The first approach naturalists took to dealing with the great variety of animals was to sort them into groups, such as vertebrates (including fish, amphibians, reptiles, birds, and mammals) and arthropods (insects, crustaceans, arachnids, and more), but between and within these groups there are many differences. What makes a fish different from a salamander? Or an insect from a spider? On a finer scale, clearly a leopard is a cat, but what makes it different from a domestic tabby? And closer to home, what makes us different from our chimpanzee cousins?

The key to answering such questions is to realize that every animal form is the product of two processes--development from an egg and evolution from its ancestors. To understand the origins of the multitude of animal forms, we must understand these two processes and their intimate relationship to each other. Simply put, development is the process that transforms an egg into a growing embryo and eventually an adult form. The evolution of form occurs through changes in development.

Both processes are breathtaking. Consider that the development of an entire complex creature begins with a single cell--the fertilized egg. In a matter of just a day (a fly maggot), a few weeks (a mouse), or several months (ourselves), an egg grows into millions, billions, or, in the case of humans, perhaps 10 trillion cells formed into organs, tissues, and parts of the body. There are few, if any, phenomena in nature that inspire our wonder and awe as much as the transformation from egg to embryo to the complete animal. One of the great figures in all of biology, Darwin's close ally Thomas H. Huxley, remarked:

The student of Nature wonders the more and is astonished the less, the more conversant he becomes with her operations; but of all the perennial miracles she offers to his inspection, perhaps the most worthy of admiration is the development of a plant or of an animal from its embryo. -- Aphorisms and Reflections (1907)

The intimate connection between development and evolution has long been appreciated in biology. Both Darwin, in The Origin of Species (1859) and The Descent of Man (1871), and Huxley in his short masterpiece, Evidence as to Man's Place in Nature (1863), leaned heavily on the facts of embryology (as they were in the mid-nineteenth century) to connect man to the animal kingdom and for indisputable evidence of evolution. Darwin asked his reader to consider how slight changes, introduced at different points in the process and in different parts of the body, over the course of many thousands or a million generations, spanning perhaps tens of thousands to a few million years, can produce different forms that are adapted to different circumstances and that possess unique capabilities. That is evolution in a nutshell.

For Huxley, the nub of the argument was simple: we may marvel at the process of an egg becoming an adult, but we accept it as an everyday fact. It is merely then a lack of imagination to fail to grasp how changes in this process that are assimilated over long periods of time, far longer than the span of human experience, shape life's diversity. Evolution is as natural as development. [SNIP]

While Darwin and Huxley were right about development as key to evolution, for more than one hundred years after their chief works, virtually no progress was made in understanding the mysteries of development. The puzzle of how a simple egg gives rise to a complete individual stood as one of the most elusive questions in all of biology. Many thought that development was hopelessly complex and would involve entirely different explanations for different types of animals. So frustrating was the enterprise that the study of embryology, heredity, and evolution, once intertwined at the core of biological thought a century ago, fractured into separate fields as each sought to define its own principles.

Because embryology was stalled for so long, it played no part in the so-called Modern Synthesis of evolutionary thought that emerged in the 1930s and 1940s. In the decades after Darwin, biologists struggled to understand the mechanisms of evolution. At the time of The Origin of Species, the mechanism for the inheritance of traits was not known. Gregor Mendel's work was rediscovered decades later and genetics did not prosper until well into the 1900s. Different kinds of biologists were approaching evolution at dramatically different scales. Paleontology focused on the largest time scales, the fossil record, and the evolution of higher taxa. Systematists were concerned with the nature of species and the process of speciation. Geneticists generally studied variation in traits in just a few species. These disciplines were disconnected and sometimes hostile over which offered the most worthwhile insights into evolutionary biology. Harmony was gradually approached through an integration of evolutionary viewpoints at different levels. Julian Huxley's book Evolution: The Modern Synthesis (1942) signaled this union and the general acceptance of two main ideas. First, that gradual evolution can be explained by small genetic changes that produce variation which is acted upon by natural selection. Second, that evolution at higher taxonomic levels and of greater magnitude can be explained by these same gradual evolutionary processes sustained over longer periods.

The Modern Synthesis established much of the foundation for how evolutionary biology has been discussed and taught for the past sixty years. However, despite the monikers of "Modern" and "Synthesis," it was incomplete. At the time of its formulation and until recently, we could say that forms do change, and that natural selection is a force, but we could say nothing about how forms change, about the visible drama of evolution as depicted, for example, in the fossil record. The Synthesis treated embryology as a "black box" that somehow transformed genetic information into three-dimensional, functional animals.

The stalemate continued for several decades. Embryology was preoccupied with phenomena that could be studied by manipulating the eggs and embryos of a few species, and the evolutionary framework faded from embryology's view. Evolutionary biology was studying genetic variation in populations, ignorant of the relationship between genes and form. Perhaps even worse, the perception of evolutionary biology in some circles was that it had become relegated to dusty museums.

Such was the setting in the 1970s when voices for the reunion of embryology and evolutionary biology made themselves heard. Most notable was that of Stephen Jay Gould, whose book Ontogeny and Phylogeny revived discussion of the ways in which the modification of development may influence evolution. Gould had also stirred up evolutionary biology when, with Niles Eldredge, he took a fresh look at the patterns of the fossil record and forwarded the idea of punctuated equilibria--that evolution was marked by long periods of stasis (equilibria) interrupted by brief intervals of rapid change (punctuation). Gould's book and his many subsequent writings reexamined the "big picture" in evolutionary biology and underscored the major questions that remained unsolved. He planted seeds in more than a few impressionable young scientists, myself included.

