More Than One Christian View

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

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

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

More Than Evolution

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

More Than Controversy

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

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

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

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

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

More Than Programs

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

For Further Reading

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

By Luci Shaw

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

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

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

During the past year the first results were published from the "Encyclopedia of DNA elements" project ('ENCODE'), revealing that at least 20 percent of the genome, perhaps more, is involved in regulating the expression of its 21,000 protein-encoding genes. The "selfish gene" had its day in the sun, but has now been replaced by the image of a finely tuned genomic system in which each type of gene product cooperates via an intricate networking complex to generate the music of life. The vast array of epigenetic signals whereby genes are switched on or off ensures a steady flow of two-way communication between the genome and its wider environments.

The human as a complex, interactive and highly integrated system might not on the face of it seem a fruitful hunting ground for those who see the genes as pulling the strings of life. Nevertheless, the past year has continued to see a growing love affair between the social sciences and genomics. This is well illustrated by a recent article in Nature entitled: "The anatomy of politics -- from genes to hormone levels, biology may help to shape political behavior." The author writes that "An increasing number of studies suggest that biology can exert a significant influence on political beliefs and behaviors," reporting that "genes could exert a pull on attitudes concerning topics such as abortion, immigration, the death penalty and pacifism." The political scientist John Hibbing is quoted as saying that "...it is difficult to change someone's mind about political issues because their reactions are rooted in their physiology."

Geneticists have highlighted the suspect nature of such claims from a purely scientific perspective. But in our present context it is the way that the genetic results are reported that is most striking. Note the dualist language involved and its assumption of genetic determinism. Genes and physiology are seen as something different from "us" and "our mind," and they seem to be controlling us, so we can't even change our mind. Humans are presented as pawns of their biology, puppets dancing to the tune of their genetic masters.

What has all this to do with the "big idea" concerning human identity that the Imago Dei provides? More, it turns out, than initially meets the eye. The clash of ideas here between theology and science comes not at the level of the science itself, which, in this case, remains ambiguous and disputed, but at the level of the ideological packaging of scientific ideas. To see where the clash comes from, we first need to understand the revolutionary nature of the Imago Dei idea in its original context in the texts of Genesis.

For millennia it was uniquely the pharaoh or the king who was seen as being in the "image of a god" in the polytheistic political systems of ancient Egypt and Mesopotamia. Adad-shum-ussur, a court astrologer and cultic official in the seventh century B.C. royal court of Nineveh, made clear that the Assyrian king Esarhaddon is the very image of Bel (Marduk), the top god of that era:

A (free) man is as the shadow of god, the slave is as the shadow of a (free) man; but the king, he is like unto the (very) image of god.

Richard Middleton provides further examples in his book, The Liberating Image, which describes how the stratified urban society of great cities such as Babylon was structured politically, socially and economically round the king's court and the cultic practices of temple worship of the various polytheistic deities of the city. Social destinies were unchanging because rooted in powerful creation myths. Power was in the hands of the privileged few and true freedom belonged only to the king, for only he was in the image of a powerful god.

Would Hebrew thinkers and writers have been familiar with this idea? Almost certainly, yes, since Israel had significant cultural and economic contact with both Egypt and Mesopotamia over prolonged periods, not least during their periods of exile. So how would the original readers of that wonderful theological essay, Genesis chapter 1, have understood these words?:

Then God said, "Let us make adam [humankind] in our image, in our likeness, and let them rule over the fish of the sea and the birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground." So God created adam in his own image, in the image of God he created him; male and female he created them. [Genesis 1:26-27].

In its historical context, the implications were revolutionary: the kingly and priestly male roles previously allocated to the privileged few by a pantheon of gods were now being delegated instead by the one creator God to the whole of humanity, male and female. In a stroke the entire ruling and priestly structure of Mesopotamian society was delegitimized. The Imago Dei was being democratized and it was now humankind who were to be the significant players in the arena of earthly life, the mandate to rule underlying their new responsibilities. Above all, humanity was set free by the one true God to determine their own destiny, no longer under the yoke of all-powerful dictators, nor under the baleful astrological control of the moon and stars.

Yet, ever since, humans have become experts at re-enslaving themselves, refusing the responsibilities that come with free-choice and submitting instead to narratives of fate and destiny. It seems ironic that today it is not the creation myths of ancient Babylon but the ideological interpretations of biology that provide the narratives of fate, in which genes "pull" humans toward certain political views and people cannot change their minds because their convictions are "rooted in their physiology."

"It's in his or her DNA" is a new phrase becoming increasingly embedded in our language, referring to something that cannot apparently be changed. On Sept. 8, 2012, Brad Pitt was quoted by the Daily Mail as saying that "America is a country founded on guns. It's in our DNA. It's very strange but I feel better having a gun." No it's not in our DNA, Mr. Pitt, either literally or metaphorically. People have choices -- they are the prisoners neither of their genetics, nor of their physiology, nor indeed of their environments. Human beings made in the image of God are free to chart their own destiny in a way that preserves human value and dignity. On that we can leave the last word to Abraham Lincoln: "...nothing stamped with the Divine image and likeness was sent into the world to be trodden on, and degraded, and imbruted by its fellows" (Aug. 17, 1858).

