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.

Evolution and the Problem of Evil

Let me begin by expressing appreciation for the commitment and intent of BioLogos. Francis Collins was speaking at nearby Tulane University a couple of years ago when my son was a senior in high school, and I brought him along to hear this noted Christian biologist’s presentation to help prepare him for challenges he would experience (as he is now) in college. This is a tremendously valuable ministry. However, as a philosopher and a theologian I do have concerns about some of the theological implications of the BioLogos theistic evolution view, particularly regarding the problem of evil.

The problem of evil is one of the most persistent and intuitive challenges to the Christian faith and the existence of God. The classic defenses or theodicies that have been used to answer this challenge include the Freewill Defense (God is not responsible for much of evil because it is caused by the free actions of humans), the Soul Making Defense (God allows or sends some evils or suffering in order to build human character in overcoming adversity), and the Eschatological Defense (although the cause of some suffering may be beyond our understanding, whatever suffering we may experience in this life cannot compare with an eternity of blessing in heaven).

These theodicies or defenses to the problem of evil, however, normally presuppose the standard view of divine creation. Were one to propose creation by means of theistic evolution, some of the presuppositions for these responses to the problem of evil no longer function. Therefore, advocating some form of theistic evolution poses problems for standard explanations of the problem of evil.

Cornelius Hunter has recently published Darwin’s God: Evolution and the Problem of Evil,¹ an excellently researched book which re-examines Darwin’s motives for developing the theory of evolution. Hunter’s main thesis is that Darwin’s intent was not to undermine belief in the existence of God, but to afford a defense of God’s moral nature. The viciousness of nature caused Darwin and some of his contemporaries to desire to disconnect God’s role in creation from this viciousness in nature, and the blind process of natural selection is the vehicle for disassociating God from the vulgarities of nature. In essence, then, Hunter’s argument is that Darwin’s theory was a form of theodicy – sheltering God’s goodness against the accusation that He is the author of the evil in nature.

Hunter’s thesis sounds hauntingly similar to that of the early Gnostics, who sought to insulate God from the evil material world. They therefore proposed intermediary aeons, archetypes, or a demiurge to isolate the purity of God from the evil of nature. The Darwinian account sharply differs from the biblical account in at least three crucial ways:

• The Darwinian account removes God from being directly involved in much of creation by utilizing natural processes instead, while the biblical account presents God as directly involved in the details of creation, both in the beginning and throughout history through his providential care.
• The Darwinian account blurs the distinction between humans and other animals, while in Scripture humans are a distinctive and special creation.
• The Darwinian account presents God as apathetic and disinterested in the moral status of animals, while the scriptural account presents God (though giving primary focus to humans) as vitally interested in the moral status of animals, and indeed for the redemption of the entire created world.

Another problem with Hunter’s thesis is that whatever Darwin’s original motivation might have been, the novelty of Hunter’s thesis underscores the fact that this is not how Darwin’s ideas predominantly have been used and understood. No one (including contemporary evolutionary biologists) seriously believes Darwin’s ideas as he presented them. Darwin’s ideas about evolution have themselves evolved. ( see Falk, Part 2) So even if Hunter’s thesis were correct about Darwin’s original motivation for the problem of natural selection, this has little relevance to contemporary evolutionary biology.

Any such Darwinian evolutionary biology also undermines classical defenses for God’s goodness. For example, the Christian group BioLogos has presented the perspective that God created all living organisms, including humans, through a gradual process that includes natural selection, group selection, genetic drift or other such physical processes, with God possibly intervening at some undefined points. While this BioLogos approach (which might be labeled a variety of “gradualism” with regard to creation) includes a role for God in creation (as opposed to pure Darwinian evolution), some of the same problems involved with the problem of evil pertain to the BioLogos view as well. In fact, the specific role that God plays in evolution remains somewhat vague and ill-defined. (see Falk, Part 1) Without BioLogos providing a clearer and more precise differentiation between itself and Darwinian evolution – and thus building a clear “Chinese wall” between their view and that of Darwinian evolution -- these views appear to be very close, and the problems that pertain to one view pertain to the other view (at least in part) as well. The following problems arise with regard to the problem of evil in relation to forms of creation by gradualism.

The Best of All Possible Worlds

First of all, it is incumbent upon a good God to produce an optimally good world. We could not necessarily expect an evil or morally mixed God to produce a good world, but we have every reason to expect a good and beneficent God (Matt. 5:48; 1 John 1:5, 4:7-8) to produce the “best of all possible worlds” (given human freewill). In the biblical account, therefore, the evil and suffering we witness in nature and in human experience is not accountable to God because of a defective process in creation, but rather it is a result of the moral Fall of the first humans and subsequent sin by their descendents. However, gradualism has no such vehicle to defend God against the accusation of being responsible for natural and physical evil and suffering. (see Applegate, Falk, and Haarsma, Part 2).

Human Distinctiveness

Second, if God created all living species, including humans, through a gradual evolutionary process that includes common descent from nonhuman primates, there is no clear line to draw a moral or spiritual distinction between humans and other living beings. (see Falk, Part 2).. Yet fundamental to any view of a moral universe is the belief that humans are created in the image of God in a way that is uniquely above all other sensate species (Ps. 8:4-8), and included in this image is our soul and our moral capacity. It is difficult to imagine how humans could receive the image of God through some sort of physical process. Instead, the Bible describes God as being directly and personally involved in creating the human soul by breathing it into mankind (Gen. 2:7). (see O’Connor, Part 1). In the specific language of the biblical account (if not to be discounted, allegorized, or completely ignored), God created human souls directly, not indirectly through some impersonal process. Gradualism offers no clear answer as to how a human soul reflecting the image of God could come about; in fact, such a unique thing in all of creation is everything but gradual or natural. (see Bishop, Part 2).

Whence Cometh Freedom?

Thirdly, even if God intervened at various points in theistic evolution to create new forms from which other species evolve, this does not afford a satisfactory account of human freewill. If humans are not a unique and distinct creation (as the biblical account makes quite clear), but are with other apes the product of a single ancestor, from whence did freewill arise? How can we account for some mutations having freewill and others not having it?

Some quasi-materialists propose some form of epiphenomenalism in which the mind emerges somewhat magically from material cells. This proposal is devoid of any convincing scientific evidence, but it is the only alternative left for materialists to espouse in order to account for some of the most basic human intuitions – that our minds are more than merely a physical organ, that our choices are genuine expressions of freewill, and that we are free moral agents who are responsible for our actions.

Evolutionary biology has no scientific evidence to respond to these basic human intuitions other than to assert that “there is no ghost in the machine” and that any apparent choices are actually mechanical outworking of hard determinism predetermined by prior physical causes. (see O’Connor, Part 2). Therefore, if human choices are merely illusions, humans cannot be held morally accountable, all blame and responsibility reverts back to the God who created this world.

The Problem of Pain

Fourth, gradualism has no moral explanation for animal pain. If humans are the product of an earlier ancestor, it may have taken thousands or millions of years for life to evolve to that point, or for humans to evolve from an earlier primate ancestor. How can the pain of these creatures (some of them quasi-human or proto-human) be justified? (see Schloss, Part 2) This is specifically the issue that worries many Christian ethicists about cloning. Each experiment in animal cloning has produced hundreds of “monsters” before the clone is successful. What if we were cloning humans? What would be the moral implications of creating hundreds of “monsters” just to develop one clone?

