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

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

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

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

Dr. Owen Gingerich is professor emeritus of astronomy and history of science at Harvard University. He grew up in a Christian home and attended a Christian college in northern Indiana that had a motto of “Culture for service”, something that was very important in thinking about what he might do with his life.

When it came time to go to graduate school, one of his science professors told him “If you feel a calling to go to astronomy, you should give it a try, because we shouldn’t let atheists take over any particular field.”

And so he went on to a career in astronomy. In the late 1980’s, Dr. Gingerich had a unique opportunity to give a lecture at the University of Pennsylvania on the topic of science and Christian faith. Since then, he’s been trying to help people better understand God’s creation. For example, God could have made the universe in many different ways, but given the particular way it appears, it suggests that we wouldn’t be here if the universe were not very, very old, because out of the big bang came hydrogen and helium, but not oxygen and the iron we need for our blood, for instance. Those things came from the interiors of giant stars and had to cook for long, long periods of time before we got those elements abundant enough for sustainable life. It’s a marvelous picture, and Dr. Gingerich is actively involved in telling people about it.

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

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

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

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

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

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

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

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

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

Today's video is courtesy of filmmaker Ryan Pettey, director/editor of Satellite Pictures.

In this video, Lincoln Harvey, Tutor in Theology at St Mellitus College in London, explores the intended role of humans in God’s creation as seen in Scripture from Genesis to Revelation. It is significant, he notes, that in the beginning humankind is placed in a garden. The Biblical narrative, however, does not remain here, but journeys from this garden to the city in the book of Revelation where culture—whether the sciences or the arts—reflects God’s intention for his creatures to “grow into the fullness of its stature.” As a demonstration of this point, Harvey examines the Eucharist, the center of Christian worship in which grain and grape are transformed into bread and wine as an offering to God from the goodness of his creation. Therefore, the exploration of creation can be understood as a priestly vocation to tend to and engage with the world around us. Ultimately, the science and religion debates seem to indicate a failure on the creature’s part to appreciate the generosity of God and prevent one from seeing the consistency of science and theology.

Transcript

With lots of due considerations in place, if we take the Christian scriptures and consider it in what Saint Athanasius called its “scopic whole” rather than telescoping in to particular verses and chapters, but actually take a step back and a deep breath and begin to consider the shape, the scopic whole of the Scriptures, then it perhaps has theological significance that the journey begins in a garden, that the human creature is placed within a garden, not necessarily a static state of paradise but something that needs to be tended and kept and something in which there is rhythms and seasons and something in which the creature participates and engages and shares in being with as God’s representative. And having been placed in a garden and needing to engage with the creation in nature, it’s perhaps fruitful for the Church to take that overarching shape on board and to see culture broadly considered within God’s purpose for the creature to grow into the fullness of its stature.

And therefore, culture—be it the arts or the sciences, be it human endeavor—is part of the creature journeying from a garden to a city, accompanied by God, enabled by God to offer back through Christ and the Spirit the goodness of creation perfected. At the center of the Church’s worship, we find the Eucharist, and it’s probably again fruitful to consider the way in which the Eucharist as the pivotal event of Christian worship does not offer back to God nature unrefined, it doesn’t offer grain and grape, but instead the Church offers through the Son and the Spirit bread and wine, which Colin Gunton, an important theologian in these areas, has called “nature manufactured.” But the human creature in its liturgy offers the work of human hands: the grain* and the grape manufactured. If you like, at the center of Christian worship is technology, and therefore, for the Church to step back from the debates about science and faith, science and religion is somehow to see the scientific exploration of the creation as part of that priestly vocation of being placed in the world, engaging with that world, and then through the Son and the Spirit, offering back that world as God’s representative.

I imagine or I wonder whether or not the growing dualism or growing conflict between science and religion is actually a rebellion of the creature, failure of us to see the generosity of God and the way in which the theology and the science are more intimately and beautifully related than we would dare to imagine. So, it is almost a natural inkling of the fallen creature to create these conflicts that absolutely prevent us from seeing the systematic coherence and beauty of God’s generosity to us.