Morality, or more strictly our belief in morality, is merely an adaptation put in place to further our reproductive end.

Important scientific theories invite philosophical and theological reflection. Dawkins, Ruse, and Wilson, have described their conclusions. But scientific theories are often compatible with multiple philosophical and religious interpretations. For example, Newton's laws of motion and gravity allow several competing theistic and atheistic interpretations.

To avoid Ruse and Wilson's philosophical conclusion, we need not dispute their scientific hypothesis about how morality evolved. We need only dispute their philosophical extrapolation as to why morality exists. Even if we restrict ourselves to an atheistic worldview, this extrapolation is questionable. Donald MacKay (1965) would call this an example of "the fallacy of nothing but-tery". This is the assertion that a description of something at one level renders other levels of description meaningless. From our everyday experience, we know that a successful description on one level does not invalidate other levels of description. For example. one might assert that a Shakespeare sonnet is "nothing but" ink blots on a page (MacKay 1965). True, one way to describe a sonnet is to precisely specify the page coordinates of every ink blot. This description is valid and complete on its own level; however, one could also analyze the sonnet linguistically, emotionally, socially, historically, and on other levels. If one is programming an inkjet printer, the most important description is in terms of ink blot coordinates. For almost every other purpose in life, however, that is an unimportant level of description. In the same way, a complete evolutionary description of the existence of morality does not necessarily invalidate the truth, utility, or significance of other levels of description of morality.

If we do not restrict ourselves to atheism and instead allow for the existence of a creator, the extrapolation from how morality evolved to why morality exists fails further. Consider an analogy. Suppose an inventor builds a robot which could do a variety of useful things-- mow the lawn, clean the house, grade homework, write book chapters, and so on. One thing this robot can do, given a complete set of spare parts, is build a replica of itself. Whenever the inventor needs another robot, she gives one robot a set of spare parts and has it build a replica of itself. Amongst all the software subroutines within this robot, there is a set of subroutines that govern the robot's self-replication, including the replication of those self-replication subroutines. Would it be correct to say that the purpose of the robot's existence is merely to reproduce those particular self-replication subroutines? Do all of the other software and hardware of the robot--which allow it to mow the lawn, and so on-- merely further the reproductive ends of those self-replication subroutines? At one level, the robot's hardware and software do serve to reproduce those self-replication software routines. At another level of analysis, however, those self-replication software routines serve the robot to produce more copies of itself. At still another level, those self-replication software routines serve the robot's creator. The creator of the robot should get the last world as to which of those levels of description is most important.

In humans, does morality exist to further the reproduction of certain genes, or do those genes exist in order to allow for the production of new human beings who can behave morally? If human beings have a creator, the creator gets the final word on the question of purpose. The mechanism which the creator used to make those genes-- whether de novo or via evolution-- is secondary. The creator's purpose in creating those genes decides the issue.

References

• Dawkins, Richard. 1976. Pp. 1-11 in The Selfish Gene. Oxford: Oxford University Press.
• MacKay, Donald. 1965. Christianity in a Mechanistic Universe. Chicago: InterVarsity.
• Ruse, Michael, and Edward O. Wilson. 1993. The approach of sociobiology: The evolution of ethics. In Religion and the Natural Sciences, ed. James E. Huchingson. Fort Worth: Harcourt Brace Javonovich.

If a cadre of outspoken, strong atheists wrote a litmus test for scientists, that might very well be question #1.

"Scientists, if you're not an atheist, you're not doing science right," PZ Myers -- a well-known blogger, biology professor and atheist -- regularly preaches.

But if this is true, then as many as half of scientists are doing science wrong. A 2009 study from the Pew Research Center polled members of the American Association for the Advancement of Science (AAAS). Fifty-one percent of respondents reported a belief in a higher power. Does this mean that it's too late for science? Has religion already pillaged the minds of researchers worldwide? No, of course it hasn't.

"It seems to me that we as a society have lately been caught in this false dichotomy where it's either God as the guy with the beard on the cloud or nothing at all," neuroscientist David Eagleman told Discovery News.

Staunch atheists often falsely characterize followers of religion as being "all-in" with their beliefs, opining that they ascribe to the whole creationist, woo-y shebang. "Where's your evidence?" atheists mockingly question. "You can't prove that God exists!" they accuse (correctly). Yet, hypocritically, strict atheists are guilty of the exact same crime: belief without evidence.

"We know too little to commit to a position of strict atheism. [But] we know way too much to commit to any particular religious story," Eagleman said.