The unanimous view is that this would be morally unjustifiable, but this is uncannily similar to the notion of creating animals who suffer for millions of years before evolution finally produced humans. (see Schloss, Part 3) In the biblical creation accounts, pain and suffering comes into the world after the Fall and as a result of the Fall of the earliest humans, and thus God is absolved of direct responsibility for this pain. In this gradualist account, pain and suffering precede the Fall. Millions of generations of sensate beings would have suffered and died before the Garden of Eden. Why would God allow this suffering of innocents for millions of years? (see Schloss, Part 3)

Ironically, Hunter’s Darwinian explanation in Darwin’s God doesn’t work for the BioLogos perspective at this point, because God is somewhat more directly involved at several steps in creation than in the purely Darwinian perspective, so it is God who must shoulder the blame for this undeserved pain. (see Schloss, Part 2)

Another attempt to affirm a gradualist view of creation in which pain preceded the creation of humans was by William Dembski, who in his book The End of Christianity: Finding a Good God in an Evil World² proposed that the animal world existed in pain for millennia before the creation of humans, and thus the pain of these animals was applied retroactively from the later Fall (pp. 9-10). This proposal was not well received by many in the evangelical world because it depicts God causing pain to sensate beings even before the cause of the pain took place, and Dembski ultimately felt compelled to post a clarification of his views.³ So, the reality of animal pain before the Fall in the gradualist account of creation heightens the problem of evil rather than resolving it.

Death and the Nature of God

Fifth, in orthodox Christian theology, death is seen as the ultimate punishment for the Fall of Adam and Eve. There was a time of created goodness from when humankind has fallen. All human suffering, animal suffering, natural disasters, and death was ultimately the result of the God’s punishment for human sin, the curse after the Fall as described in Genesis 3. (see Schloss, Part 1)

However, in the gradualist evolutionary account, there is no Fall.(see Applegate, Falk, and Haarsma, Part 2). If anything, there is a “rise,” as human beings “come of age” and become morally responsible at some point in the process of evolution from prehuman primates. There are multiple problems with this proposal from a theological perspective:

• It is one thing to apply symbolic interpretations to the first three chapters of Genesis; it is another to eliminate the historical reality of the Fall altogether.(see Applegate, Falk, and Haarsma, Part 2). .
• In the biblical view of creation, God creates humans in a paradisical Eden, and humans are ejected from Eden after their sin. In the gradualist view,(see Applegate, Falk, and Haarsma, Part 2). there never was an Eden, and humans never enjoyed the kind of original created goodness described in Scripture.
• In the biblical view of creation, separation from God and death are the punishments for human sin. In the gradualist view, there never was an Edenic paradise, and persons were created to die. Sin has no real causal connection with physical death. (see Schloss, Part 1)

As Jeff Schloss reminds us in Part 1 of his paper, "Although commentators differ over whether the Pauline description of death in Romans 5 refers to spiritual and/or physical death, the passage clearly focuses on humans. It identifies humanity as the subject of infection, instigated and promulgated by initial and ongoing human sin: “in this way death came to all people, because all sinned” (Romans 5:12)."

• In the biblical view of creation, humans were created “a little lower than the angels, crowned with glory and honor” (Ps. 8:5). In the gradualist view, humans emerged from previously created nonhuman primates. This is a profound re-envisioning and diminishment of the Christian anthropology found in the Bible. (see Falk, Part 2)

Darrel Falk put it this way: ”Christians recognize that our material ordinariness is radically transformed by the presence and promises of God. Exactly as with the people of Israel among the nations, so humans among the animals: our special identity rests in the free choice of the Creator to give us his himself and his name. If we recognize that human specialness rests on God’s fellowship with and call upon us, and that we—alone of all creatures—are enabled by God to bear his image in the world, then anything Darwin said about the physical continuity between humans and animals is irrelevant."

We think this last significant issue raised by Dr. Lemke shows just how important this Southern Baptist Voices Series has been, because it highlights the fact that many of the theological concerns raised here do not emerge from the scientific data about life's origins or the discipline of evolutionary biology. There are surely theologians who look at creation this way, but to the extent they do so, their views emerge from their own theological considerations; they are not obligatory extrapolations which emerge from the science itself.

• The Bible describes God creating a beautiful paradisicial Eden with sinless humans, which was lost only because of human rebellion and sin. The gradualist account posits God creating a substandard world that had to evolve to reach even the sad levels of contemporary life. This imperfect creation reflects on the nature of God. Why would a perfectly good God create such an imperfect world? Why or how could a moral God create humans to be already fallen? Orthodox Christian theology affirms that God is already perfect in all His attributes, and does not evolve or change in His essence. The theology more apposite to the gradualist account is Process Theology, in which evolution in creation mirrors evolution within God himself, as he moves from a powerful but imperfect being toward a more perfect being. In fact, Process Theology was designed with a view to harmonizing Christian theology with evolutionary presuppositions. But Process Theology is not held to be orthodox by most evangelical Christians, particularly with regard the nature and perfection of God.

At the core of the Christian worldview is the biblical metanarrative of creation, fall, and redemption. The evolutionary gradualist perspective radically rewrites this standard Christian account by essentially merging the creation and fall into a single event. Humans were created as finite and fallen, not placed in a paradise with created righteousness. This gradualist approach squares well with an evolutionary account, but it does not square well with the biblical creation accounts in Scripture.

Notes

1. Cornelius Hunter, Darwin’s God: Evolution and the Problem of Evil (Waco: Brazos Press, 2001).
2. William A. Dembski, The End of Christianity: Finding a Good God in an Evil World (Nashville: B&H Academic, 2009).
3. Tom Nettles, review of The End of Christianity: Finding a Good God in an Evil World, by William Dembski, in Southern Baptist Journal of Theology 13.4 (2009): 80–85. A partial defense and Dembski’s clarification are found in David Allen, “A Reply to Tom Nettles’ Review of William A. Dembski’s The End of Christianity: Finding a Good God in an Evil World,” a white paper at the Center for Theological Research (February 2010), available online (PDF).

My valiant helper, a small-sized tiger
Sleeps sweetly on my desk, by the computer,
Unaware that you insult his tribe.

Cats play with a mouse or
with a half-dead mole.
You are wrong, though: it’s not out of cruelty.
They simply like a thing that moves.

For, after all, we know that only consciousness
Can for a moment move into the Other,
Empathize with the pain and panic of a mouse.

And such as cats are, all of Nature is.
Indifferent, alas, to the good and the evil.
Quite a problem for us, I am afraid.

Natural history has its museums,
But why should our children learn about monsters,
An earth of snakes and reptiles for millions of years?

Nature devouring, nature devoured,
Butchery day and night smoking with blood.

And who created it? Was it the good Lord?

Yes, undoubtedly, they are innocent,
Spiders, mantises, sharks, pythons.

We are the only ones who say: cruelty.

Our consciousness and our conscience
Alone in the pale anthill of galaxies
Put their hope in a humane God.

Who cannot but feel and think,

Who is kindred to us by his warmth and movement,

For we are, as he told us, similar to Him.

Yet if it is so, then He takes pity
On every mauled mouse, every wounded bird.
Then the universe for him is like a Crucifixion.

Such is the outcome of your attack on the cat:
A theological, Augustinian grimace,
Which makes difficult our walking on this earth.

–Czeslaw Milosz,¹
 translated by the author and Robert Hass

The Problem

The poem above communicates in a very poignant and profound way the essence of the theological problem of death, pain, and suffering in the natural world—what has been referred to as “natural evil.” As we will see, it may also point to at least one aspect of a Christian response.

I have become convinced that one of the fundamental issues underlying much of the resistance of many Christians to an ancient, evolving creation is that of the problem of “natural evil.” “Natural evil” is also very often a primary focus of those who reject a personal and compassionate God, as it was for Darwin himself. The issue of theodicy thus seems not only to drive many people of Christian faith away from an acceptance of the conclusions of modern science, but also to drive members of the scientific community away from a serious consideration of the claims of the Christian faith. The topic is important, then not because its solution is central to the validity of the Christian faith, but because it often serves as an unnecessary stumbling block to a productive engagement of both science and faith.

The tension generated by our understanding of God’s character, as revealed in the Bible, and by the reality of the natural world around us has been the focus of much theological and philosophical debate within the Christian church since the first century. This article sets out to examine critically several of the proposed solutions to this problem, viewing them from the perspective of a geologist, paleontologist, and orthodox evangelical Christian.