*Originally bread

This summer I gave a series of talks at several youth festivals on the subject of ‘Why a Christian should be a scientist’. As someone who spends every day interacting with Christians working in science, I have no shortage of material to present on the topic, and it’s exciting to see the reactions of these young people when they are encouraged that science is a great career for a Christian.

The primary reason why a Christian should consider science as a career is because it offers unique opportunities to worship God. Exploring God’s creation, uncovering its secrets and marvelling at the vastness and intricacy of the universe is never a waste of time, and from the Psalms onwards, scientific information has informed the writers of worship songs. If worship is the chief end of man, then the further we explore using the tools of science the better.

The Test of FAITH documentary and study materials were developed at The Faraday Institute for Science and Religion to meet a demand from church leaders, student ministries and scientists for resources to help people understand and explore the relationship between science and faith. They profile a number of senior scientists who are also Christians. The names will be familiar – they include Francis Collins, Ard Louis, Deborah Haarsma, Rosalind Picard, John Polkinghorne, Jennifer Wiseman, Bill Newsome, Denis Alexander, Simon Conway Morris, John Houghton, and Alister McGrath.

Among the topics covered by these study materials are astronomy, the Big Bang, the creation of life on earth, the environment, bioethics and the brain. They were developed with an ethos that, where controversial issues are concerned, people should have the opportunity to consider different sides of the debate, explore the Bible, and make up their own minds.

At the deepest level, the debate between science and religion is really a debate about how do I obtain reliable knowledge about the world? How do I know that something is true, or how do I know that something is false, or how do I know that something is reliable, something is unreliable, and that’s a terribly important question.

-Dr Ard Louis, Oxford University, in "Test of FAITH"

Test of FAITH demonstrates that being a Christian and a scientist need not result in endless personal conflict. Of course there are difficult issues at times, but worshipping God through science, living a Christian life in the lab, and playing a part in developing new technologies are all satisfying ways of serving God.

I think it’s exciting as Christians to go exploring, because we’re never going to find anything that’s outside of God’s realm. Everything is part of this majestic creation, and the more you discover, the more amazed you get by thinking about God, and so I think exploration is a divinely Christian activity and people should be excited about it.

-Dr Jennifer Wiseman, Astronomer & Author, in "Test of FAITH"

Dr Alasdair Coles is a neurologist at Cambridge University. He was drawn to neurology as a teenager when he saw the potential to help patients understand their disease by simply talking to them and making a series of clinical deductions. He is now involved in developing drugs to treat multiple sclerosis. Interestingly, Coles has recently been ordained in the Church of England, and has gained unique insights from being part of both of these worlds.

For me theology and science, and neuroscience, are going to achieve little unless they start talking to each other. There are fresh insights that theology has for science, and vice versa. And the great theological truths that humans are unique, that we are in some way god-like, that we are the only beasts that are moral, these are things that scientists have to somehow conjure with and study.

-Revd Dr Alasdair Coles, Cambridge University, in "Test of FAITH"

Rosalind Picard is a Professor of Media Arts and Sciences at MIT, and has pioneered the field of emotive computing – developing computers that interpret and respond to human emotion. She has used her expertise to develop technology that helps autistic people to interact socially. Her explanations of how she, as an analytical scientific person, approaches faith are extremely helpful for those who are trying to figure out how science and faith relate.

As I’ve learned more, my scientific method has informed my faith because I’m very analytical, and I question things constantly. You have to be careful as a scientist, however, that you don’t fall into the trap that a lot of atheists fall into. They just assume that God must be provable or disprovable by science. In fact some of them assume that the only things that are true are things science shows. Ironically what they are doing is claiming (dogmatically) that they have the only way to truth: science. But science, within itself, cannot prove the correctness of its own methods. It cannot prove its claim to be the only way to know truth. Science cannot prove most events of history but does that mean they did not happen? To believe that God is explainable by science is to completely mischaracterize God.

-Dr Rosalind Picard, MIT, in "Test of Faith: Spiritual Journeys with Scientists"

Test of FAITH will be presented at a series of events across the US this Fall. A film showing will be followed by a panel discussion and Q&A. Locations include Cambridge, MA; Wheaton, IL; Fairfax, VA; St Paul, MN; and San Diego, CA. Details can be found here. Our aim is to equip people to start the conversation, and help them to grow in their relationship with God.