To me, and others who had been weaned on the emerging successes of molecular biology in explaining how genes work, the situations in embryology and in evolutionary biology were both unsatisfying, but they presented enormous potential opportunities. Our lack of embryological knowledge seemed to turn much of the discussion in evolutionary biology about the evolution of form into futile exercises in speculation. How could we make progress on questions involving the evolution of form without a scientific understanding of how form is generated in the first place? Population genetics had succeeded in establishing the principle that evolution is due to changes in genes, but this was a principle without an example. No gene that affected the form and evolution of any animal had been characterized. New insights in evolution would require breakthroughs in embryology.

Today’s blog was an excerpt taken from the Introduction of Endless Forms Most Beautiful, (c. 2006), which was a finalist for both the Los Angeles Times Book Prize and the National Academy of Sciences Communication Award, as well as being a Discover magazine and USA Today “Top Science Books of the Year.” Learn more here.

In tomorrow’s blog, we move to the concluding chapter, where Sean Carroll summarizes some of the most exciting lessons learned from research in Evo Devo.

Editorial Policy: The editing for these excerpts involves removing the odd sentence or two—indicated by putting [SNIP] at the appropriate point(s)—and sometimes inserting annotations where warranted [also enclosed in square brackets] to provide background information.

So, I’ve decided to try a slightly different approach for the next while—one that has these sorts of folks in mind. From time to time, you can still expect those more in-depth, technical articles, or perhaps a discussion of some new research that makes the popular press, or even an analysis of some new argument from the IDM or RTB. These will be breaks from the new routine, however. For the most part, we’re going to stick to the basics, much like you would if you took an introductory evolution course at a university. Don’t worry, though: this course doesn’t have any prerequisites! All that’s needed is a willingness to learn.

What you can expect

The goal of this course is straightforward: to provide evangelical Christians with a step-by-step introduction to the science of evolutionary biology.  This will provide benefits beyond just the joy of learning more about God’s wonderful creation. An understanding of the basic science of evolution is of great benefit for reflecting on its theological implications, since this reflection can then be done from a scientifically-informed perspective. From time to time we might comment briefly on some issues of theological interest (and suggest resources for those looking to explore those issues further), but for the most part, we’re going to focus on the science. For folks interested in the interaction between science and Christianity, I heartily recommend Ted Davis’ recent series as a fabulous introduction to the topic.

You can also expect a slow, patient pace. Since this course is intended for folks with little or no background in biology, we’re going to take our time to make sure no one gets left behind. This might be frustrating to folks who already know a fair bit about evolution. Hopefully even more knowledgeable readers will learn some new and interesting details along the way—but the goal will primarily be to help folks who are less well versed in evolution increase their understanding.

You can also expect a survey of many different areas that have some bearing on evolution. We’ll examine geology, paleontology, biogeography, genetics, and a host of other topics in order to provide a “big picture” overview. This broad-brush approach means that any given individual post will not necessarily be “convincing” to folks who have doubts about evolution. Think about assembling a large jigsaw puzzle: placing any individual piece, on its own, doesn’t convincingly demonstrate what the overall picture will show. This course will be like that. Each topic we cover will put a few pieces in place here and there, slowly building towards the final overall picture.

Since evolution is an active science, this process will also highlight where there are “missing pieces” that are still being sought by scientists. All of this is well and good, since the purpose of this course is not so much to convince anyone of the validity of evolutionary theory, but rather to inform readers about the nature and scope of evolution as a scientific theory in the present day. My goal is to provide readers with a basic understanding of what evolution is and how it works. Given that as the primary goal, if one finds the scope of the evidence ultimately convincing (or not) is somewhat beside the point. The intent here is to provide readers with information they can use to make their own, informed decision.

How you can help

First and foremost, you can help by spreading the word about this series to folks you think would be interested in learning more about evolution in a non-threatening environment. Secondly, you can help me by asking questions in the comments. One of the challenges of being a specialist is having the ability to put oneself in the shoes of someone just starting out. What might seem obvious to me may not seem obvious to you, and I hope you’ll feel that no question is too basic or too simplistic. If you’re wondering about something, it’s almost guaranteed that other folks are, too! So, please don’t be shy. I’ll do my best to answer questions in the comments, though I hope that some of our more skilled commenters will (respectfully!) help out here, as well. Finally, you can help by letting me know what broader areas of evolution you find confusing. I have my own ideas about what areas of evolution are commonly misunderstood, but I’d love to hear from readers about what areas they find difficult to understand. I’ll use this input to shape the topics I will cover as we go forward.

Getting started

In the next post in this course, we’ll dive into the course content by introducing two key areas: how scientific theories work in general, and how evolution in particular works as the current organizing theory of modern biology. 

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.

Good science has an addiction to theories,¹ and for science to be good science, it must deal with good scientific theories.  What constitutes a good scientific theory?  That is a very involved question, but a user’s view of good scientific theories looks something like this:

1.  A scientific theory is not a guess or suspicion.  For example, “I have a theory about who shot President Kennedy,” reflects the colloquial meaning of the word “theory,” and not the meaning conveyed by scientists when they use the word “theory.”  
2. Scientific theories are convincing explanatory frameworks that efficiently integrate a large body of evidence about the world.  Good scientific theories have the capacity to make sense of a wide range of data that made less sense before the introduction of the theory. 
3. In order to be called a scientific theory, it must have been successfully tested and re-tested many times.²
4. A scientific theory must be falsifiable in order to be truly scientific.  The theory has to live constantly at risk from new data.³ 
5. A theory must have predictive power.⁴  Good theories allow scientists to make predictions based on the theory that, when tested, turn out to be at least roughly correct. 