Just as it's a leap of faith for a religious person to assert that God incontrovertibly exists, it's an equally large leap for a strict atheist to declare, without question, that God does not exist. As Carl Sagan eloquently explained:

An atheist is someone who is certain that God does not exist, someone who has compelling evidence against the existence of God. I know of no such compelling evidence. Because God can be relegated to remote times and places and to ultimate causes, we would have to know a great deal more about the universe than we do now to be sure that no such God exists. To be certain of the existence of God and to be certain of the nonexistence of God seem to me to be the confident extremes in a subject so riddled with doubt and uncertainty as to inspire very little confidence indeed.

Absence of evidence is not evidence of absence. As this statement applies to science, so does it apply to religion. History is replete with signs that an all-powerful deity may not exist, but such substantiation is nowhere near tantamount to proof -- especially, as Albert Einstein said, in a universe as incomprehensibly vast as our own:

The human mind, no matter how highly trained, cannot grasp the universe. We are in the position of a little child, entering a huge library whose walls are covered to the ceiling with books in many different tongues. The child knows that someone must have written those books. It does not know who or how. It does not understand the languages in which they are written. The child notes a definite plan in the arrangement of the books, a mysterious order, which it does not comprehend, but only dimly suspects. That, it seems to me, is the attitude of the human mind, even the greatest and most cultured, toward God. We see a universe marvelously arranged, obeying certain laws, but we understand the laws only dimly.

Ultimately, the key is not to be swayed to one extreme or the other -- fundamentalist religion or strict atheism -- but to walk a reasoned middle path. Eagleman believes that path is "possibilianism," the concept of holding multiple beliefs or hypotheses whilst exploring new ideas.

"The goal is to avoid committing to any particular story," Eagleman told Discovery News, "whether that's religious fundamentalism or strict atheism. The goal of possibilianism is to retain the wonder that drives us all into science in the first place and to avoid acting as though we know the answers to things we can't possibly know at the moment."

Strict atheists do the world an incredible service by promoting the scientific method, skepticism, and critical thinking. But they do a disservice by campaigning against religion or touting -- as pure truth -- the non-existence of God, for those actions (especially the latter) are just as unscientific as a blind belief in all aspects of religion.

This summer, a worldwide poll showed that atheism is on the rise and religiosity is on the decline. It is my hope that these "New Atheists" and agnostics won't narrowly focus on denigrating religion, but will instead focus on encouraging open-mindedness and discouraging fundamentalism.

That would surely make the world a more enlightened place.

There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.

—Hamlet Act 1, Scene 5

We live in a world driven by the gods of economics, technology and science. Particularly in a time of economic austerity, it is tempting to see the arts or humanities as an optional “extra”—a happy by-product of those true engines of society when they are running smoothly. But in this article we will look at how a biblically informed worldview might turn this perspective on its head, and what the humanities might have to tell us about the present contours of the science and faith conversation.

In his iconic 1959 Rede lecture, “The Two Cultures,” CP Snow noted the dysfunctional relationship between science and the humanities, arguing that the situation is principally the result of our educational system in the West. Ken Arnold, from the medicine and arts focused Wellcome Collection in London, believes that the split continues today, but with the further extension that

In emerging countries . . . amongst the middle classes there is a strong pressure to join the ranks of doctors and scientists and engineers because they see that as the place where future economies are growing. . . . In some ways you could almost begin to feel sorry for the arts and the humanities because they seem to be worth less than the sciences.¹

Is Protestant Christianity also peculiarly prone to such thinking? A skepticism of art in religious spaces as a result of iconoclasm and the reformation, combined with a proud history of the protestant work ethic, economic success, and a profound influence on the history of science, might lead Protestants to be more inclined towards the sciences and technology than to the arts. However, there are more corrosive reasons that science has usurped the humanities in our culture than merely educational or theological bias.

In the early 20th century, logical positivists regarded the humanities as expressions merely of our inner states and desires, but having nothing to do with objective reality. Such imperialistic claims to knowledge denied that other knowledge claims referred to any true reality, and were therefore not really forms of knowledge at all. Bertrand Russell writes,

But if there is a world which is not physical, or not in space-time, it may have a structure which we can never hope to express or to know … Perhaps that is why we know so much physics and so little of anything else.²

Christian scientists are of course very sensitive to this, and work hard to explain that science cannot answer questions of ultimate meaning or the existence of God, which are beyond the scope of science. Often, this line of thinking can be narrow in focus, delineating the limits of the science, and naming those assumptions made by science that cannot be justified empirically. Such arguments can be very fruitful within this narrow context, but we should not be led into thinking that our true perception of reality is limited to such analytic and evidential approaches. There are fields of inquiry that science isn’t able to explain (such as metaphysical judgments, ethics, and beauty), and even our confidence in mathematics— upon which so much of science itself is based—rests upon assumptions that cannot be experimentally demonstrated.

