight of Silence: John Cage’s Complete Watercolors, gives a much more complete account of the tools, processes, and interpersonal reactions between Cage, Kass, and the team of student assistants who helped at almost every stage of the creation of the works. The book goes to great length to honor Cage’s ideal of being present in but not controlling the outcomes (not least by nearly always putting words like “choice” in quotation marks), but the description of his process makes the centrality of Cage’s personal aesthetic and artistic motives inescapable, even more than his physical engagement. What comes through perhaps even more than the way Cage intended to allow chance to ‘guide the creative process’ is that way Cage, himself, not only set the parameters of the chance he allowed into the system, not only engaged directly with the materials during the process, but also exercised judgment over the results, both in process and at the end:

“Cage decided he didn’t want the images of the stones to overlap or go off the sides of the paper. To guarantee this restriction, he created conditions and rules to limit their possible placements.” (p. 51)

“For this single painting [Series IV, #1, pictured above] Cage chose to confine the images of the rocks to a lower area of the paper that represented the proportion of the “golden rectangle. . .” (p. 57)

“While “choice” established much of the work’s nature, “chance” highlighted the intrinsic nature of the materials to reveal a refreshing presence.” (p. 59)

“[H]e initially decided to remove [the first painting of Series III] from the group, and then, liking it more, changed his mind and returned it to the group that would be signed.” (p. 56)

This last note is particularly interesting in that it highlights the fact that Cage was claiming these paintings, naming himself as their author, and was attentive to which ones he approved of enough to call his own. There is no way around the fact that Cage was subjectively as well as objectively the maker of these works: the author of the procedures by which they came to be, but well as the judge (and sometimes redeemer) of the results. For Cage, randomness was a tool, no different than the brushes or rocks or paints is that its specific parameters were chosen at the outset, and always used within the context of his over-arching vision. Perhaps we may likewise think of God’s use of chance—constrained by and tuned to the material conditions he established at the birth of the cosmos—as a way to both engage with and allow freedom for the creation itself.

With any work of art it is reasonable to ask, “Is it beautiful?” or more tellingly, “Would I hang this on my wall?” Seeing Cage’s watercolors for first time without any knowledge of the process or the relative fame of Cage himself, some might be intrigued by the structure of the work (the proportions of the golden rectangle, the overlapping stone shapes, the colors of the paint) while others would be completely uninterested, perhaps even after hearing about how they were made and seeing them in the context of the rest of the New River Watercolor series. But if you had been there in the shop as an assistant, or even observer, if you had been party to the relationships that developed even over the few days Cage spent at the Mountain Lake Workshop, your sense of the beauty of these paintings (and perhaps even scraps of paper Cage used to try out brushes or washes), would take on a different meaning, in much the way we treasure the crayon drawings of our children not because they are spectacular art, but because they are tokens of our relationship.

I make that observation to emphasize one other aspect of Cage’s creative process: that Cage was the instigator first and foremost of relationships of creation. His process created not only paintings but the fellowship that developed as the work was being done. That social, interpersonal dimension is what gives the objects a depth of meaning beyond their material composition, and suggests the particular roles humanity has been given by God. One role is to join into the creative process as lesser, but not unimportant co-creators with him; the other is to observe, recognize and celebrate his activity in the world. Where some will see randomness as evidence of an absent God, our knowledge of this most personal and participatory aspect of creation points us to the God who is with us.

With God’s creation as with human art, we may (or may not) marvel at any one particular “work,” or even think the specifics of how it was made are interesting or attractive; but knowledge of and fellowship with the artist transforms our appreciation of the process as well as its results. When we know the maker, we come to recognize and treasure even the most “random” bits of his handiwork, and name them as his, nonetheless.

For Further Reading:

Ray Kass. The Sight of Silence: John Cage’s Complete Watercolors, 2011.

Website for John Cage Centennial Festival, Washington, DC. September 2012.



]]> Sun, 13 May 12 12:53:04 -0700 Mark Sprinkle http://biologos.org/blog/the-wonder-of-the-universe-the-heavenly-declaration?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/the-wonder-of-the-universe-the-heavenly-declaration?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication The universe that inspired the psalmist three thousand years ago grows grander as each new generation of astronomers adds yet another layer of understanding. The Heavenly Declaration

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

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

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

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

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

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

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

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

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

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

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

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

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

“Now the Green Blade Riseth”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Perusing the writings of atheistic scientists and philosophers like Daniel Dennett, one could easily get the impression that arriving at a simpler explanation for something equates to a revelation that things are “lower, cruder, and more trivial.” But at the heart of Barr’s critique is the observation that in fundamental physics and advanced mathematics, “simpler” does not mean more chaotic and inchoate, but rather more elegant and beautiful. Those who hold to a philosophical reductionism “overlook the hidden forces and principles” that govern the processes of cosmic evolution.