These are not the only characteristics of a scientific theory, but they probably represent the most important features for practitioners of science. 

If we hold contemporary evolutionary theory to these standards, how well does it do?  Since the inception of evolutionary theory by Charles Darwin in 1859 with the publication of On the Origin of Species, there are four characteristics of evolutionary theory that have endured 150 years of further research:

1. Living species are descendants of other species that lived in the past.
2. These past species lived in populations that underwent gradual transformation so that the individuals in these populations changed their appearance, behaviors, metabolisms, and life histories over long spans of time.⁵
3. New forms of life arose by means of a process called speciation in which one lineage splits into two distinct lineages.  This continual splitting of organismal lineages leads to a nested genealogy of species.  This nested genealogy forms a veritable tree of life, whose root represents the first species to arise and whose twigs represent the millions of species living today.  If you trace back any pair of twigs from the modern species you will find that their histories merge at some node on the tree where the two species share a common ancestor.⁶ 
4. This process of biological change that takes place throughout the advance of geologic time, or evolution, occurs by means of variation in organisms (which we know today is due to genetic mutations) that is acted on by either random genetic drift or natural selection. Those individuals with variations better suited to the current environment leave more offspring, thus changing the average appearance of the population over time and making it a better fit to the environment. This improving fit between organisms and their environment gives the appearance of organisms having been well designed for their milieu.⁷ 

What is the evidence for these aspects of evolutionary theory?  The evidence is actually immense, but I will restrict this discussion to just a few items. 

First there is the fossil record. If life results from a natural process such as biological evolution, then we should observe a progression of fossil organisms that proceed from relatively simple, single-celled organisms in the oldest rocks to more complex, multicellular organisms in younger rocks. When paleontologists examine the geologic column, they perceive that some of the oldest and deepest layers of the geologic column contain fossils of microorganisms, and then marine invertebrates in younger layers above those,⁸ and then much later and higher up in the geologic column fish appear, followed later and higher still by amphibians, and then by reptiles, mammals, and birds.⁹  Thus, the general presentation of the fossil record in the rock record comports exactly with what the theory of evolution predicts. 

However, the fossil story gets even better, because scientists can trace evolutionary trends throughout the fossil record.  For example, horses get bigger, fuse their leg bones and toes into a single bone with a thick hoof and grow the thickness of their tooth enamel;¹⁰ Cenozoic brachiopod shells get narrower, decrease their rib numbers and beak angle;¹¹ diatoms get bigger;¹² and primate fossils reduce the size of their teeth and expand the size of their brains.¹³ 

Additionally, Darwin predicted that there should be organisms preserved in the fossil record that possess features found in two different types of creatures. Such organisms are “transitional forms” that bridge the gap between different types of organisms.¹⁴ However, the fossil record of Darwin’s time provided little evidence of such transitional forms.¹⁵ Therefore, Darwin gambled that future paleontological research would provide sufficient evidence to corroborate his theory. How did this gamble turn out? Since Darwin’s time, paleontologists have discovered transitional fossils that are part fish and tetrapod,¹⁶ part amphibian and part reptile,¹⁷ part dinosaur and part bird,¹⁸ and part reptile and part mammal.¹⁹ Once again, we would predict such paleontological trends and the existence of such transitional fossils if life came about through a process of organic evolution. Clearly paleontological research since Darwin’s time has powerfully vindicated his theory. 

Please join us for part two of this post tomorrow, where we will discuss how signs of evolution can be detected in organisms living today, and how evidence from multifarious scientific fields—not just biology and paleontology—have bolstered the theory of evolution and added to our understanding of how natural selection works.