The theological problem of death and pain emerges from the following propositional statements:

1. Scripture consistently declares the absolute goodness of God and the very goodness of his creation. Furthermore, Scripture declares God’s love and care for creation, and the glory and praise it returns to him.
2. Scripture also confesses a transcendent God who is omnipotent in power, yet immanent in creation as well. God’s creative activity is not described as being confined to some past event at the beginning of time, but as a present and continuing reality. God upholds creation in its being from moment to moment, and is creatively active in its history. This understanding of God’s relationship to creation has been well articulated by Jürgen Moltmann.²
3. In seeming conflict with these confessions of God’s character, we observe death, pain, and suffering as ubiquitous, even integral, aspects of the creation around us.

The apparent conflict between God’s goodness and the presence of pain and suffering is made especially acute when we consider the nonhuman creation.³ How can we accommodate the death and suffering of animals within a theology that declares both God’s omnipotence and goodness? C. S. Lewis forcefully puts the issue before us in his book The Problem of Pain:

The problem of animal suffering is appalling; not because the animals are so numerous ... but because the Christian explanation of human pain cannot be extended to animal pain. So far as we know beasts are incapable either of sin or virtue: therefore they can neither deserve pain nor be improved by it.⁴

Because the issue of animal pain so directly impacts our understanding of the goodness of creation, I will focus particularly on solutions to the problem as posed by Lewis.

How do we then reconcile the goodness of God who is immanent and active in his creation with the death, pain, and suffering we see embedded within it? There seem to be two basic alternative approaches to this dilemma.⁵

1. Natural evil can be attributed to something independent of God and acting against his will. This position threatens to limit God’s power and freedom.
2. Natural evil can be considered a part of God’s good purpose for creation, and either directly willed or permitted by him. Such a view would seem to bring into question God’s goodness and love for his creatures.

The tension between these alternatives—and efforts to avoid their negative theological consequences—surface in many of the proposed solutions to this problem.

In part 2, we start to look at some of the proposed solutions, beginning with the idea that a perfect creation was corrupted by a fall.

Notes

1. This poem was included in a collection of poems that was one of two works by Czeslaw Milosz mentioned in a review article by Michael Ignatieff, “The Art of Witness,” New York Review of Books (March 23, 1995). I thank Carol Regehr for bringing my attention to this work.
2. Moltmann refers to this aspect of God’s creative activity in history as “continuous creation.” Jürgen Moltmann, God in Creation (Minneapolis, MN: Fortress Press, 1993), 206–14.
3. I will not address here arguments concerning the degree to which animals experience pain. This issue is considered by Robert Wennberg in “Animal Suffering and the Problem of Evil,” Christian Scholar’s Review 21 (1991): 120–40. It is obvious to me that, for many animals at least, pain and suffering are a very real conscious experience.
4. C. S. Lewis, The Problem of Pain (New York: Macmillan Publishing, 1962), 129.
5. As stated by John Hick, in Evil and the God of Love, rev. ed. (New York: HarperCollins Publishers, 1977): “For every position that maintains the perfect goodness of God is bound either to let go the absolute divine power and freedom, or else to hold that evil exists ultimately within God’s good purpose” (pp. 149–50).

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.

Some implications and conclusions of Theistic Evolution--continued

(4) Several leading TEs have advanced a strongly Christocentric theology of creation—stressing the idea (from the prologue of John’s gospel) that the Maker of heaven and earth is the crucified and resurrected second person of the Trinity. Especially when theodicy is the topic, they like to speak about “the crucified God,” or “the theology of the cross,” or “divine kenosis.”

On first glance, some readers might be a bit perplexed: isn’t this column supposed to be about evolution, not the crucifixion? What could those topics possibly have in common? The answer lies in theodicy, or the problem of evil and suffering in the world. As I stressed in my column about the YEC view, creationism is ultimately about theodicy—it’s not only about theodicy, to be sure, but the belief that animals must not have suffered and died before Adam and Eve committed the first sin is crucial to the “young” in Young Earth Creationism. To a significant degree, Theistic Evolution is also about theodicy. In one of the best books on science and religion that I could name, Catholic theologian John Haught explains the atheist’s view of theodicy (which he does not share) as follows:

“Evolution is incompatible with any and all religious interpretations of the cosmos, not just with Christian fundamentalism. The prevalence of chance variations, which today are called genetic ‘mutations,’ definitively refutes the idea of any ordering deity. The fact of struggle and waste in evolution decisively demonstrates that the cosmos is not cared for by a loving God. And the fact of natural selection is a clear signal of the loveless impersonality of the universe.” (Science and Religion: From Conflict to Conversation, p. 52)

Proponents of TE have responded to the issues raised in the latter two sentences in a variety of ways. I agree with Christopher Southgate’s analysis of the overall situation. Like several of the writers I mention this week, Southgate is a theologian with a doctorate in science; he’s also an accomplished poet. The text he wrote with many others, God, Humanity and the Cosmos: A Textbook in Science and Religion, is really much more than a textbook. I recommend it for anyone seeking a wide-ranging introduction to the principal issues.

Southgate and his collaborators see just two “possible theologies of divine action in respect of evolution,” considering that “the problems of theodicy are severe.” Option ONE: “to posit God merely as the passive, suffering companion of every creature, a view self-consistent but dubiously faithful to the Christian tradition.” Option TWO: “to mount a defence of teleological creation using a combination of [certain] theological resources,” namely these three—

• “we must adopt a very high doctrine of humanity and suppose that indeed humans are of very particular concern to God.” This is linked with the Incarnation.
• “we must take very seriously the cross as costly to God, as part of God’s hugely costly way of taking responsibility for the creative process.”
• “we must give some account of the redemption of the non-human creation …” This is linked with the Trinity. (p. 279 in first edition, 1999)

Given limited space, I’ll focus almost exclusively on the second idea, though we may want to discuss all of them below.

The Crucified God

View of the entrance to the main camp of Auschwitz (May 1945). The gate bears the motto, "Arbeit Macht Frei" (Work makes one free). United States Holocaust Memorial Museum (Source).

We start with something that arose in a context entirely unrelated to evolution, Jürgen Moltmann’s (read more here and here) notion of The Crucified God. The theological point and the emotional impact of Moltmann’s conception is aptly captured in this stark passage, written in response to Elie Wiesel’s dark story of a child who was publicly hanged at Auschwitz: “like the cross of Christ, even Auschwitz is in God himself. Even Auschwitz is taken up into the grief of the Father, the surrender of the Son and the power of the Spirit.” (p. 278) A recent sermon by Matt Bates, pastor of Centenary United Methodist Church in Richmond, fleshes this out for us in a very accessible way; please read the whole sermon before going any further.

Repeat: please read the sermon. It’s a vital part of what I’m trying to say.

Now that you see more clearly what the “Crucified God” is about, let’s see what John Polkinghorne says about it:

“This profound and difficult thought meets the problem of suffering at [the] level which its deep challenge demands. The insight of the Crucified God lies at the very heart of my own Christian belief, indeed of the possibility of such belief in the face of the way the world is. But this can only really be so if God is indeed truly present in that twisted figure on the tree of Calvary. Only an ontological Christology is adequate to the defence of God in the face of human suffering. God must really be there in that darkness.” (Belief in God in an Age of Science, p. 44)

Be sure to notice two things in this passage. First, Polkinghorne confesses that his own Christian faith depends on such a conception of God, but there are only two very brief references to evolution in the entire eloquent chapter from which I’ve quoted. There’s plenty of science there, but almost all of it is modern physics, not biology. (I’ll leave it as an exercise to “students” to get a copy of this excellent little book and fill in the blanks.) In other words, evolution doesn’t shape Polkinghorne’s theology nearly as much as his theology shapes his view of evolution.