The human condition

Mathematics and the sciences do seem to provide tools by which we are able to perceive the external world and its regularities. However, the arts and humanities, too, are a way of understanding reality, and they tell us less about external reality than the internal human condition. The problem is that the ‘human condition’ seems to have been relegated by many to the realm of mere desire and subjective feeling and, therefore, not reality.

The modernist account of science is that, through our reason, we are somehow able to get outside of nature and describe it objectively. The biblical account, though, has human beings as part of the created order, and so embedded in nature—made from the dust of the earth. Given that, human thought life is also part of the natural world, even despite the fact that it is not best described by the sciences.

The works of Shakespeare, for instance, are part of the created order, as are the poems of Wordsworth, the sculptures of Michaelangelo, and the music of Bach, not to mention children’s nursery rhymes, home decoration, and humming tunes whilst waiting for the bus. As C. S. Lewis wrote, "This is not panache, it is our nature." ³

A little reflection on life reveals something very strange going on here. Somehow, the mythic ‘war’ between science and religion has become the dominant battleground for defending the Christian faith, and competing explanations of the material world are used as apologetic weapons. But the reality is that science plays a peripheral role in our experience of life, not least our life as Christians. Of course that is not to deny the enormous impact of science on the material conditions of our lives, or the prevalence of the products of science. Instead, it is to observe that science plays a facilitatatory role, enabling us to carry out the real core business of our lives, which does not revolve around science. Cars, trains and airplanes are modes of transport to take us to work, or to see family, or go on holiday. Social media provide another way of being in relationship with people. Health services are not an end in themselves, but aim to make people well, so that they can get on with their lives. Why then, when life is not about science, does science dominate our way of thinking about life?

In focusing so much energy on opposing positivism are we not being inadvertently drawn into a positivist way of thinking, that science and material explanations of things are, indeed, our basic reality, what is ultimately true?

A biblical model

“We feel,” wrote the philosopher Ludwig Wittgenstein, “that even when all possible scientific questions have been answered, the problems of life remain completely untouched.” ⁴ Likewise, philosopher Susanne Langer questions any philosophy which claims to be able to explain everything:

Philosophers in every age have attempted to give an account of as much experience as they could. Some have indeed pretended that what they could not explain did not exist; but all the great philosophers have allowed for more than they could explain, and have, therefore, signed beforehand, if not dated, the death-warrant of their philosophies.⁵

Fortunately, the Bible preserves us from total positivist oblivion. There are a great many types of literature represented in the Bible, with the notable exception of scientific writing. If we long to be able to express our deepest emotions, we have the psalms; if we are looking for wise advice, we have the proverbs; if philosophical reflection, Ecclesiastes. There is poetry, song, history, biography, but there is no science. In addition, the Bible refers to the use of the visual arts in, for example, the designs of the tabernacle and temple. The Bible does seem to think the arts and humanities are fundamental for human life, but it doesn’t seem to think that what we think the physical world is constructed of matters much at all.

Do we sometimes read the Bible more like a science textbook than a novel or a poem? Most will agree that each type of literature needs to be read in its own way, but lip-service to that idea notwithstanding, recent arguments prove that it is still possible to read a poem with a scientific mentality—looking out for the ‘facts.’ Is that because we have too high a view of science, or because we have too low a view of the humanities? To say something is poetic is not to declare it ultimately untrue, futile and meaningless—it is to say it is more profound and meaningful and true than many other modes of expression.

According to Langer, part of the problem is the priority that has been accorded to discursive language as the only valid way we have of representing reality to each other. She observes that a study of symbolism shows us that this is actually only one way humans use to abstract from reality, and in fact, the situation even with discursive language isn’t as simple as has been made out. She notes that our sensory organs mediate our perceptions of the world and are already on the job— formulating, framing the world to us—before our cognitive apparatus gets to work. It must be so, or we would not be able to evaluate the importance of the vast array of sensory data we receive and reality would appear as a blur.

A linguistic symbol carries a concept we associate with it, which in turn denotes a reality. In language there is a commonly agreed definition for each word we use, thus enabling communication. But each person also has associations unique to him or her which color any particular concept. Though such personal associations with words are present all at once, they can only be expressed and communicated one at a time, because language is also sequential.

A picture also acts symbolically, though in a different way. Even something as ‘realistic’ as a photograph is likewise a representation of reality and not the reality itself. It also carries with it layers of meaning which reflect the subjective intentions of the person who took the photograph, and opens up for interpretations and associations of the person ‘reading’ the picture. A picture, though, is not sequential. All the information comes at once, and individual blotches of color carry no significance on their own, but only as part of the whole.

No amount of words could ever describe a picture in full. The number of blotches of color and their relations to each other are vast in their complexity, and one could never read words quickly enough to carry the meaning a picture brings in an instant, even if it warrants a far longer period of contemplation. Indeed, though we are only speaking here of visual perception, the same is true of our other sensory inputs, too: they all carry knowledge in quite distinct and profound ways, whilst we, in line with the Greeks, have tended to give sight a special place as the most ‘objective’ of our senses.