Notes

1. Ratzsch, Del. The Battle of Beginnings: Why Neither Side Is Winning the Creation-Evolution Debate. Downer’s Grove, WI: Intervarsity Press, 1996. pp. 104–119. 
2. Kitcher, Philip. Abusing Science: The Case Against Creationism. Cambridge, MA: MIT Press, 1983. pp. 45–54.
3. Ibid, 42–48.  .
4. Ratzsch, Del. Science and Its Limits: The Natural Sciences in Christian Perspective. Downer’s Grove, WI: Intervarsity Press, 2000. pp. 21–24. 
5. Hall, Brian K., and Benedikt Hallgrimsson. Strickberger’s Evolution. 5th ed. Burlington, MA: Jones and Bartlett, 2013. pp. 19–68. 
6. Kitcher, Philip. Living With Darwin: Evolution, Design, and the Future of Faith. New York: Oxford University Press, 2009. pp. 43–71. 
7. Futuyma, Douglas J. Evolution. 3rd ed. Sundbury, MA: Sinauer Associates, 2013. pp. 281–343. 
8. Valentine, James W. On the Origin of Phyla. Chicago: University of Chicago Press, 2006. pp. 429–464. 
9. Carroll, Robert L. Vertebrate Paleontology and Evolution. New York: W. H. Freeman and Company, 1990. 
10. MacFadden, “Horses, the Fossil Record, and Evolution,” 131–158; McFadden, Bruce J. “Fossil Horses from "Eohippus" (Hyracotherium) to Equus: Scaling, Cope's Law, and the Evolution of Body Size.” Paleobiology 12, no. 4 (1986): 355–69.; Prothero, Donald R., and R.M. Schoch, eds. The Evolution of Perissodactyls. New York: Clarendon Press, 1989. ; McFadden, Bruce J. Fossil Horses. Systematics, Paleobiology, and Evolution of the Family Equidae. Cambridge, Cambridge University Press, 1993. 
11. McNamara, Kenneth J. “Evolutionary Trends.” In Encyclopedia of Life Sciences (New York: Macmillan Publishers Ltd, 2001), pp. 1–7. 
12. Litchman, E., C. A. Klausmeier, and K. Yoshiyama. “Contrasting Size Evolution in Marine and Freshwater Diatoms.” Proceedings of the National Academy of Sciences USA 106, no. 8 (2009): 2665–2670.
13. Tattersall, Ian. The Fossil Trail: How We Know What We Think We Know About Human Evolution. New York: Oxford University Press, 2008. pp. 89–198. 
14. Darwin, Charles. On the Origin of Species by Means of Natural Selection or the Preservation of Favoured Races in the Struggle for Life. London: Penguin Books, 1985. p. 292.
15. Hunt, Gene. “Evolution in Fossil Lineages: Paleontology and The Origin of Species.” Supplement American Naturalist 176 (2010): S61–S76. 
16. Clack, Jennifer A. Gaining Ground: The Origin and Evolution of Tetrapods. Bloomington, IN: Indiana University Press, 2002; Daeschler, Edward B., Neil H. Shubin, and Farish A. Jenkins, Jr. “A Devonian Tetrapod-Like Fish and the Evolution of the Tetrapod Body Plan,” Nature 440, no. 7085 (2006): 757–63; Shubin, Neil H., Edward B. Daeschler, and Farish A. Jenkins, Jr. “The Pectoral Fin of Tiktaalik roasae and the Origin of the Tetrapod Limb.” Nature 440, no. 7085 (2006).): 764–71; Downs, Jason P., Edward B. Daeschler, Farish A. Jenkins, and Neil H. Shubin. "The Cranial Endoskeleton of Tiktaalik roseae." Nature 455, no. 7215 (2008): 925–9. 
17. Carroll, Robert L. Vertebrate Paleontology and Evolution. New York: W. H. Freeman and Company, 1990. pp. 156–216. 
18. Shipman, Pat. Taking Wing: Archaeopteryx and the Evolution of Bird Flight. New York: Touchstone, 1998. pp. 169–244.  
19. Prothero, Donald R. Evolution: What the Fossils Say and Why It Matters. New York: Columbia University Press, 2007. pp. 271–297. 

A common argument leveled against the theory of evolution is that scientists have not been able to produce the expected transitional fossils that show the change of one species into another. If evolution were true, wouldn’t there be instances of clear intermediary species, like, for example, a species that was half whale and half hippo to show the transition between those two? In this BioLogos podcast, Kelsey Luoma addresses this misconception about what a transitional fossil actually is. Rather than a mix between two related species, transitional fossils point back to the common ancestors that modern species share. The fact is that the number of transitional species is massive and it grows with each passing year. Given the rarity with which organisms are actually fossilized, the amazing thing is actually the completeness of the fossil record, not its incompleteness. The transitional species story strongly supports, and certainly does not disprove, evolutionary theory. ¹

1. To hear the full audio clips which have been referenced go to:

• Rational Response Debate with Kirk Cameron (from Way of the Masters)
• Behind the Scenes with Dr. Neil Shubin (from Cincinnati Museum Center)
• Mark Norell Publishes New Archaeopteryx Findings (from American Museum of Natural Sciences)
• Texas A&M Professor Discusses Findings of Autralopithecus Sediba and its Relationship to Humans (from Texas A&M University)
• Intro/outro music composed by Martin Minor (Minor2Go).

An audio only version of the podcast can be downloaded here.

By Luci Shaw

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

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

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

We tend to think of creativity in terms of flashes of insight and brilliance, of novelty, and especially of unexpected things bursting upon the scene. But creativity is no less creative and no less remarkable when it proceeds step by step, according to discipline, according to rule. We notice significant ruptures in the flow of things and upheavals of the regularity and predictability of life, faith, or science, precisely because such revolutions happen against a background of the ordinary. Even when the rules are interrupted and disturbed, they are usually not obliterated but modified. We and the rest of creation begin again by applying them anew and continuing on in light of what has changed.

Artist Linnéa Spransy makes this paradoxical ‘rules and rupture’ quality of life the method, not just the subject of her art, bringing a fascination with the mathematical underpinnings of the natural world together with her commitment to the kind of renewal-through-brokenness that comes with following Christ. As she says, “the boundaries between art, worship and natural sciences are fluid. I go [to that place of intersection] to be more amazed by the strangeness of existence, to experience awe and wonder.”

Confronted with the scriptural assertion that “eternity is written in [our] hearts,” Spransy wondered how we even begin to understand what that means. What might visual corollaries for such a statement be? How do we represent the tension between freedom and constraint, that dynamic dance of continuity and change, of predictability and surprise, that exists at every level of our experience and study of the world—from quantum physics to genetics to geology—and that seems fundamental to the ways of the Lord with us, as well? Her answer began to form around the study of fractals, mathematical rules whose reiteration in nature leads to endlessly new things. In her own work, a similar fractal sensibility leads to visual representations of something eternal.