The second thing to notice is that in the last three sentences Polkinghorne is doing something subtle, but extremely important—something that I don’t want anyone to miss. Contrary to some of the most influential voices in the science and religion “dialogue” (some examples would be Haught, Ian Barbour, and the late Arthur Peacocke), Polkinghorne affirms the full divinity and humanity of Christ, in a classical Chalcedonian sense. Read those sentences again a couple of times, and you should see what I’m driving at. As he says a bit later on, “Unless there really is a God who really was ‘in Christ reconciling the world to himself’ (2 Cor. 5:19), then the cross is no answer to the bitter problem of the suffering of the world.” (p. 45) In other words, one can only take this approach to theodicy unless one actually believes in the reality of the Incarnation; only an orthodox Christian can speak meaningfully of the “Crucified God.” In the final part of this column, when I’ll present Polkinghorne as a contemporary exemplar of a theologically “orthodox” TE, it’s partly this aspect of his thought that I will have in mind.

Lucas Cranach the Elder

Finally, I should note that the term “crucified God” is not actually modern. Although Moltmann wrote an influential book about it, the language comes from Martin Luther. Another physicist-theologian, George Murphy, writes in a highly Lutheran way about The Cosmos in the Light of the Cross, advancing the view that a “theology of the cross” in which God sets aside power to become a participant in the universe, even to the point of death, takes priority over a “theology of glory,” in which we seek God first in the power behind nature, not in the powerlessness of the cross. For a short version of Murphy’s ideas, go here.

Once again, we need to stop mid-stream. These ideas are deep and perhaps too new for many readers, and it’s best to reflect on them before we go further and even deeper.

In his thoughtful, gracious, and fair-minded essay, Professor John Laing focuses on what many believers and non-believers alike recognize as perhaps the most significant challenge to faith in an all-good, -knowing, and -powerful Creator God: the problem of natural evil, and in particular, the acrid sting of death. While the issue is an ancient one, Laing—and many other contemporary commentators who range from sympathetic to antagonistic toward biblical theism—view evolution as exacerbating the problem to the point that one must choose between the good God of scripture and the truth of evolution. Although the general issue of “evolution and evil” is manifold and beyond the scope of a single essay, John (if I may), zeros in on two ways in which evolution seems to aggravate the particular theological challenge of death. First, in the view of scripture, death is “an invader, disturber of the peace, and a force of evil”; therefore its primordial (as opposed to post hoc) place in the world described by evolution seems incommensurate with an originally good creation. Second, it is not just the primordial place but also the functional role of death that appears to constitute a problem: evolution by natural selection is widely viewed as being driven by death, and more generally by fierce competition, in a way that seems hard to reconcile as a mode of creation that a wise and good God would employ.

I agree with John that these are serious issues. Little is accomplished either by glibly dismissing their prima facie legitimacy or by responding with theological concessions that relinquish core claims of the gospel. In his words: “a fundamental aspect of the good news in the Gospel is the defeat of death – this negative, destroying force – in the resurrection of Christ.” Amen! In what follows I hope to engage sequentially both issues he raises in a way that takes them seriously while avoiding compromised hope.

The Primordial Place of Death

I need to start by acknowledging that these are not just arid intellectual issues but also profoundly personal ones. I have just returned from keeping vigil at the deathbed of my father, and the sting of death is especially acute. The fact that every son sees his father die (or worse, that a parent may see a child die) –that in some sense, universal human death is part of the current “natural order” we all experience – offers no solace for the tearful remonstration of what an awful violation it is. It is a violation not just of our deepest desires, but also of what we construe to be God’s purposes, for the God of scripture is not a mere field of energy or prime mover or initial organizing principle, but is wondrously and clearly portrayed as “the living God” whose explicit purpose is that we “have life, and have it in abundance.” Indeed, in the most extensive section of his essay John cites over 40 scripture passages that affirm life as God’s intention for humanity and death as an intrusive, subverting consequence of sin. I could not be in stronger concord.

Although all Christians have traditionally affirmed resurrection (for both the redeemed and unredeemed), there have been longstanding debates about whether the life that is redemptively restored in Christ and the death that is brought about by sin is “spiritual” (involving the vitality or disruption of communion with God) or “physical” (involving the viability or dissolution of biotic function). Of course these are not mutually exclusive, and perhaps they are not even ultimately distinguishable. But however one understands death to be an incursion upon human telos, it does not answer or even clearly bear upon the evolution-related question of whether other living beings beyond and before humans were created to be immortal. “Violence” in western thought has often been understood as a disruption of natural ends: but do we assume that all creatures share the same “natural end”? For instance, is the nature or telos of worms immortality? Is death a violation of all creaturely natures that was therefore absent from earth prior to initial human intimacy with and subsequent estrangement from God? Significantly, not a single one of the scriptures John cites explicitly refers or even vaguely alludes to the general place of death in the natural order: virtually every one emphatically focuses on death as a consequence of sin for uniquely human moral agents, and—correspondingly—on eternal life as God’s special purpose for supernaturally redeemed humanity.¹ Indeed, I am at a loss to find in the entire Bible a scripture that clearly teaches death across the entire biotic realm postdates and is a consequence of human sin.² Neither is this point affirmed or even mentioned in the most prominent historic creeds of Christian orthodoxy.

Davis Young & Ralph Stearley’s The Bible, Rocks, and Time (2008, Inter Varsity Press) provides an expansive historical survey.

Yet none of this means that there is not an issue here. The view that death in all creation is not endemic but followed from a recent human fall was—with the exception of Aquinas and a few others—the dominant perspective of the church fathers, key reformers, and most Christians through the 17th Century (see sidebar). However, by the same token, so was geocentrism and so was the doctrine of human exceptionalism. Virtually all Christians have relinquished geocentrism in light of utterly compelling scientific evidence along with the recognition—in part motivated but not dictated by findings of science—that no clear and persistent scriptural teaching or core theological doctrine is compromised by this view.³ On the other hand, the claim of exceptionalism continues to be affirmed by many Christians – including myself – in light of important theological commitments and ongoing scientific discussion.

So is the primordial nature of death more like geocentrism, or more like human exceptionalism? Scientifically, there is little question that it is more akin to geocentrism. Over the last three centuries the empirical evidence for and the explanatory fruitfulness of the view that earth’s biota and death’s existence vastly predate the origin of humans have increased explosively—arguably to an extent beyond any other finding of science. Amongst tens of thousands of natural scientists, there is virtually unanimous agreement on this point.⁴ I should be clear that this is not an ad hominem argument: to say the evidential and demographic situation is similar to geocentrism is not in itself to claim that the “recent death” position is wrong. Nor is it an ad populum argument: neither John nor I have space to assess scientific evidence for this claim, and the fact that the overwhelming majority of Christian and non-Christian scientists have for several centuries shared the “primordial death” view does not make it true. But it does mean that if that view is to be rejected for the kinds of theological reasons that John raises, it seems there should be unambiguous scriptural warrant for that rejection. Failing that, then there needs to be a compelling theological rationale and a decided lack of plausible alternatives posited by fellow orthodox Christians.

I have already agreed with John that the Bible persistently presents death as an enemy of God’s purposes for humanity. But I have suggested (perhaps altogether wrongly!) that he does not provide clear scriptural evidence for death being a comparable enemy to and intrusion upon God’s purposes for all creatures. A faithful reading of the Bible does not seem to be incompatible with seeing death as part of the magisterial history of life as depicted by evolution and other natural sciences.

With these considerations of the biblical text as background, tomorrow I’ll describe why I do not believe that John or those with kindred perspectives provide a compelling theological mandate for this view of death, either.