As we dig down into empirical science and explore the mechanisms by which sights and sounds and textures are transmitted and processed by the brain, we discover that the meaning of the sense-data which we perceive and which we attempt to describe is likewise profoundly limited by the use of words—much less mathematics—and that our science, as such, represents a tiny fraction of reality.

To suggest, then, that science is the only true way of representing reality—as positivism has done—or to exclude the humanities from our world, leaves us without a proper or even adequate means of expressing the significance we attach to even the most mundane day-to-day activities. Science is very good at describing the regularities of the physical world, but the experience of being human is no less part of the real natural world than are the structure of proteins or the movement of planets, and science does not have the appropriate tools to explore our inner worlds.

Nowadays it seems that Christian cultural life has also too-often failed to fully acknowledge other ways of representing reality than materialist science—ironic because this state of affairs is so at odds with the Bible’s model of using the arts and humanities to profoundly explore the human condition. Perhaps it is time to recover that side of the biblical witness, and remind ourselves that there are more ways of representing the world to each other than positivism has ever dreamt.

Notes

1. BBC Radio 4, “The Life Scientific”, Tuesday 25th September 2012.
2. Bertrand Russell, “Philosophy”, New York. W.W.Norton &Co, 1927, page 265, quoted by Susanne K. Langer, Philosophy in a New Key, Harvard University Press, 1979, page 88.
3. C. S. Lewis, “Learning in War Time” in Fernseed and Elephants and other Essays on Christianity, Fontana, 1975, page 28.
4. Ludwig Wittgenstein, Tractatus Logico-Philosophicus. Routledge and Kegan Paul, 1951, page 187.
5. Susanne K. Langer, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite and Art. Harvard University Press, 1979, p 5.

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.

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

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

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

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

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

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

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

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

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

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

Another theologian who agrees is John Macquarrie, who says,

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

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

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

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

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

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

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.

Judging from the flurry of headlines over the past week, one might be tempted to think that proof positive of God’s existence (or lack thereof) had just appeared out of a 27-km-tunnel buried beneath the Swiss-French border. This frenzy of news headlines and blog titles hailed the recent news that CERN’s Large Hadron Collider has discovered a brand new particle of a mass of 125-126 GeV, which is assumed to be the Higgs boson, or the so-called “God particle.” The discovery of the Higgs boson would certainly be a breakthrough for particle physics and cosmology, but would such a finding also radically redefine theology’s understanding of God or challenge the existence of such a deity? Is there actually any theological or religious significance in Higgs physics at all?

The short answer is “no,” which becomes apparent when one considers the widely-reported story of how it got named. In 1993, Nobel Laureate physicist Leon Lederman, along with science writer Dick Teresi, wrote a book detailing the history of particle physics starting with Pre-Socratic Greek philosophy Democritus and culminating with the hunt for the Higgs boson. Until this latest discovery, the Higgs boson was the elusive final missing piece of the puzzle known as the Standard Model—a collection of the fundamental particles that constitute our universe and the complex and mathematically-sophisticated relationships between them. Considering how incredibly difficult finding the Higgs boson was proving to be, Lederman wanted to name the book after that “goddamn particle,” according to some of his collaborators. His editor, however, would not allow it and so the name was shortened to “The God Particle: If the Universe Is the Answer, What is the Question?” And thus ‘the God particle’ was born, carrying with it more than enough social baggage for such a miniscule particle.

Particle physicist Dr. Zosia Krusberg (at right) is visiting assistant professor of physics and astronomy at Vassar College and thinks “the term ‘god particle’ is unfortunate. The Higgs boson is no more (or less) divine or spiritually significant than any other elementary particle within the standard model of particle physics.” It may be fundamental to explaining one of the most basic characteristics of the universe—namely the existence of matter and mass in addition to energy—but “it is no more (or less) important than any other physics principle underlying the Standard Model.”

Last week’s discovery was monumental in that it may have finally provided experimental evidence for the Higgs Mechanism and defined the specific energy of the resulting Higgs boson, but even this “breakthrough” for particle physics leaves many scientific questions unresolved. Finding the Higgs boson completes the Standard Model, but it does not do away with many other questions and shortcomings of the current state of particle physics, such as the constituent particles of dark matter, a quantum theory of gravity, and other “mathematically subtle problems.” Not to mention that there is still significant work to be done to determine the exact nature of this newly-found particle. According to Dr. Krusberg, this particle might behave just as the Standard Model predicts or it could instead be “a Higgs-like particle that will serve as a gateway into explorations of physics beyond the Standard Model." Krusberg continued, “And I guarantee that it is this latter scenario that most of us are hoping for: physicists love nothing more than discovering the shortcomings of their theories, since this is the first step toward more fundamental theories with even more predictive power!”