Barr’s article lays out the way that the work of scientists and mathematicians exploring the fundamental principles of physics (from Kepler to Einstein to those currently running the Large Hadron Collider in Switzerland) actually suggests “that order does not really emerge from chaos, as we might naively assume; it always emerges from greater and more impressive order already present at a deeper level.” This excerpt gives his first example, the starting point from which he guides us into strangely beautiful world of particle physics, and towards the discovery that “matter, although mindless itself, is the product of a Mind of infinite profundity and infinite simplicity.”

Fearful Symmetries

“Let’s start with a simple but instructive example of how order can appear to emerge spontaneously from mere chaos through the operation of natural forces. Imagine a large number of identical marbles rolling around randomly in a shoe box. If the box is tilted, all the marbles will roll down into a corner and arrange themselves into what is called the “hexagonal closest packing” pattern. (This is the same pattern one sees in oranges stacked on a fruit stand or in cells in a beehive.) This orderly structure emerges as the result of blind physical forces and mathematical laws. There is no hand arranging it. Physics requires the marbles to lower their gravitational potential energy as much as possible by squeezing down into the corner, which leads to the geometry of hexagonal packing.

At this point it seems as though order has indeed sprung from mere chaos. To see why this is wrong, however, consider a genuinely chaotic situation: a typical teenager’s bedroom. Imagine a huge jack tilting the bedroom so that everything in it slides into a corner. The result would not be an orderly pattern but instead a jumbled heap of lamps, furniture, books, clothing, and what have you.

Why the difference? Part of the answer is that, unlike the objects in the bedroom, the marbles in the box all have the same size and shape. But there’s more to it. Put a number of spoons of the same size and shape into a box and tilt it, and the result will be a jumbled heap. Marbles differ from spoons because their shape is spherical. When spoons tumble into a corner, they end up pointing every which way, but marbles don’t point every which way, because no matter which way a sphere is turned it looks exactly the same.

These two crucial features of the marbles—having the same shape and having a spherical shape—should be understood as principles of order that are already present in the supposedly chaotic situation before the box was tilted. In fact, the more we reduce to deeper explanations, the higher we go. This is because, in a sense that can be made mathematically precise, the preexisting order inherent in the marbles is greater than the order that emerges after the marbles arrange themselves. This requires some explanation.

Both the preexisting order and the order that emerges involve symmetry, a concept of central importance in modern physics, as we’ll see. Mathematicians and physicists have a peculiar way of thinking about symmetry: A symmetry is something that is done. For example, if one rotates a square by 90 degrees, it looks the same, so rotating by 90 degrees is said to be a symmetry of the square. So is rotating by 180 degrees, 270 degrees, or a full 360 degrees. A square thus has exactly four symmetries.

Not surprisingly, the hexagonal pattern the marbles form has six symmetries (rotating by any multiple of 60 degrees: 60, 120, 180, 240, 300, and 360 degrees). A sphere, on the other hand, has an infinite number of symmetries—doubly infinite, in fact, since rotating a sphere by any angle about any axis leaves it looking the same. And, what’s more, the symmetries of a sphere include all the symmetries of a hexagon.

If we think this way about symmetry, careful analysis shows that, when marbles arrange themselves into the hexagonal pattern, just six of the infinite number of symmetries in the shape of the marbles are ex-pressed or manifested in their final arrangement. The rest of the symmetries are said, in the jargon of physics, to be spontaneously broken. So, in the simple example of marbles in a tilted box, we can see that symmetry isn’t popping out of nowhere. It is being distilled out of a greater symmetry already present within the spherical shape of the marbles.”

In the full essay, Barr gives a richer description of how this most basic kind of symmetry is just one sort of order, and how even this form points to other much more complex kinds of symmetry whose properties may be described only through the tools of complex mathematics. As he says, “the symmetries that characterize the deepest laws of physics are mathematically richer and stranger than the ones we encounter in everyday life.” But even more important than the fact that such mathematical concepts exist and are beautiful, more important even than the way such esoteric mathematical symmetries have suggested imminently practical experimental projects, is the way they point to a universe that is anything but brutish and trivial, though its elegance may be hard to see:

“It is true that the cosmos was at one point a swirling mass of gas and dust out of which has come the extraordinary complexity of life as we experience it. Yet, at every moment in this process of development, a greater and more impressive order operates within—an order that did not develop but was there from the beginning. In the upper world, mind, thought, and ideas make their appearance as fruit on the topmost branches of an evolutionary tree. Below the surface, we see the taproots of reality, the fundamental laws of physics that shimmer with ideas of profound simplicity.”

This essay appears with the permission of First Things. To read Barr’s complete essay, 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.

