The first video, “10 Questions with Katherine Hayhoe”, introduces the scientist in a brief and lighthearted interview. Hayhoe is presented with 10 questions concerning her personal life and beliefs. When asked, she explains that one thing people should know about Christianity is that having a relationship with the God of the universe is one of the most incredible experiences that a person can have. As the video unfolds, the viewer quickly begins to realize that, despite her unique profession of two seemingly incompatible beliefs, Hayhoe is a remarkably sane and “normal” individual. Her role model, she explains, is her father-- the person who first introduced her to science and showed her that it could be “really cool”. On a more serious note, the scientist admits that being both a scientist and a Christian can be difficult. The most frustrating thing about her position, she says, is the amount of disinformation which is targeted at her very own Christian community.

In the second video, “Climate Change Evangelist”, Katharine Hayhoe delves into deeper discussion of the perceived conflict between climate change and Christian faith. She explains that admitting her identity as a Christian scientist can be uncomfortable. Since evangelicals are the targets of much disinformation concerning science in general -- and specifically the science surrounding climate change -- many people in the church have a misguided view of the subject and do not look kindly at her career choice. One woman encountered by Hayhoe at a church in Texas, for example, believed that global warming was a lie taught in schools to mislead her children. In an effort to realign misguided views like these, Katharine Hayhoe and her husband wrote a book addressing the deep-rooted emotions often associated with climate change. People fear that addressing the climate issue will bring forth changes in the economy and uproot their way of life. However, Hayhoe encourages her viewers to act out of love, as the Bible calls us to do, rather than out of fear. Acting out of love inspires us to consider the poor and disadvantaged people around the globe when we respond to the reality of a changing climate.

In the final segment of this three part video montage, Hayhoe addresses the question of what climate change means. Specifically, she is concerned about how global warming affects people on a personal level. While global warming generally brings to mind melting ice caps and polar bears, its implications are far more widespread, affecting the lives of everyone around the world- from cotton farmers in Texas to public health workers in Chicago. If nothing is done to change current emission levels, the number of days per year which exceed 100 degrees Fahrenheit, for example, will begin to increase dramatically, and if emissions are increased, many areas will even develop extreme conditions like those seen currently in Death Valley. Hayhoe’s goal is to demonstrate clearly that the only way to preserve the world for future generations is to significantly reduce dependence on inefficient means of getting energy and instead transition to cleaner renewable energy sources.

Editor's Note: These videos first appeared on the Nova program "The Secret Life of Scientists & Engineers".

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.

Today's video is courtesy of filmmaker Ryan Pettey, director/editor of Satellite Pictures, and features Dr. Rick Colling, biologist and author of Random Designer.

In today’s video, Dr. Rick Colling states that one of the biggest difficulties in communicating compatibility between evolution and faith is a misunderstanding of what evolution is. Evolution is not, he says, about the imposition of death and destruction and survival of the fittest. Rather, it is about second chances. Our bodies contain thousands of genes, which duplicate like a computer back-up copy and can serve as raw material. When an organism encounters adverse environmental condition, this raw material can be used to help adapt and survive.

“God is so creative," says Colling, "that he’s actually put into place a mechanism to start doing these gene changes in advance before they’re even needed. And God has given us a second change through the evolutionary process of creating duplicate genes that give rise to new raw material that give rise to new possibilities, and that really more accurately describes the process of evolution. It’s redemption, it’s possibility, and it’s hope.”

Today's video is courtesy of filmmaker Ryan Pettey, director/editor of Satellite Pictures and features physicist Ard Louis.

In today's video, Oxford physicist Ard Louis discusses the famous debate between renowned evolutionary biologists Stephen Jay Gould and Simon Conway Morris. Gould believed (and wrote in his book Wonderful Life) that if the "tape" of evolution were rerun, the chance that anything like human intelligence would emerge is essentially zero. In other words, humanity is here through random accident. Gould pointed to the work of Morris and fellow scientists in their research of the Burgess Shale as evidence for this view.

However, Morris himself disagrees, pointing to what is called evolutionary convergence. As Morris notes, there are numerous examples of identical features evolving multiple times throughout the history of life independently. Morris believes that if the tape of life were replayed, we would see something like humans emerge. A Christian might say, it looks like we were planned.

Some Christians might find Simon Conway Morris' viewpoint, with its implicit teleology, more attractive. Others, perhaps motivated by a high view of providence, may find Gould's emphasis on contingency equally congenial to their faith. What do you think?

As we noted in our response to the June article in Christianity Today “The Search for the Historical Adam,” the evidence for gradual creation is overwhelming, with more studies supporting the evolutionary process being published each year. We’ve looked at many of these evidences: from fossils, from comparative anatomy, from genetics. Today, we’d like to highlight for our readers a compelling video from the annual TED Conference featuring geneticist Svante Pääbo. You may remember Pääbo from his efforts to extract and sequence DNA from 30,000(+) year old Neanderthal bones (we mentioned his work here).

In this eighteen minute video, Pääbo covers a lot of ground, noting several lines of genetic evidence for the evolution of modern humans from earlier hominids in Africa, as well as for the interbreeding between early humans and Neanderthals. We’ve covered some of this data before, but it’s particularly compelling to hear it described by one of the scientists leading the field of study.

However, our goal at The BioLogos Foundation isn’t just to make the Church aware of the fascinating and convincing scientific evidence for gradual creation. As we have said before:

BioLogos exists to help Christians think carefully about the ramifications of these new data in light of long-standing traditional ways of viewing human creation. We have some re-thinking to do, but it can be done and will be done within the context of a Christian faith that is fully orthodox and thoroughly evangelical. Any time we draw closer to truth, to God’s truth, we have nothing to fear. There is still much to learn, but we can look back at what we have learned with awe—absolute awe.