No, finding the Higgs boson does not answer all the questions of particle physics, much less lend insight into the existence (or not) of God. For that reason, Dr. Krusberg (like most physicists) bemoans the term ‘God particle’ and insists, “There really is nothing either literally or metaphorically god-like about the Higgs boson.” Indeed, one writer for the British journal The Guardian reached such a point of frustration about the name that he ran a competition for alternatives. The winner was “the champagne flute boson,” ostensibly because the bottom of a champagne bottle is an excellent and oft-used demonstration of the energy potential of the Higgs Mechanism. Or then again, perhaps it is simply because physicists thought that finally finding this shy particle would call for some of the bubbly.

On the other hand, some science writers and scientists can appreciate the ‘educational benefits’ of such a mysterious and controversial name because it attracts the attention of the general public and puts a relatable face on an extremely esoteric physics concept. Krusberg herself admits that “People are naturally drawn to the mysterious and the controversial, providing educators with great teaching opportunities.” But she worries about the larger social implications involved in “mixing the vernacular of physics and spirituality,” not least because such uncritical mixing can lead the non-scientific community to draw conclusions about the authority and reach of science that are not justified.

Understanding that the Higgs boson is not the literal stuff of God and that it does not prove or disprove God’s existence (as the name seems to suggest) extinguishes the fire under any sort of religious outcry. But this does not mean that its discovery is irrelevant to the discussion of science and faith, nor to the Christian community as a whole. As Dr. Krusberg remarks, “The recent discovery of [this] new boson at the LHC perfectly embodies the scientific process at its best (and thereby illustrates to the public why and how science works).” Scientific exploration of nature is not a fool-proof endeavor; healthy skepticism and accountability to a wide community of other researchers are absolutely critical to its success. But such evidence of the power and finesse of well-executed science as we saw last week is a testament to our ability to explore and understand the ‘how’ of the universe. God has equipped humanity with the desire, the intellectual abilities, and the collective will to recognize and explore the cosmic order and beauty of his creation. God has made our home knowable, and has given us the tools and capacities by which to know it.

At left, Cern researchers present their findings to a few hundred of their colleagues in Melbourne, Australia. Image © 2012 CERN

It is valuable, then, for the Christian community to understand and appreciate how science works, in part to recognize that there are many instances in which science and the church work in tandem in order to better understand and better serve the world. But I think there is something else we can draw from the story of the Higgs boson, too. The nickname ‘the God particle’ has touched nerves in religious communities because it implies that science has the ability to prove or disprove divine existence by physical means. Even though the physics community is by no means claiming insight into the divine, it is sometimes assumed by the religious community that scientists view their work as chipping away at God’s existence when they begin to understand something that was previously unknown, or known only “by faith” in esoteric theories and models.

And yet, regardless of motives or metaphysical interpretations, perhaps physicists' search for the Higgs boson is in fact an apt picture of our own search for God. How many times have we stared up at the starry ceiling in times of crisis and prayed fervently for some kind of sign from God to assure us of his presence? And how many times has that much-desired evidence appeared only in retrospect, when we look back to see God’s hand faithfully and elegantly working in ways inscrutable at the time? It took a community of physicists to discern the presence of the Higgs boson. But even so, they could only do so after the fact from the cascade of particle decays it sparked; they could not observe the particle itself directly. In a similar way, though we often do not see the working of God directly, “in the moment,” we still trust in his presence and providence, often depending on friends, family and the community of the church to help us see his hand in hindsight.

So while the discovery of the Higgs boson does not itself explain God, we rejoice at the subtle yet striking new insight we have into God’s creative genius via the Higgs boson and at the way God gives evidence of his faithfulness in the ordered creation itself. Perhaps, however, the greatest insight we can glean from this breakthrough is an analogy for the way God calls us to seek him and find him together, in the community of those who follow his son.

Tomorrow, Baylor University physicist Gerald Cleaver answers the question, "What is the Higgs boson?"

A scientist, my dear friends, is a man who foresees; it is because science provides the means to predict that it is useful, and the scientists are superior to all other men. --Henri de Saint-Simon¹

Scientism is a rather strange word, but for reasons that we shall see, a useful one. Though this term has been coined rather recently, it is associated with many other “isms” with long and turbulent histories: materialism, naturalism, reductionism, empiricism, and positivism. Rather than tangle with each of these concepts separately, we’ll begin with a working definition of scientism and proceed from there.

Historian Richard G. Olson defines scientism as “efforts to extend scientific ideas, methods, practices, and attitudes to matters of human social and political concern.” ² But this formulation is so broad as to render it virtually useless. Philosopher Tom Sorell offers a more precise definition: “Scientism is a matter of putting too high a value on natural science in comparison with other branches of learning or culture.” ³ MIT physicist Ian Hutchinson offers a closely related version, but more extreme: “Science, modeled on the natural sciences, is the only source of real knowledge.” ⁴ The latter two definitions are far more precise and will better help us evaluate scientism’s merit.