Spransy says that every painting she completes “is the manifestation of a predetermined scheme – a system of small limits, with a clear beginning and end. These scripted pieces of visual choreography are allowed to accrue to show me their beauties and surprises, allowing discovery in the midst of certainty.” In other words, images like Frenetic Sequence, 2011, above, are not pictures of natural systems or objects, but representations and results of the processes and relationships by which natural systems and objects come to be. They are built from the inside out, as it were.

To begin a piece, Spransy assembles a library of “research drawings” that play out the various rules and rule sets she intends to use—essentially a kind of preliminary modeling of the visual system she wants to explore. Sometimes these are based on fairly simple mathematical or geometric rules that tell her when a line or shape will turn or divide or end. Other times she uses several different sets of rules at the same time—whether mathematical or derived from biological relationships such as those between base pairs on the DNA strand, or the way bacteria will move towards available sources of food in a Petri dish. But though these rules are established at the outset of a new piece, when she begins a new large-scale work, the outcome is anything but mechanistically predetermined, for several reasons.

First, the physical context in which she’ll be exploring each basic “module” or set of rules is different from that of her research drawings, having moved from a sheet of paper onto large prepared canvases that are five or six feet on a side. She does not transfer the small drawing from the paper to canvas, but regards that earlier work as preparation and practice of the process out of which the final work will emerge. Second, because the works are hand-drawn, there is always the element of her own agency and engagement with both the materials and the rules. There is an inescapably subjective quality to the way she responds to both materials and means. There is also subjectivity to the way she engages with the lines and shapes she has already laid down. Put another way, the abstraction of the rules is always mediated by and expressed through specific, very concrete and physical circumstances.

Finally, Spransy’s process includes what she thinks of as cataclysmic events or moments of chaos: intentional ruptures of the emergent system by gestures that overwhelm and obliterate sections of what she’s already done. Often she will shield sections of the existing system from the coming trauma either by masking them off or by subtly manipulating the flood of color—tilting the canvas to preserve sections of what was there. Afterwards, she will continue scribing and painting lines from the original system on top of or adjacent to the new areas of color, but in ways that respond and adapt to the new visual ecosystem. In this way, layers of work are built up, obliterated, and built up again.

Again, there is an inescapable agency at work in what—from the imagined standpoint of the system itself—must seem a randomly destructive occurrence, but Spransy’s point in breaking into the system is to test the limits of its creative, integrative capacity. By creating “environmental pressure” in this way, then coaxing the fragments and remnant information to multiply and reassert their orderly identities again, she asks, “How flexible are the rules?” The finished paintings are not rote recitations of fractal or statistical formulae, then, but objects with both a physical and a relational history. They are records of a thoughtful, physically engaged, but also humble exploration of how the confluence of order and chaos creates meaning.

Though Spransy denies that there can be such a thing as a “perfect analogy,” her artistic practice has spiritual underpinnings and spiritual implications, as well as visual results. Like many working scientists, she is seeking a way of understanding how the creator engages with His creation, and a better grasp on how we creatures should make our way in response. On one hand, her attentiveness to the basic orderliness of the material creation has a corollary in the familiar disciplines of faith, including reading the scriptures, prayer, and responding with mercy to ruptures in human lives and communities. But on the other hand, her embrace of surprise and chaos is, as she says, an “invitation to the otherness of God,” and a recognition that radically “dissimilar things sometimes occupy the same space.” In combination, those divergent elements help Spransy’s works hover at the boundary between knowing and un-knowing, between control and accident, between freedom and determinism.

Spransy notes that “even in the aftermath of great destruction, life is given great opportunity. In science we’re actually happy and excited when there’s a break in the rules.” This insight, clarified and lived out in her life as well as her artistic practice, directs us to consider not only the necessity and goodness of diligent pursuit of the rules, but also to reconsider the goodness of what we are otherwise inclined to see as calamity and chaos. Indeed, Spransy’s work points us back to the central paradox of the Christian faith: that the most radical disruption of the natural systems of the world occurred two thousand years ago in Palestine with the coming of Christ—singular proof that rupture does not necessarily end in destruction, but may be our means to redemption.

Linnéa Gabriela Spransy grew up in rural Oregon in a community attentive to Christ’s call to live in community with one’s neighbors, but was herself equally aware of God’s presence in the natural world around her. She received her BFA in Drawing from the Milwaukee Institute of Art and Design, and her MFA from the Yale University School of Art. In the midst of exhibiting in solo and group shows in university and commercial galleries, she moved to Milwaukee to study the Bible and consider how it might re-frame her sense of self and her career as an artist. In 2005 she relocated to Kansas City to help found the Boiler Room, a prayer-focused intentional community where she lives and in which she is the artist in residence. She continues to show her work widely, has pieces in pubic and private collections, and was the subject of a recent film-making project: Linnéa: Freedom Through Limits. More of her art can be seen on her website.

Originally posted February 4, 2012

In 1774, the French chemist Antoine Lavoisier replicated the relevant experiments in more controlled ways to demonstrate that mass was conserved during combustion. He also renamed the part of the air that burned 'oxygène.' English scientists resisted the French scientist's new name, not least because the English Priestly had already published his discovery of the gas. 'Oxygen' nonetheless entered the common English vocabulary in part due to one of the first popular science books, The Botanic Garden (1791), which included a poem praising the gas using the preferred French name. By coincidence, this book also promoted some early ideas about biological evolution (specifically, it suggested that sexual reproduction might be important to evolution, which might help to explain the popularity of a book of poems about science). It was written by Erasmus Darwin, the grandfather of Charles Darwin, who first proposed the modern form of the theory of biological evolution in his 1859 book, On the Origin of Species.