Notes

1. There are a few scriptures not cited by John, which deal with the absence of carnivory (though not death itself) in images of idyllic creation. Genesis 1:30 portrays a world in which every creature with the breath of life had plants for food. And the images of the new earth in Isaiah 11 and 65 paint a renewal of this order in redeemed creation. Interestingly however, they do not portray an elimination of death for animals, or even for humanity. According to Is 65, the passage which presents the beautiful image of the lion and lamb: “ ‘Never again will there be in it an infant who lives but a few days, or an old man who does not live out his years; the one who dies at a hundred will be thought a mere child; the one who fails to reach a hundred will be considered accursed. They will build houses and dwell in them; they will plant vineyards and eat their fruit. No longer will they build houses and others live in them, or plant and others eat. For as the days of a tree, so will be the days of my people… The wolf and the lamb will feed together, and the lion will eat straw like the ox, and dust will be the serpent’s food. They will neither harm nor destroy on all my holy mountain,’ says the LORD.” This and other eschatological passages in scripture have a history of widely varying interpretations, but taken most literally, it describes a world with prolonged life in which there is still death (he who dies a centenarian will be like a child, and most people will live as long as trees), and in which death, however, is not inflicted by one creature upon another.
2. Although commentators differ over whether the Pauline description of death in Romans 5 refers to spiritual and/or physical death, the passage clearly focuses on humans. It identifies humanity as the subject of infection, instigated and promulgated by initial and ongoing human sin: “in this way death came to all people, because all sinned” (Romans 5:12).
3. Not all Christians have relinquished geocentrism. For example, a well-known public advocate is Dr. Gerardus Bouw, who has a Ph.D. in astronomy and until recently taught at Baldwin-Wallace Christian College. He founded the Association for Biblical Astronomy and authored an apologetic monograph for a stationary earth: Geocentricity (1992, Association for Biblical Astronomy). A crucial commitment of Dr. Bouw is that he “assumes that whenever the two [the Bible and astronomy] are at variance, it is always astronomy—that is, our ‘reading’ of the ‘Book of Nature,’ not our reading of the Holy Bible—that is wrong.” (http://www.geocentricity.com/ accessed 8/1/2012). Note that this epistemic framework asserts not just that the Bible is a more perfect witness to theological truth than nature, but that human understanding – “our reading” – of the Bible is somehow more immune to error than our reading of nature. The Bible itself does not clearly teach that humans, in our frailty, are less vulnerable to misunderstanding special than general revelation. The difference between faith in the scriptures and faith in our understanding of the scriptures is important though not always recognized, and underlies much tension in faith-science issues.
4. To his credit, even the most prominent critic of primordial death cited by John acknowledges this evidential and demographic claim. In a moving autobiographical essay, Kurt Wise acknowledges “I accepted the Word of God and rejected all that would ever counter it, including evolution. With that, in great sorrow, I tossed into the fire all my dreams and hopes in science.” Although he believes in the viability of searching for a scientific rationale, he affirms “I am a young-age creationist because that is my understanding of the Scripture. As I shared with my professors years ago when I was in college, if all the evidence in the universe turned against creationism, I would be the first to admit it, but I would still be a creationist because that is what the Word of God seems to indicate.” [Kurt Wise, in John F. Ashton (ed)., In Just Six Days. 2001. Master Books. Page 355.]

When scientists investigate God’s creation, they find that humans appear very late in the history of life. The fossil record shows that many creatures died long before humans appeared. In fact, many entire species went extinct millions of years ago (the dinosaurs are the most famous example), long before humans lived or sinned.

See “What does the Fossil Record Show?” and “How are the ages of the Earth and universe calculated?”

Yet God’s revelation in scripture paints a different picture. Several key scripture passages teach that death is a consequence of sin, including Genesis 2:16-17, Genesis 3:19,22, Romans 5:12-21, and 1 Corinthians 15. How should we think about these passages in light of the scientific evidence? Could animals have died before human sin? Does “death” in these passages refer to physical death, or spiritual death, or sometimes one and sometimes the other? To ponder these questions, we need to consider God’s revelation in scripture and God’s revelation in nature. The scientific evidence is discussed in other Questions, as are the topics of the fall and sin (see sidebars). Here we consider what scripture says about death and how the two revelations might be reconciled.

See “How does original sin fit with evolutionary history?”

Animal Death

The Bible passages that teach about sin and death are clearly referring to the death of humans. Do these passages also refer to animals? Thomas Aquinas (1225-1274) didn’t think so. He believed that God’s original creation included animals that killed each other, writing that “the nature of animals was not changed by man’s sin.”¹ Pastor Daniel Harrell makes a logical argument for animal death, writing that “there had to be death in the Garden, otherwise Adam would have been overrun by bugs and bacteria long before he took that forbidden bite of fruit.”² Animal death is also necessary to maintain population levels in a balanced ecosystem (see below for more). Some Bible passages portray predatory animals as part of God’s original plan for creation (Job 38:39-41, 39:29-30, Psalm 104:21,29). Other passages speak of the “lion laying down with the lamb” instead of killing the lamb (Isaiah 11:6-7, Isaiah 65:25), but these verses refer to the future kingdom of God, not the original creation. While animal death and suffering raises other theological questions (see Sidebar), it does not contradict Biblical teaching about death as a consequence of sin.

See “How does the evil and suffering in the world align with the idea of a loving God?”

Human death: physical or spiritual?

One traditional interpretation of Genesis 2-3 is that sin results in physical death. Humans would have been immortal without sin. In Genesis 2:17, God warns Adam and Eve, “But of the tree of the knowledge of good and evil you shall not eat, for in the day that you eat you shall die.” In Genesis 3:19, God carries out this punishment, cursing Adam with labor and death, “By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken; for dust you are and to dust you will return.” In 1 Corinthians 15 Paul contrasts and compares Christ and Adam, highlighting Adam’s fall as the cause of physical death for the whole human race.

John Calvin, however, suggested that Adam’s sin caused the abrupt painful death that we experience today, a wrenching apart of the physical and spiritual aspects of humans. Calvin seems to have thought that if Adam had not sinned, a more gentle kind of physical death or “passing” from life into life would have occurred: “Truly the first man would have passed to a better life, had he remained upright; but there would have been no separation of the soul from the body, no corruption, no kind of destruction, and, in short, no violent change.”³ In this view, humans were created mortal, but intended for long healthy lives and graceful deaths, such as described in Isaiah 65:20-25. The Old Testament speaks of death at the end of a long life in purely positive terms, such as 1 Chronicles 29:28 where King David “died at a god old age, having enjoyed long life, wealth, and honor.”

Another interpretation of these passages is that the consequence of sin is spiritual death, not physical death. If Adam had not sinned, humans would still have died like we do today, but without “the sense of loss, uncertainty about an afterlife, … and regret for unfinished work” that comes with spiritual death.⁴ Agemir de Carvalho Dias, Presbyterian pastor and teacher of the Evangelical College of Parana, Brazil, writes that “the death that entered the world with Adam is understood as something that takes man apart from God, a spiritual death, in the sense that the access to God is now closed and can be restored only through faith.”⁵ Of course some sins still bring about physical death, such as Abel’s death at Cain’s hand, and the death of King David’s infant son after the king’s adultery (2 Samuel 12:13-14).

The text of Genesis 2-3 can support an interpretation of the curse as spiritual death. In the curse of Genesis 3:19, God tells Adam “for dust you are and to dust you will return,” implying that Adam was created mortal from the dust. God warned Adam and Eve that they would die in the day they ate from the tree, and yet Adam lived to the age of 930 (Genesis 5:5). What did happen on the day they ate from the tree? Adam and Eve felt shame and were expelled from the Garden, breaking their fellowship with God – spiritual death.

Weren’t Adam and Eve immortal, created as perfect ideal human beings? This is a popular idea, but not clear in the Biblical text. The first humans are described as “very good” and pleasing to God (Genesis 1:30-31), but not as perfect or with superhuman abilities. Also, consider the Tree of Life. God planted this tree in the garden before the fall (Genesis 2:9) and it gives immortality to the one who eats it (Genesis 3:22). If God created humans as immortal, what was the purpose of the Tree of Life? It would only be needed if humans were mortal to begin with.⁶

Pastor Stephen Rodeheaver reflects on the two trees of Genesis 2-3 and the implications for us today (blog series)

In the New Testament, Paul writes much on the relationship between sin and death. Sometimes Paul was clearly referring to spiritual death (Romans 6:1-14, 7:11), and other times clearly to physical death (1 Corinthians 15:35-42). Yet even in 1 Corinthians 15, Paul writes of the eternal life in Christ as something much more than the mere earthly life we experience now, implying that “death” also refers to much more than mere physical death. This is more explicit in Romans 5:12-21 where death is contrasted with the gifts of grace, justification, and righteousness, i.e. the new spiritual life provided by Jesus’ victory.