A History of Scientism

The roots of scientism extend as far back as early 17th century Europe, an era that came to be known as the Scientific Revolution. Up to that point, most scholars had been highly deferential to intellectual tradition, largely a combination of Judeo-Christian scripture and ancient Greek philosophy. But a torrent of new learning during the late Renaissance began to challenge the authority of the ancients, and long-established intellectual foundations began to crack. The Englishman Francis Bacon, the Frenchman Rene Descartes, and the Italian Galileo Galilei spearheaded an international movement proclaiming a new foundation for learning, one that involved careful scrutiny of nature instead of analysis of ancient texts.

Descartes and Bacon used particularly strong rhetoric to carve out space for their new methods. They claimed that by learning how the physical world worked, we could become “masters and possessors of nature.” ⁵ In doing so, humans could overcome hunger through innovations in agriculture, eliminate disease through medical research, and dramatically improve overall quality of life through technology and industry. Ultimately, science would save humans from unnecessary suffering and their self-destructive tendencies. And it promised to achieve these goals in this world, not the afterlife. It was a bold, prophetic vision.

As this new method found great success, the specter of scientism began to emerge. Both Bacon and Descartes elevated the use of reason and logic by denigrating other human faculties such as creativity, memory, and imagination. Bacon’s classification of learning demoted poetry and history to second-class status.⁶ Descartes’ rendering of the entire universe as a giant machine left little room for the arts or other forms of human expression. In one sense, the rhetoric of these visionaries opened great new vistas for intellectual inquiry. But on the other hand, it proposed a vastly narrower range of which human activities were considered worthwhile.

The Enlightenment

A century later, many of the Enlightenment intellectuals continued their love-affair with the power of natural science. They claimed that not only could science enhance the quality of human life, it could even promote moral improvement. The Encyclopedist Denis Diderot aimed to collect, organize, and preserve all human knowledge so that “our children, becoming better instructed, may become at the same time more virtuous and happy.” ⁷ Many of the French philosophes even claimed that science could be a substitute for religion. In fact, during the French Revolution, numerous Catholic churches were converted into “Temples of Reason” and held quasi-religious services for the worship of science.⁸

Positivism

The 19th century witnessed the most powerful and enduring formulation of scientism, a system called positivism. Its founder was August Comte, who built his positive philosophy from a deep commitment to David Hume’s empiricism and skepticism. Comte claimed that the only valid data is acquired through the senses. Nothing was transcendent, and nothing metaphysical could have any claim to validity.⁹ The task of scientists was twofold—first, to demonstrate how all phenomena, including human behavior, are subject to invariable natural laws.¹⁰ Second, they would reduce these natural laws to the smallest possible number, and ultimately unify them under the laws of physics.¹¹

Comte also subsumed all of human intellectual history into a single process which he called the Law of Three Stages. In his view, each branch of knowledge passes through three stages: the theological or fictitious, the metaphysical or abstract, and lastly the scientific or positive state. He believed that through the continual advancement of human understanding, religion would fade away, philosophy and the humanities would be transformed into a naturalistic basis, and all human knowledge would eventually become a product of science. Any ideas outside that realm would be pure fantasy or superstition.

Logical Positivism

Positivism did not lose its appeal in the 20th century. To the contrary, a group known collectively as The Vienna Circle reinvigorated the fundamental tenets of positivism with enhanced symbolic logic and semantic theory. They called their approach, fittingly, logical positivism. In this system, there are only two kinds of meaningful statements: analytic statements (including logic and mathematics), and empirical statements, subject to experimental verification. Anything outside of this framework is an empty concept.¹²

Given its sweeping claims, logical positivism came under heavy scrutiny. Karl Popper pointed out that few statements in science can actually be completely verified. However, a single observation has the potential to invalidate a hypothesis, and even an entire theory. Therefore, he proposed that instead of experimental verification, the principle of falsifiability should demarcate what qualified as science, and by extension, what can qualify as knowledge.¹³

Another weakness of the positivist position is its reliance on a complete distinction between theory and observation. Observations, essential to the empirical approach of science, were claimed by positivists to be brute facts which one could use to establish, evaluate, and compare the theories. However, W.O. Quine pointed out in his “Two Dogmas of Empiricism” that observations themselves are partly shaped by theory (“theory-laden”).¹⁴ What counts as an observation, how to construct an experiment, and what data you think your instruments are collecting—all require an interpretive theoretical framework. This realization does not deal a death-blow to the practice of science (as some post-modernists like to claim), but it does undermine the positivist claim that science rests entirely on facts, and is thus an indisputable foundation for knowledge.