Of all the earth’s creatures, few deserve the description of “awesome” as do whales. Counting among their kin the largest creatures that have ever lived, whales exist in a world that remains mysterious and remote, as most of the specifics of their comings and goings in the deep are fully known only to themselves. Furthermore, though both the history of their exploitation by humans and the contemporary attention to stewardship at the ecological scale reminds us of their vulnerability and need for protection, from Biblical times to the present, tales have been told of whales rising from the depths to upend the boats and expectations of men upon the sea. Indeed, even today, part of the thrill of whale watching is the implicit knowledge that the creatures’ sheer size and physical power carries the possibility of danger to those who dare get close to them in the whales’ own element. We know that despite their reputation for gentleness, they are not tame, or ultimately “safe.”

The “great whales” of the King James Bible then, are well-suited to be emblems of the complex way we engage with the created world and with its Maker—the way we desire to know both the world and the Lord, are fascinated by their mystery, are both drawn to and repulsed by the knowledge that there resides so near us power that is beyond our control. So over the next few weeks (not quite a BioLogos “Whale Month”) we’ll look at several different creative responses to whales as embodiments of the persistent mystery of Creation, beginning today with poet Sørina Higgins’ account of a few minutes of fleeting intimacy with feeding whales.

At first glance, Higgins’ poem “Humpback Whales” seems to give a straightforward story of the experience of whale watching from a small boat—of drawing close, but not too close, to a pod of humpbacks—in order to experience the mixture of fascination and fear that is ‘awe,’ rightly defined. But almost from the beginning, Higgins gives clues that her meditation is about the creatures not merely as things to look at, but as a kind of speech to hear, corporeal words bearing witness to their speaker. In the third line we begin to see the imagery of speech and language emerge—the whales becoming the very mouth of the sea, forming the circle of a “yawn” that makes “vowels” in the sea.

But what kind of language can this be? is it law, or instruction, or story? And is it the whales’ own story they’re telling, or something else? In the second stanza Higgins describes the spouting humpbacks as blowing off “spumes / in great inspired huffs.” In her choice of “inspired” she literalizes the root meaning of breathing in air, but also connects that meaning to the more mysterious and spiritual sense that “to be inspired” is to receive meaning and wisdom from outside oneself. In the next line the whales are arcing through the sea in “unconscious curves.” Together these words raise the question, if there is divine meaning in these creatures and the course they inscribe in the world, are they, themselves, aware of it? Do they see the meaning the poet (or biologist) sees in them, or is it the peculiar task of Adam’s race to listen intently and then to speak for the creation: interpreting its speech back to the creation itself, to our fellow men and women, and ultimately back to God whose language is written in the world?

There is no definitive answer given here as to what the whales “know” themselves, or whether such interpretation by us is possible. Instead, as Higgins moves into the last few lines of the poem, she collapses the word and the world into a single phrase: the whales become a “rhyme-and-meter topography of terror.” The “rhyme-and-meter” are the stuff of poetry, of course, and applied to a topography—a landscape whose contours are mapped out precisely because it is mute and does not tell its own story—we seem on the verge of an affirmation of the power of interpretive speech, but for that last word: “terror.” With that word and the following description of the creatures as “Sweet and menacing” come a reminder that the physical creation retains its ability to bring us up short, a recognition that we will not demystify the world merely by understanding its workings.

So how do we synthesize these two parallel lines of thought and imagery in Higgins’ “Humpback Whales”? Perhaps the poet is helping us see that the reason we are so drawn to what also makes us afraid—especially when awesome power is wrapped in a fearsome and fluid beauty—is that we innately recognize that there is One speaking to us through such moments of tension and delight, one who also defies easy categorization and refuses to be confined by our expectations. Perhaps, like poetry, the natural world as given to us by its Creator is not so much a declaration as it is an invitation to keep looking and keep listening. Perhaps the point is not the specific vowels that are uttered, but our growing trust in the One who speaks through all things, whose word goes out in all the earth.

“Humpback Whales”

by Sørina Higgins

Distant black snouts like mammoth mussel shells
loomed into view beneath a speckle flock of bright white gulls.
The pod drew ponderous circles, great vowel holes
in the yawn of gray bay-water under clouds.

They rose and blew off spumes
in great inspired huffs,
rolling their boat-long bulk in huge unconscious curves:
warm-blooded, deep-water, rhyme-and-meter topography
of terror. Sweet and menacing, in a single glide,
they ignored a little open tin can
packed with waving, shouting bipeds.

Having other messages to bring, they moved on.

From Higgins’ book Caduceus, ©2012. Photo also courtesy of Higgins.

Sørina Higgins is an adjunct faculty member in English at Lehigh Carbon Community College. She has published one poetry chapbook, The Significance of Swans (Finishing Line Press) and a the new, full-length collection entitled Caduceus (David Roberts Books). Her poetry and other writing has appeared in several journals, including Comment, Radix, Stillpoint, Relief, Studio, and Windhover. She is the Book Review Editor of Sehnsucht: The C. S. Lewis Journal, a staff writer for Curator, and blogs about the arts and faith at www.iambicadmonit.com/blog. She holds an M.A. from Middlebury College's Bread Loaf School of English. Sørina and her husband live in Kutztown, PA, in a home they built themselves.