See “Were Adam and Eve Historical Figures?” which discusses the issue of death and the identity of Adam and Eve

For more, be sure to read the full FAQ "Did death occur before the Fall?" in our Questions section!

Notes

1. Saint Thomas Aquinas. Summa Theologica, Part 1, Question 93, Article 1 (web article)
2. Daniel Harrell. “Death’s Resurrection”, BioLogos Forum, December 18, 2009 (blog)
3. John Calvin. Commentaries on the First Book of Moses, called Genesis, trans. by John King. ch3 v19 (p. 97).
4. George Murphy “Human Evolution in Theological Context” BioLogos scholarly essay which includes a discussion of human and animal death (PDF), p. 6
5. Quoted by Marcio Antonio Campos in “Did peace and love reign in the world before the original sin?” BioLogos Forum, March 7, 2011 (blog)
6. See Deborah and Loren Haarsma, “Three interpretations of the Tree of Life”, supplemental material to Origins: Christian Perspectives on Creation, Evolution, and Intelligent Design (Grand Rapids, MI: Faith Alive Christian Resources) 2011 (PDF)
]]> Wed, 08 Aug 12 05:00:49 -0700 http://biologos.org/blog/series/asa-gray-and-charles-darwin-discuss-evolution-and-design?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/series/asa-gray-and-charles-darwin-discuss-evolution-and-design?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication Many Christians believe that they face a painful choice-- either life was designed by God or it is an evolutionary product of natural selection. Charles Darwin himself believed in this dichotomy, and people ever since have felt the need to "choose sides". However, looking back at history, we find that one of Darwin's chief scientific colleagues, Asa Gray, did not share this perspective. In this three-part essay, part 1 charts the relationship of Asa Gray and Charles Darwin. Part 2 describes Darwin's struggle with the problem of natural evil and design in nature, and part 3 explores how Asa Gray was able to embrace evolution without rejecting the idea of design.

Evangelical Christians in the nineteenth century were generally not biblical literalists, nor did they believe in a young earth. In other words, the religious opposition to Darwin did not arise from perceived problems between Darwin's theory and a literal reading of Genesis. Rather, following the publication of Origin of Species, it centered on what seemed to be the randomness of natural selection, the appearance of new organisms by chance, and therefore the exclusion of divine purpose or design in Nature.⁷ It was the teleological question that Gray addressed in his review and about which he and Darwin corresponded over many years.

Darwin responds to Gray's review of Origin of Species

Darwin's response to Gray's review, a copy of which he received prior to its publication, was very positive. Darwin even hoped that it could become a preface in a second American edition of On the Origin of Species on which Gray worked. In a letter later in the year to James Dwight Dana, Darwin said: "No one person understands my views & has defended them so well as A. Gray;--though he does not by any means go all the way with me."⁸ The "all the way" included teleology, and Darwin wrote this to Gray concerning his attempt to retain design:

It has always seemed to me that for an Omnipotent & Omniscient Creator to foresee is the same as to preordain; but then when I come to think over this I get into an uncomfortable puzzle something analogous with "necessity & Free-will" or the "Origin of evil," or other subject quite beyond the scope of the human intellect.⁹

Three months later he picked up the discussion with these comments:

With respect to the theological view of the question; this is always painful to me.--I am bewildered.--I had no intention to write atheistically. But I own that I cannot see, as plainly as others do, & as I should wish to do, evidence of design & beneficence on all sides of us. There seems to me too much misery in the world. I cannot persuade myself that a beneficent & omnipotent God would have designedly created the Ichneumonidae with the express intention of their feeding within the living bodies of caterpillars, or that a cat should play with mice. Not believing this, I see no necessity in the belief that the eye was expressly designed. On the other hand I cannot anyhow be contented to view this wonderful universe & especially the nature of man, & to conclude that everything is the result of brute force. I am inclined to look at everything as resulting from designed laws, with the details, whether good or bad, left to the working out of what we may call chance. Not that this notion at all satisfies me .... But the more I think the more bewildered I become; as indeed I have probably shown by this letter.¹⁰


"I cannot persuade myself that a beneficent & omnipotent God would have designedly created the Ichneumonidae with the express intention of their feeding within the living bodies of caterpillars, or that a cat should play with mice." - Charles Darwin

Darwin invokes William Paley

Shortly after this letter to Gray, Darwin wrote Charles Lyell on the same subject and said:

I have said that natural selection is to the structure of organised beings, what the human architect is to a building. The very existence of the human architect shows the existence of more general laws; but no one in giving credit for a building to the human architect, thinks it necessary to refer to the laws by which man has appeared. No astronomer in showing how movements of Planets are due to gravity, thinks it necessary to say that the law of gravity was designed that the planets should pursue the courses which they pursue.--I cannot believe that there is a bit more interference by the Creator in the construction of each species, than in the course of the planets.--It is only owing to Paley & Co, as I believe, that this more special interference is thought necessary with living bodies.¹¹

In mentioning "Paley & Co," Darwin was referring to William Paley and other natural theologians, who had argued that nature--through the organization and adaptations of living organisms--demonstrated the existence of an intelligent creator. Darwin had studied Paley while in university, and Gray had also been influenced by the work of Paley, whose eighteenth-century opus Natural Theology was an important component of nineteenth-century American philosophy and was still used as a text at Harvard when Gray began teaching there in 1842.


William Paley

Paley's Argument from Design ultimately boiled down to this:

Premise 1: God's will is for us to be happy in this life and the next.

Premise 2: We can discover God's will either by consulting Scripture or by consulting "the light of nature." Both ways will lead to the same conclusion.

Premise 3: The will of God with regard to any action can be found by inquiring into its "tendency to promote or diminish the general happiness."

Conclusion 1: God creates to promote the general happiness of all creatures.

Conclusion 2: Organisms are perfectly adapted to their environment by the Creator.

The corollary of this last conclusion was that perfect design, from the structure and functioning of an organ to the structure of the universe, is evidence for God.

Confronting the reality of suffering and death in nature

For Paley, Nature provided the evidence for the existence of God, but Darwin had difficulty with this argument. His difficulty centered on what might best be referred to as issues surrounding theodicy, i.e., are natural selection and its results consistent with design by a benevolent God or do they imply that, if designed, God is capable of malevolent intent. In a July 3, 1860, letter to Gray, Darwin explicitly raises the issue. He writes:

One word more on "designed laws" & "undesigned results." I see a bird which I want for food, take my gun & kill it, I do this designedly.--An innocent & good man stands under tree & is killed by flash of lightning. Do you believe (& I really should like to hear) that God designedly killed this man? Many or most person do believe this; I can't & don't.--If you believe so, do you believe that when a swallow snaps up a gnat that God designed that that particular swallow should snap up that particular gnat at that particular instant? I believe that the man & the gnat are in same predicament.--If the death of neither man or gnat are designed, I see no good reason to believe that their first birth or production should be necessarily designed. Yet, as I said before, I cannot persuade myself that electricity acts, that the tree grows, that man aspires to loftiest conceptions all from blind, brute force.¹²

What Darwin wanted was Design without suffering, teleology without agony, purpose without pain.