Scientism of Today

Scientism today is alive and well, as evidenced by the statements of our celebrity scientists:

The Cosmos is all that is or ever was or ever will be. –Carl Sagan, Cosmos

The more the universe seems comprehensible, the more it also seems pointless. –Stephen Weinburg, The First Three Minutes

We can be proud as a species because, having discovered that we are alone, we owe the gods very little. –E.O. Wilson, Consilience

While these men are certainly entitled to their personal opinions and the freedom to express them, the fact that they make such bold claims in their popular science literature blurs the line between solid, evidence-based science, and rampant philosophical speculation. Whether one agrees with the sentiments of these scientists or not, the result of these public pronouncements has served to alienate a large segment of American society. And that is a serious problem, since scientific research relies heavily upon public support for its funding, and environmental policy is shaped by lawmakers who listen to their constituents. From a purely pragmatic standpoint, it would be wise to try a different approach.

Physicist Ian Hutchinson offers an insightful metaphor for the current controversies over science:

The health of science is in fact jeopardized by scientism, not promoted by it. At the very least, scientism provokes a defensive, immunological, aggressive response from other intellectual communities, in return for its own arrogance and intellectual bullyism. It taints science itself by association.¹⁵

Noting that most Americans enthusiastically welcome scientific advancements, particularly those in health care, transportation, and communications, Hutchinson suggests that perhaps what the public is rejecting is not actually science itself, but a worldview that closely aligns itself with science—scientism.¹⁶ By disentangling these two concepts, we have a much better chance for enlisting public support for scientific research than we would by trying to convince millions of people to embrace a materialistic, godless universe in which science is our only remaining hope.

Distinguishing science from scientism

So if science is distinct from scientism, what is it? Science is an activity that seeks to explore the natural world using well-established, clearly-delineated methods. Given the complexity of the universe, from the very big to very small, from inorganic to organic, there is a vast array of scientific disciplines, each with its own specific techniques. The number of different specializations is constantly increasing, leading to more questions and areas of exploration than ever before. Science expands our understanding, rather than limiting it.

Scientism, on the other hand, is a speculative worldview about the ultimate reality of the universe and its meaning. Despite the fact that there are millions of species on our planet, scientism focuses an inordinate amount of its attention on human behavior and beliefs. Rather than working within carefully constructed boundaries and methodologies established by researchers, it broadly generalizes entire fields of academic expertise and dismisses many of them as inferior. With scientism, you will regularly hear explanations that rely on words like “merely”, “only”, “simply”, or “nothing more than”. Scientism restricts human inquiry.

It is one thing to celebrate science for its achievements and remarkable ability to explain a wide variety of phenomena in the natural world. But to claim there is nothing knowable outside the scope of science would be similar to a successful fisherman saying that whatever he can't catch in his nets does not exist.¹⁷ Once you accept that science is the only source of human knowledge, you have adopted a philosophical position (scientism) that cannot be verified, or falsified, by science itself. It is, in a word, unscientific.

Notes

1. "Un savant, mes amis, est un homme qui prévoit; c’est par la raison que la science donne le moyen de prédire qu’elle est utile, et que les savants sont supérieurs à tous les autres hommes." Translated into English by Valence Ionescu in The Political Thought of Saint-Simon. Oxford University Press, 1976. Page 76
2. Olson, Richard G. Science and Scientism in Nineteenth-Century Europe. Urbana, University of Illinois Press, 2008.
3. Sorell, Tom. Scientism: Philosophy and the Infatuation with Science. New York: Routledge, 1991.
4. Hutchinson, Ian. Monopolizing Knowledge: A Scientist Refutes Religion-Denying, Reason-Destroying Scientism. Belmont, MA: Fias Publishing, 2011.
5. Descartes, Rene. Discourse on Method
6. Sorell, p176
7. Sorell, p35
8. Ozouf, Mona. Festivals and the French Revolution. Harvard University Press, 1988.
9. Zammito, John H. A Nice Derangement of Epistemes : Post-Positivism in the Study of Science from Quine to Latour. Chicago: University of Chicago Press, 2004.
10. This view is a form of strict determinism, and current popularizers of continue to enthusiastically endorse it. Perhaps they are “determined” to do so?
11. This view is a form of extreme reductionism, also widely endorsed by current popularizers of science.
12. Zammito, p8
13. Popper, Karl. Logic of Scientific Discovery. 1959
14. For an extended discussion, read Zammito’s chapter “The Perils of Semantic Ascent: Quine and Post-positivism in the Philosophy of Science” in A Nice Derangement of Epistemes. University of Chicago Press, 2004.
15. Hutchinson, p143
16. Hutchinson, p109
17. Giberson, Karl, and Mariano Artigas. Oracles of Science: Celebrity Scientists Versus God and Religion. Oxford: Oxford University Press, 2009.

“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.

Ultimately, however, Finch remarks that "science can neither prove nor disprove the existence of God." To him, those who proselytize atheism under the banner of "science" do a disservice to science. The goal of scientists is to understand the physical world around us, and most scientists go into their labs to discover something wonderful about the world, rather than to comment on the existence of God.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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