There are ways of finding truth. You can read the book of the Bible, you can read the book of nature and you can find truth in both ways. You need to be careful of course about what kind of question you’re asking, and which tools are appropriate for that question, but to be able to be a fully formed human being, it seems to me, to put either of those kinds of investigations off to the side and say, ‘That’s inappropriate,’ or, ‘That’s dangerous,’ is to be impoverished, to miss out on the experience of what one can do on this brief glimpse of time while we’re living here on this amazing planet, having the chance to search in all kinds of directions for the truth.

-Dr Francis Collins, Former Director of the Human Genome Project. In "Test of FAITH"

Praise the Lord!

I will give thanks to the Lord with my whole heart,
in the company of the upright, in the congregation.

Great are the works of the Lord,
studied by all who delight in them.

Full of honor and majesty is his work,
and his righteousness endures forever.

He has gained renown by his wonderful deeds;
the Lord is gracious and merciful.

Psalm 111:1-4

I became a scientist because over and over, when I was a child, a teenager, and a college student, I experienced the sheer delight that comes with understanding the amazing physical mechanisms that are at work in our universe. For me, this delight came because the universe is not only understandable, but elegant, with just a few physical principles giving rise to the behavior of atoms, galaxies, and everything in between.

I still remember the culminating moment of my first college physics course in electricity and magnetism. We had started out studying electricity, the prosaic workhorse that powers our lives, and then moved to Einstein’s wonderful discovery that magnetism is simply electricity combined with special relativity. Refrigerator magnets, migrating birds guided by Earth’s magnetic field, lightning, and balloons sticking to the wall with static after rubbing them on my hair — all came from the same underlying principle. I thought it couldn’t get any better.

Then we arrived at Maxwell’s equations. James Clerk Maxwell, a nineteenth-century British physicist, was among the most prominent scientists of his day. Bringing together the work of many others, but adding extraordinary creative insight, he formulated just four mathematical equations representing the physical laws governing electric and magnetic fields. He also realized that these equations indicated the existence of waves made up of these fields. Out of the equations came a value for the speed of these waves, based on numbers that could be measured from electric circuits. Amazingly enough, this value matched the speed of light that had been measured just five years earlier. Light was no more and no less than a pattern of electric and magnetic fields traveling through space.

The exquisite simplicity of the physical laws of the universe was never so evident to me as at that moment. Simple, and yet incredibly fertile — the travel of light through space and matter, governed by these few principles, nonetheless manifests itself in a stunning variety of ways. Light from the sun brings us the warmth and energy needed to sustain life on our planet; we perceive the world around us primarily through images formed by our eyes from the light that reaches us; and we use what we’ve learned about light, both through recent science and through the experimentation of untold generations, to improve our vision, to heal, to communicate, to probe the structure of the molecules and organisms that make up the world around us — and to make beautiful things. And the world around us is filled with beauty that comes from light refracting through drops of water and scattering from grains of dust.

In the years that followed, I learned to draw upon this delight to turn my heart to worship, and to deepen my grasp of God’s greatness. The orderly intelligibility of the Creation points us toward the power and trustworthiness of God. The rich fertility of the Creation points us toward the abundant love and generosity of God. The more we understand, the more we marvel not only at the Creator’s handiwork, but at the one who spoke it into being:

“Then God said, ‘Let there be light;’ and there was light. And God saw that the light was good; and God separated the light from the darkness.”
Genesis 1:3-4

As a Ph.D. student, I learned that Maxwell himself was a dedicated Christian. During his time as director of the Cavendish Laboratory at Cambridge University in England, he arranged for Psalm 111:2 to be carved over the doors of the laboratory (in Latin): Magna opera Domini exquisita in omnes voluntates ejus (“Great are the works of the Lord, studied by all who delight in them.”).

What Maxwell learned, and what I learn as I teach his findings and use them in my scientific work, expands my knowledge of our Father’s greatness. The richness of “Let there be light” keeps growing for me, year after year, every time I labor over the details of how light is emitted in my research. It grows every time I take another group of physics majors through Maxwell’s journey, every time I teach premedical students and biology majors the workings of human vision. ”Great are the works of the Lord, studied by all who delight in them.”