Darwin and Gray discuss Design

This issue becomes the focus of discussion following the third article of a series that Gray published in The Atlantic Monthly in July, August, and October of 1860. When these articles were reprinted as a chapter in Gray's Darwiniana, the chapter was titled "Natural Selection not Inconsistent with Natural Theology." The passage that focused the discussion for Darwin was this: "We should advise Mr. Darwin to assume, in the philosophy of his hypothesis, that variation has been led along certain beneficial lines."¹³

After stating that the article was "admirable," Darwin responded to Gray in these words:

But I grieve to say that I cannot honestly go as far as you do about Design .... [Y]ou lead me to infer that you believe "that variation has been led along certain beneficial lines."--I cannot believe this; & I think you would have to believe, that the tail of the fan-tail was led to vary in the number & direction of its feathers in order to gratify the caprice of a few men.¹⁴

In September, Darwin responded to a question from Gray and informed him of his correspondence with Lyell on the subject of Design. In a lengthy passage, he wrote:

Your question of what would convince me of Design is a poser. If I saw an angel come down to teach us good, & I was convinced, from others seeing him, that I was not mad, I should believe in design. If I could be convinced thoroughly that life & mind was in an unknown way a function of other imponderable forces, I should be convinced.... I have lately been corresponding with Lyell, who, I think, adopts your idea of the stream of variation having been led or designed. I have asked him (& he says he will hereafter reflect & answer me) whether he believes that the shape of my nose was designed. If he does, I have nothing more to say. If not, seeing what Fanciers have done by selecting individual differences in the nasal bones of Pigeons, I must think that it is illogical to suppose that the variations, which Nat. Selection preserves for the good of any being, have been designed. But I know that I am in the same sort of muddle (as I have said before) as all the world seems to be in with respect to free will, yet with every supposed to have been foreseen or preordained.¹⁵

Finally, in December, Darwin sent up the white flag, conceding that "if anything is designed, certainly Man must be; one's 'inner consciousness' (though a false guide) tells one so; yet I cannot admit that man's rudimentary mammae ... & pug-nose were designed .... I am in thick mud;--the orthodox would say in fetid abominable mud."¹⁶ From this point on, the topic is not as central in their correspondence.

Following the publication of Darwin's book on orchids, however, he asked Gray to look at the last chapter, since Darwin believed that it bore on the design question. Gray's response was found in both his review of the book and in a letter to Darwin. In his review, he praised Darwin for having "brought back teleological considerations into botany." He concluded:

We faithfully believe that both natural science and natural theology will richly gain, and equally gain, whether we view each varied form as original, or whether we come to conclude, with Mr. Darwin, that they are derived:--the grand and most important inference of design in nature being drawn from the same data, subject to similar difficulties, and enforced by nearly the same considerations, in the one case as in the other.¹⁷

Gray may have believed that Darwin "brought back teleological considerations into botany," and Darwin may have swung that way in his book on orchids, but by 1867 Darwin had definitely swung back to the other side. In his concluding remarks for The Variation of Animals and Plants Under Domestication, he wrote:

However much we may wish it, we can hardly follow Professor Asa Gray in his belief that "variation has been led along certain beneficial lines," like a stream "along definite and useful lines of irrigation." If we assume that each particular variation was from the beginning of all time preordained, then that plasticity of organisation, which leads to many injurious deviations of structure, as well as the redundant power of reproduction which inevitably leads to a struggle for existence, and, as a consequence, to the natural selection or survival of the fittest, must appear to us superfluous laws of nature. On the other hand, an omnipotent and omniscient Creator ordains everything and foresees everything. Thus we are brought face to face with a difficulty as insoluble as is that of free will and predestination.¹⁸

In Part 3, the final post in this series, Dr. Miles will explore how Asa Gray was able to embrace evolution without rejecting the idea of design in nature.

Notes

7. Following the publication of Descent of Man, a second problem arose for evangelicals, centered on how humans could be moral beings, created in the Image of God, if they were continuous with the animal kingdom. I will not be addressing that issue in this paper.
8. Charles Darwin, The Correspondence of Charles Darwin 8, 1860 (Cambridge: Cambridge University Press, 1993), 303.
9. Ibid., 106.
10. Ibid., 224.
11. Ibid., 258.
12. Ibid., 275.
13. Asa Gray, "Natural Selection not Inconsistent with Natural Theology" in Darwiniana (Cambridge, MA: The Belknap Press of Harvard University, 1963), 121-2.
14. Darwin, The Correspondence of Charles Darwin 8, 496.
15. Charles Darwin, The Correspondence of Charles Darwin 9, 1861 (Cambridge: Cambridge University Press, 1994), 267-8.
16. Darwin, The Correspondence of Charles Darwin 9, 369.
17. Cited in Darwin, The Correspondence of Charles Darwin 9, note 11, 430.
18. Charles Darwin, The Variation of Animals and Plants Under Domestication (New York: D. Appleton and Company, 1896), 428.

]]> Sat, 04 Aug 12 07:21:11 -0700 Sara Joan Miles http://biologos.org/blog/series/beauty-science-and-theology?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/series/beauty-science-and-theology?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication It doesn't take a scientist to appreciate the beauty with which God has arrayed his creation. But scientists do have the opportunity (and training) to appreciate different kinds of beauty than do most non-scientists, whether they are ordinarily "hidden" in the extremes of scale, the elegant processes of an experiment, or in the abstraction of mathematics. Indeed the appreciation of various kinds of beauty has always played a critical role in motivating scientists to investigate the world, and in helping them decipher its workings. In the three-part essay, Ruth Bancewicz explores some of the ways beauty, science and theology intertwine. Perspectives on Beauty

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.

A few examples are Sean B. Carroll’s Endless Forms Most Beautiful; Denis Noble’s The Music of Life, and Neil Shubin’s, Your Inner Fish.

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.

]]> Wed, 25 Jul 12 05:00:09 -0700 Ruth Bancewicz http://biologos.org/blog/the-wonder-of-the-universe-the-heavenly-declaration?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/the-wonder-of-the-universe-the-heavenly-declaration?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication The universe that inspired the psalmist three thousand years ago grows grander as each new generation of astronomers adds yet another layer of understanding. The Heavenly Declaration

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

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

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

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

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

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

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

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

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

]]> Fri, 04 May 12 09:10:01 -0700 Karl Giberson http://biologos.org/blog/wheat-that-springeth-green?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/wheat-that-springeth-green?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication 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.

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.

In the grave they laid him, love whom we had slain,
Thinking that he’d never wake to life again,
Laid in the earth like grain that sleeps unseen:
Love is come again like wheat that springeth green.

Alleluia, allelu!
When we die, we will rise with you!

Up he spring at Easter, like the risen grain,
He that for three days in the grave had lain.
Up from the dead my risen Lord is seen;
Love is come again, like wheat that springeth green.

Alleluia, allelu!
When we die, we will rise with you! (x2)

When our hearts are weary, grieving, Lord, in pain,
By your touch you call us back to life again,
fields of our hearts that dead and bare have been:
love is come again, like wheat that springeth green.

Alleluia, allelu!
When we die, we will rise with you! (x3)



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.

]]> Fri, 06 Apr 12 08:50:51 -0700 Mark Sprinkle http://biologos.org/blog/jeffersons-bible-and-the-tears-of-christ?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/jeffersons-bible-and-the-tears-of-christ?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication 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. At a New York University bookstore recently, I came across a facsimile of "Thomas Jefferson's Bible." Jefferson famously cut out parts of the Bible he could not embrace (mostly the miraculous accounts) and collaged them back together. In the introduction I read the fascinating account of how this "Bible" came to be, including the account of Jefferson's conversation with Dr. Joseph Priestley who challenged Jefferson to write out his own convictions about the "Christian System."

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.

]]> Sat, 31 Mar 12 11:59:39 -0700 Makoto Fujimura http://biologos.org/blog/series/science-as-an-instrument-of-worship?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/series/science-as-an-instrument-of-worship?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication In this brief series (taken from a 2009 paper), Jennifer Wiseman uses an excerpt from the famous hymn “How Great Thou Art,” to explain why the study of God’s creation can lead Christ’s followers into meaningful worship and overcome the obstacles which impede true praise. Creation as encountered through our senses is pondered by our minds, which flows into wonder-filled songs from the soul. She further explains how knowledge of creation will help Christians to address the moral dilemmas of science, and she encourages all to see the process of scientific inquiry as a means to discover God’s truth. Today's entry was taken from an article written by Jennifer Wiseman for the 2009 Theology of Celebration conference and published originally on our website in 2010; we are reposting it here. Here she shared her personal Christian perspectives on how churches can better incorporate science as a positive element of worship, service, and celebration.