It is truly amazing that we know so much now about our early days. For example, Africans do not have DNA which is specifically derived from Neanderthals, whereas people in the rest of the world do carry a small amount. This confirms the picture of human history derived from studying fossils. Neanderthal bones have not been found in Africa, so it isn’t surprising that their DNA is not there either. The fact that non-Africans have some of the DNA found in Neanderthal bones confirms that which geneticists knew from other studies: we have two distinct groups of human ancestors—those who left Africa in ancient times and those who stayed.

God chose to reveal himself and to begin working with a distinct sub-group of ancient humans, those descended from Abraham and Sarah. To Abraham, God made a marvelous promise. Drawing his attention to the stars above, God said that someday Abraham’s descendents would outnumber the countable stars in the universe. And so it came to be. Indeed through our adoption into the family, we are all children of Abraham. The God of Abraham is our God too and each one of us is one of those stars too numerous for Abraham to count.

Sometimes, it seems that we are uncomfortable with the notion that God made us through a gradual process that included apes in our family tree. It is almost as though we would prefer dirt to apes. Perhaps, in at least some cases, this is due to an inadequate appreciation for the fact that God loves, really loves, all of creation, not just us. As special as we know we are, we can’t read Psalm 104, Genesis 1, Genesis 9 (where the covenant is not just with Noah but with all living creatures), or Job 38-41 without being reminded that all living creatures are God’s creation (see here). The Neanderthals, the Denisovans, Homo erectus, and the australopithecines were God’s creation too! Still, we modern humans have been singled out. We’ve been called out.

True our family tree, as Pääbo shows here, is intriguing. But let us never forget, that the most important thing about this tree is that God is the vine which exists at its core, and we are called to be the branches which bear fruit. The fact that many of us have a small amount of Neanderthal DNA, some of us have Denisovan DNA, and others have neither is interesting, but it is really just a side issue for people of faith. As a result of God’s visit to Abraham, followed eventually by God’s taking on flesh in the person of Jesus of Nazareth, we can all know God as our heavenly Father. We are children of God and as such, we are God’s representatives. We are called to image God. We are called to love God. And we are called to love each other and to deeply respect all that he has made.

For those who didn’t get a chance to read the three responses presented in Campos’ wonderful piece, we certainly encourage you to do so. Today, however, we’d like to look at two videos from Daniel Harrell, Senior Minister of Colonial Church in Edina, Minnesota.

In the first video Harrell addresses the way that we view death. As we see in Paul’s letters, there is a judicial idea that physical death is the punishment for sin. According to Harrell, however, this is not the whole story. Death has a redemptive aspect as well.

Biologically speaking, the pastor reminds us, you cannot have life without death. New life is always accompanied by death. In spite of our belief that death is in some sense a punishment for sin, there is also the reality that Christ died for our sins yet we continue to die. The reason for this is difficult to explain if death truly is nothing but a punishment. A question continues to linger in the air: “If Jesus died to save me from dying then why do I still die?”

Harrell suggests, however, that the reason we continue to die is that death is not altogether bad. In fact, according to our understanding of biology, Harrell says, Adam would have died even if he had never sinned at all. There are two sides to death. On one hand, the broken relationship that comes from sin is a kind of death. On the other hand, physical death is a necessary part of biological life. As living organisms we all have a lifespan. Had Adam never sinned, Harrell believes he would still have passed at some point from this life to the next just as we will one day do through our faith in Jesus Christ.

In the second video, Harrell engages us in a speculation over why God may have chosen to create life through the evolutionary process. Christians often struggle to accept that God created through evolution because it is a process that requires a great deal of death and waste. They doubt that God would have chosen to create in a way that was not linear and beautiful.

Harrell, however, proposes that as Christians we can accept the idea of evolution in spite of these difficulties. He comes to this conclusion by realizing that death is part of the character of God. God’s supreme expression of love, in fact, was an act of death; Christ gave himself fully for the ones he loves.

Evolution is, in a sense, an analogy to this act of love we see in Jesus’ death. The many organisms that have lived and died throughout the course of evolution are God’s gift to his beloved children. All of this was “spent by God for the sake of life”.

As human beings, we expect God to do things the way we would do them: in an efficient, linear, and tidy manner. In reality, Harrell reminds us, God functions in ways that don’t make sense to us at all. After all, who would expect the God of the universe to become human and die? Likewise, it doesn’t make sense to us that God would create a world that exists through dying. However, God’s actions are not constrained by whether they “make sense” to mankind, for his ways are above ours.

In this video conversation, Jeff Schloss discusses some things we should be mindful of when we discuss evolution. He begins with the observation that when we use the term “evolution”, it is not always exactly clear what we are actually discussing unless we denote the intended usage.

For example, the evolution of genetic change over time is not even an idea or a theory, it is simply an observation—we see it.

The evolution we discuss when we consider whether that change over time has resulted in the diversity of species we see now—that is an idea and an interpretation. But, Schloss emphasizes, it is an idea that is accompanied by overwhelming scientific evidence—ranging from biogeographic evidence to the more recent discovery of profound examples of genetic fossils. Further, he notes that this idea—that evolution results in the diversity of species—is firmly established and it is central to our understanding of how organisms work and how they are structured.

The last part of evolution, however, is really a theoretical aspect—and one that is not fully settled—even among scientists themselves. This part of evolution asks what the causes are that drive the evolutionary process. While the synthetic theory of evolution, which suggests that evolution results from a twin process of mutation and natural selection, is the dominant theory, scientists are not fully in concordance with regard to the extent that other factors play a significant role in evolutionary change.