150 years later, we are discovering that the lines connecting evolution and oxygen run deeper than the Darwin family tree. We now know, for instance, that for roughly half of the Earth's 4.6-billion-years of history, there was little to no oxygen in the atmosphere. Instead, oxygen entered the atmosphere in two major pulses, with one between 2.4 and 2.2 billion years ago, and another between 0.8 and 0.54 billion years ago. Recent evidence suggests that the first pulse may have actually been the largest event in a series of fits and starts beginning at around 2.7 billion years ago that finally produced a stable low oxygen atmosphere by around 1.8 billion years ago.

Remarkably, both episodes of atmospheric oxygenation happened just before explosions in biological diversity. We have spotty evidence of unicellular eukaryotes (cells with nuclei) before 2.4 billion years ago, but the first fossil evidence for large, diverse eukaryotic communities comes at 1.5 billion years ago. If you are a human, this is part of your history; humans are multicellular eukaryotes descended from one of these early unicellular pioneers. Multicellular animal life is an innovation that seems to have required more oxygen: animals don't appear in the fossil record until about 0.61 billion years ago, toward the end of the second pulse of oxygen.

It is, perhaps, not surprising that major evolutionary events in the eukaryotic family tree, including the origin and diversification of the animals, would be tied to or even driven by major changes in atmospheric oxygen abundance. Eukaryotes generally, and animals specifically, are oxygen lovers. As the subjects of Mayow and Priestly died to prove, we require oxygen for respiration. In general, the larger and more organizationally complex we are (for instance, a human versus a slime mold), the more oxygen we require.

But where did all the oxygen come from? Ultimately, it was produced by the bacterial equivalents of the plants in Joseph Priestley's experiment, a group of photosynthetic microbes called the cyanobacteria. These bacteria are the first and only organisms to have evolved the ability to produce oxygen by photosynthesis. In fact, plants are able to photosynthesize only because their cells harbor descendants of one of the early cyanobacteria. We call them chloroplasts and think of them as little cellular organs, but they are actually the great-great-great... granddaughters of a cyanobacterium that long ago gave up its independence in exchange for the stable environment inside a eukaryotic cell. In any case, photosynthesis is the only known geological process capable of producing oxygen at the rates required for the two pulses of atmospheric oxygenation. The first pulse was probably largely accomplished by cyanobacteria, while the second pulse was probably mostly associated with the cyanobacterial denizens of eukaryotic algae.

What is remarkable about all of this is the extent to which modern life and the atmosphere are products of each other's evolution. The tiniest of photosynthetic organisms played one of the most important roles in shaping the sky, and the sky helped to usher in the age of animals! As a Christian and a geobiologist, I do not believe that this relationship is anticipated or predicted by the Biblical creation accounts.

But then again, why should it have been? The original audience for these accounts would have found concepts like bacteria or even oxygen incomprehensible. The people for whom the Bible was originally addressed thought about origins primarily in terms of ongoing national conflicts and the current human condition. Faced with a variety of violent creation myths that reinforced national conflicts, Genesis said that the universe was created to be good, peaceful, and orderly by one god. It specifically listed things worshipped by other nations as creatures of that god, and in the climax of the creation account, Abraham was called by the same god to be a blessing to all the nations through Israel.

I am not claiming that the Bible cannot be read in a way that can shape us in real and meaningful ways today. In fact, for those who believe that the Bible is inspired, part of the meaning of inspiration has to be that the Bible is God's powerful word to both those with no concept of modern science (most of the world's population, both today and in the past) and to those deeply engaged in its practice. But, and this is a big but, we contemporary Americans read the Bible best when we are sensitive to the assumptions of the original audience, carefully observe how the Bible transformed those assumptions, and look for opportunities to do the same thing with our thinking.

I think that it is important for Christians to reflect on the view of origins that science has given us in light of the thinking evident in the Biblical creation accounts. We have to do this because science gives us a story that is inherently without philosophical or theological meaning; it is up to us to give it meaning by understanding it in relationship with our beliefs. For instance, some see the evolutionary history of life and the Earth and give that history meaning by elevating chance and necessity to the level of prime actors in their own modern creation account. This meaning is not inherent to the theory of evolution; it is supplied by an atheistic belief system external to the theory. I suggest that this view mistakes created things (chance and necessity) for the Creator.

Others have preferred to see the regularity of the universe as the action of an orderly God. This is an old approach to natural theology that was popular among many early scientists, and saw God as responsible for doing such things as maintaining the planets in consistent paths around the sun. Still others look for God in the unexplained. This is a newer approach that sees God as acting primarily in short bursts not explainable by the regular, orderly function of the universe. Looking for God in these ways is a little like trying to capture him in a bell jar, an approach that worked perfectly well with oxygen for Mayow, Priestley, and Lavoisier, but one that is unlikely to impress the Creator described in the Bible.

I prefer to see the same history in the light of a God who desires to share aspects of his nature with his creation, notably including his creativity. Just as he has made humans to be creators (with a little 'c'), he has given the rest of our world the gift of being instrumental in its own creation through the process of evolution. This surely must have been part of what God saw when he described his creation as good! It is my hope that the modern American church can learn to see the goodness of creation in things like the evolutionary history of life and the atmosphere, as well.

This post first appeared in October 2009

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.