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.

]]> Mon, 19 Mar 12 08:00:14 -0700 Jennifer Wiseman http://biologos.org/blog/knowing-your-context?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/knowing-your-context?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication 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?


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.

]]> Sat, 17 Mar 12 21:33:42 -0700 Mark Sprinkle http://biologos.org/blog/vox-balaenae?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/vox-balaenae?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication In 1967, 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. For the previous two weeks we’ve looked at artistic representations of whales (a poem and a sculpture), emphasizing the way earth’s largest creatures can embody the persistent mystery of Creation and the complex way we engage with the created world and with its Maker. While those works touched on present and historical interaction between whales and people, today’s musical work brings together imaginative and symbolic associations with more explicitly scientific overtones.

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.

]]> Sun, 04 Mar 12 01:00:07 -0800 Mark Sprinkle http://biologos.org/blog/making-the-whale?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/making-the-whale?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication This week’s artistic treatment of the great whales takes as its subject a more-storied and decidedly less-gentle member of the family, but returns to our fascination with and desire to know about whatever is dramatically not us. Image courtesy the John Michael Kohler Arts Center, Sheboygan, WI
©Tristan Lowe. Mocha Dick, 2009. 52 feet long. (Industrial wool felt, inflatable armature, vinyl-coated fabric, internal fan. Created in collaboration with the Fabric Workshop and Museum, Philadelphia.)

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

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

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

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

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

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

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

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

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

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

]]> Sun, 26 Feb 12 01:40:10 -0800 Mark Sprinkle http://biologos.org/blog/humpback-whales?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/humpback-whales?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication Of all the earth’s creatures, few deserve the description of “awesome” as do whales. Counting among their kin the largest creatures that have ever lived, whales exist in a world that remains mysterious and remote. “And God created great whales, and every living creature that moves, which the waters brought forth abundantly, after their kind, and every winged fowl after his kind: and God saw that it was good. (Genesis 1:21)

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

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

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

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

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

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

“Humpback Whales”

by Sørina Higgins

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

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

Having other messages to bring, they moved on.

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

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

]]> Sat, 18 Feb 12 23:50:43 -0800 Mark Sprinkle http://biologos.org/blog/oscillators-for-singers?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication http://biologos.org/blog/oscillators-for-singers?utm_source=RSS_Feed&utm_medium=RSS&utm_campaign=RSS_Syndication Dr. Heather Whitney’s double major in physics and performing and visual arts suggests that she lives—as well as understands—the connections between subjective and objective ways of engaging the creation. She is committed to communicating that experience with her students, too. Whitney’s double major in physics and performing and visual arts from King College in Tennessee suggests that she lives—as well as understands—the connections between subjective and objective ways of engaging the creation. She is committed to communicating this experience with her students, too. For if the essence of worship is seeing the Glory of God and responding together in gratitude for His gift of grace and intimacy, then both science and art might be thought of as doorways into worship when they open our eyes (and ears) to the intimacy we share with the creation and with each other when we lift our voices to sing.

This article originally appeared here in Comment magazine, the opinion journal of CARDUS: www.cardus.ca/comment. More on Heather Whitney’s research and other work may be found here.

“Oscillators for Singers”

It's the first day of the course I teach on the physics of music. The students are mostly from my college's music conservatory; many of them have never set foot in our science building, except perhaps to take a shortcut from a dorm to the dining hall. A few slump in their seats. Others look around the room anxiously, as if trying to brace themselves for some strange physics equipment that they might be forced to use.

Before class began, I set up a small microphone which is connected to a computer. Now I open by welcoming them to the course and asking, "Who wants to sing a few notes into the microphone for us?" Some eyes light up in surprise and delight. Neighbors look at each other, seeing if the student next to them is up to it. One eager soul, a soprano, jumps up to the front of the room.

I ask the student to sing a single note at a comfortable pitch for a few seconds. The software that connects to the microphone does a quick analysis of the sound. The students smile and laugh with delight in the singer's obvious talent. I direct their focus to the projection screen, which shows a graph of amplitude, or size of the sound signal, versus frequency, the number of oscillations of air pressure the sound makes in a unit of time.

Then we discuss the science of sound. I point out that what appears to us to be one pitch is actually made up of several components. I ask the student to sing another note on a different pitch. We watch the changes on the screen, and the students describe the changes they observe. I ask for another volunteer and this time a male student volunteers. He sings a note and we compare again the similarities and differences in the components of sound. Another student volunteers to sing a note with quite a bit of vibrato. At this point the students are excitedly thinking about what types of sounds they can produce and predicting what changes might be seen on the screen.

For many of my students, this first day of class is the first time they have thought of their art as having a scientific basis. We spend the following class periods learning about oscillations: their descriptors of position, velocity, acceleration, time, amplitude, and frequency; how sound is a longitudinal pressure wave that oscillates in its direction of propagation; how instruments and the human body manipulate different variables to produce the wonderful variety of sounds that we hear. We measure the speed of sound by snapping our fingers at the end of a tube and measuring the time it takes for the sound to reflect back over a known distance. We learn about the history of tuning systems and how humans have devised a wide variety of temperaments, each one unique in how the notes differ in oscillation of air pressure.

As they build up the skills to quantitatively describe the oscillations that make up music, I sense their combination of amazement and frustration. They are thinking, where does all of this fit in with the joy that I have in music? How is it that a precisely known series of frequencies at different amplitudes can evoke emotional responses in listeners? If I know too much about all this, will it affect my ability to produce beautiful music?

These are weighty questions, but delving into them is the heart of the liberal arts mission of our college. No discipline is an island. Music especially is a wondrous example of the interconnectedness of the human experience. It is connected to science, as is our goal to explore in the course, as well as mathematics, anthropology, history, psychology—even religion and faith—and many other fields. The students are learning and experiencing that music is much more than notes on a musical staff. It is a high calling for our all-too-brief half-semester course.

It is (mostly) true that there is nothing new under the sun. These thoughts that my students are processing have been considered before and will be for generations to come. In 1863, Hermann Helmholtz, a man who oscillated between posts as professor of physics and professor of physiology, published his thoughts on the topic in On the Sensations of Tone as a Physiological Basis for the Theory of Music. He argued that the spatial and temporal reasoning in music evokes a sensory understanding of motion—and not just motion, but also emotion. Helmholtz considers music's origins in oscillations of variables in time and space and its extension to the rise and fall of notes, dynamics, and voices of a piece. He wrote, "It becomes possible for motion in music to imitate the peculiar characteristics of motive forces in space, that is, to form an image of the various impulses and forces which lie at the root of motion. And on this, as I believe, essentially depends the power of music to picture emotion."

Helmholtz later describes how the practice of learning the elements of music, both its theory and its physical basis, allow us to better understand the great works of others we experience. It enables us to see that "the artist is a man as we are, in whom work the same mental powers as in ourselves, only in their own peculiar direction, purer, brighter, steadier; and by the greater or less readiness and completeness with which we grasp the artist's language we measure our own share of those powers which produced the wonder." A careful study of music enhances our relationship to the art and its producers. We discover not only more about ourselves, but also more of what we are capable.

To my amazement, in a later class one student raises her hand and says that she has taught herself to sing two very different tones at one time as the Tuvan throat singers of Siberia do. She is somewhat hesitant to demonstrate her ability to the class, as the second, higher frequency at this point in her self-training is very faint. She holds the microphone and produces the sounds. The graph updates almost instantaneously and the class views it eagerly on the projection screen. There we see the quantification of the two sounds: the strong peak of the pedal note and the faint but measurable higher frequency note. The student smiles with great self-satisfaction; she and her classmates have connected with the skill, history, and culture of the Tuvan singers. And the science has quantified and enhanced how they understand the art.

]]> Sun, 12 Feb 12 04:00:06 -0800 Heather Whitney