In his essay for that series, Jeff Schloss addressed the question of whether animal death is a natural evil, but also noted that such theological considerations aside, death does not actually “drive evolution” in the way most people imagine—especially when they think of violence in the natural world. This more complicated sense of death’s role is partially the result of modern evolutionary science recognizing the importance of cooperation and inter-relation among species, rather than just direct competition. But just as important is the knowledge that evolution is significantly shaped not by the deaths of individual creatures, but by extinction, the loss of species over time. In this post, we explore some aspects of how extinction acts as both a destructive and creative force in evolutionary history, including the evolutionary history of mammals.

Sporadic extinction

Extinction is actually a common feature of life on earth when viewed over long (e.g. geological) timescales. By some estimates, over 99% of the species that have ever lived have gone extinct. One factor that promotes extinction is the fact that evolution does not produce species that are optimally adapted to their environment, but only better adapted than their local competitors. Invasive species testify to this fact: local (endemic) species are not always the best-adapted species for their own environment. Examples abound where species from other environments are actually better-suited to out-compete endemic species. Here in my own province, the invasive Himilayan blackberry (Rubis discolor) easily outcompetes many endemic species. If endemic species were optimally adapted to their environment, this would not be possible, as they would outcompete all exotic species. Instead, exotic species, by chance, might be better adapted to an ecosystem they did not evolve in. These exotics may be capable of eliminating endemic species altogether.

Such an extinction event (of a single species, or perhaps a handful of species) alters the environment of other remaining species in an ecosystem. This, in turn, may influence the ability of some of these remaining species to reproduce compared to other species. For example, the extinction of a competitor might allow a species to increase in population size. Conversely, the extinction of a species that provides a benefit (such as a pollinator) may reduce a species in number. As the ecosystem landscape shifts due to loss of species, new biological opportunities, or niches, might arise. These new niches are then available to support new species to fill them.

Extinction, en masse

One way to appreciate how extinction opens up new niches is to examine mass extinction events – geologically brief periods where large numbers of species go extinct at the same time. Over the history of life on our planet there have been several mass extinction events. The largest such event, at the end of the Permian (~250 million years ago) appears to have been caused, at least in part, by intense volcanic activity over several hundred thousand years. This activity likely shifted CO2 levels and eventually led to a “runaway” greenhouse effect that dramatically raised global temperatures and led to anoxic (i.e. oxygen-depleted) oceans, though the exact contributions of these varied factors remains an area of scientific debate. What appears certain is that during this period environmental changes were too rapid for most species to keep evolutionary pace with, and as a result over 90% of the world’s species alive at that time went extinct. Obviously this represents destruction of biodiversity on an unimaginable scale, and the destructive effects of this event are with us to this day.

Speciation, en masse

This destruction, however, is not the whole story. Following on from the Permian mass extinction, we observe a steady increase in new species. These are species previously unknown in the fossil record. In fact, this pattern (a “radiation” of new species following an extinction event) is the rule, not an exception – we see the same effect after every mass extinction in the fossil record. Extinction is a driving force for novelty.

Perhaps the most famous mass extinction event is the Cretaceous – Paleogene (KPg) extinction, and it too follows this standard pattern. This mass extinction took place 65 million years ago when an asteroid ~10 kilometers in diameter struck the Yucatan peninsula. (Note: this event was formerly known as the Cretaceous – Tertiary (K-T) extinction, but that terminology is in decline within the scientific community). This extinction event is famous since it is the one that eliminated the dinosaurs (with the exception of the ancestors of modern birds). As with the Permian extinction, the elimination of so many species shifted the evolutionary landscape for the remaining species, and the result was a burst of speciation that appears rapid when viewed in geological time. Significantly for our own species, following the KPg extinction event is a burst in mammalian speciation, as small mammals that survived the event diverge and fill niches left empty by the dinosaurs. Without this event, the trajectory of mammalian evolution would certainly look very different.

Clearing the deck, and re-filling the niches

One interesting fact to note is that biological features that make a species resistant to usual, sporadic extinction are not necessarily the same features that will be useful during a mass extinction event. While species are continually under selection at the local level, there is no mechanism for (pre) selection to survive a mass extinction. As such, only species that happen to have the right combination of traits will survive, and often spread widely after a mass extinction. These so-called “disaster species” are usually generalists, and will later be displaced by more specialized species as they arise. As such, where sporadic extinction allows for more gradual turnover in species, mass extinction events are major “resets” of evolution that can radically shift what constitutes “well adapted” in a geological eyeblink. For mammals at the KPg boundary, small body size and an omnivorous diet (including the ability to scavenge detritus) were the “winning” combination of traits that allowed them to survive where larger, more specialized animals (think Tyrannosaurus rex) could not. From this rather humble station, mammals would come to dominate the world’s ecosystems over the coming eons – including a lineage that would someday lead to our own species. Far from only a destructive force, extinction is a powerful mechanism to allow evolutionary innovation, and one that was of significant importance to us.

For further reading:

Meredith, R.W. et al (2011). Impacts of the Cretaceous Terrestrial Revolution and KPg Extinction on Mammal Diversification. Science 334; 521-524.

Fastovsky, D.E. (2005). The Extinction of the Dinosaurs in North America. GSA Today (15); 1052-5173.

Benton, M.J. and Twitchett, R.J. (2003). How to kill (almost) all life: the end-Permian extinction event. TRENDS in Ecology and Evolution (18); 358-365.

One thing I ask from the LORD,
this only do I seek:
that I may dwell in the house of the LORD
All the days of my life,
to gaze on the beauty of the LORD
and to seek him in his temple.

Psalm 27: 4

I belong in the ranks of those who have cultivated the beauty that is the distinctive feature of scientific research.

Marie Curie¹

All of the biologists I know are undeniable lovers of their objects of study...

Konrad Lorenz²

Beauty in Science

As a biologist, I am fascinated by the fluorescent-on-black images of cells, 3D rotations of protein structures, and cross-sections of colourful tissue samples that grace the covers of scientific journals. I have spent whole weeks staring down a microscope at the beautifully transparent bodies of developing fish embryos, and whenever possible I illustrate my written work with photographs of the natural world. I’m not alone. In the institute where I did my PhD we had a basement full of microscopes and imaging technology, and it was considered important to have beautiful images in your presentations—movies were even better. The journal Nature: Cell Biology always features striking images on its covers, and in an editorial these photographs were described as works of art in their own right. In fact, ‘scientific art’ has become a recognised genre, and displays of science-related images are increasingly popular in research institutes, museums, science festivals and other public spaces.

Indeed, a number of practicing scientists have devoted their time outside the lab to communicating the beauty and wonder of science to the general public. (See sidebar.) One of these is Dr. Lynne Quarmby, a cell biologist who’s passionate about explaining her work to people outside of the scientific community. She writes a regular column, a ‘nexus of mystery, art, literature, beauty and science,’ for the online literary magazine Numéro Cinq.

If we can recognize and acknowledge that our direct biological senses, as wonderful as they are, give us only a tightly pinched and cloudy view of the world, then we open ourselves to unimagined beauty.

Lynne Quarmby, Numero Cinq, 2011³

Biologists often label themselves according to the ‘model organism’ that they work on. I was a zebrafish person, and Quarmby is a Chlamydomonas person. Chlamydomonas is not an STD (you’re thinking of Chlamydia), but a gentle single-celled algae that is in all likelihood swimming around the standing water in your garden as you read. This microscopic creature is easy to grow in the lab (a jam jar on a sunny windowsill will do), its genome has been sequenced, and it is a surprisingly powerful tool for studying human disease.

Chlamydomonas was not an obvious choice for medical research, but the secret is in the cilia. Cilia are hair-thin appendages that wave around in a coordinated fashion to move their owner from A to B. But these algae don’t spend their whole lives swimming around. When they reproduce, their cilia are absorbed back into the cell body (scroll to the 4th video here). When conditions are stressful, the cilia simply drop off. Quarmby and her students studied Chlamydomonas mutants that hold on to their cilia, and discovered a family of proteins involved in the regulation of both cilia and cell division.

At the same time as Quarmby was studying the behaviour of cilia in Chlamydomonas, medical researchers were identifying genes that are mutated in humans. The same proteins involved in cilia and cell cycle control in Chlamydomonas were affected in some patients with polycystic kidney disease. What’s the connection? Cell biologists knew that most of our cells have cilia on them, but assumed that they were not important. Our cells generally do not swim around, unless they’re sperm. It turns out that these tiny appendages are involved in a whole range of vital cell functions. The cilia on kidney cells are important for sensing the flow of urine, and without these the kidney cannot function properly.

Perhaps beauty is in the eye of the beholder when it comes to unicellular flagellates, but what I appreciate is the detail. To see the minutiae of cell structure is stunning, particularly when you know how difficult it is to achieve images like the ones in this article in the journal Cytoskeleton, or even the image of an adult rat head, below. And little Chlamydomonas, a microscopic pond dweller, has advanced our understanding of a devastating human disease. This combination of aesthetic experience and elegant scientific explanation is what I find beautiful. ⁴

Adult rat head MRI © Gavin Merrifield, University of Edinburgh.

It appears to be a universal experience for scientists to find beauty in their experimental systems. Perhaps this is because the daily discipline of examining anything in detail brings an appreciation of its finer points. Or maybe the process of choosing something to study and then spending the greater part of one’s waking hours staring at it provokes something akin to the loyalty of the mother who thinks her child is beautiful, despite the large pimple on its nose. But even bearing in mind the fascination and devotion of the true professional, there seems to be something more in the scientist’s experience of beauty.⁵ Most, I think, simply delight in the beauty of creation. For some, this gives a sense of the transcendent: a sort of natural spirituality. For a Christian, this encounter with beauty draws them nearer to God.

Christian Appreciation of Beauty in Science

One of the driving forces behind the work of many of the early scientists was their Christian faith. The astronomer Johannes Kepler (1571-1630) initially hoped to pursue theology, but was eventually satisfied that science was also a way to glorify God.⁶ Many others, including the famous naturalist John Ray (1627-1705), were ordained clergy in addition to their academic studies, so their science and theology were naturally interwoven. Others, like James Clark Maxwell (1831-1879), examined Christianity as rigorously as their scientific experiments.

These pioneering scientists (or ‘natural philosophers’, as they called themselves back then) were encouraged by a rich tradition of theology that wholeheartedly encouraged their exploration of creation. The Hebrew Scriptures tell how creation reveals the glory, generosity and faithfulness of God who created and sustains everything.⁷ The beauty of the land and everything in it is celebrated: mountains and trees, plants and animals, men and women.⁸ A number of the earliest Christian theologians, the Church Fathers, often expressed their delight in the details of animal and plant life, and what we now understand as ecosystems.

Diversity of beauty in sky and earth and sea…the dark shades of woods, the colour and fragrance of flowers; the countless different species of living creatures of all shapes and sizes…the mighty spectacle of the sea itself, putting on its changing colours like different garments, now green, with all the many varied shades, now purple, now blue.

Augustine, The City of God

Theologian Jame Schaefer has surveyed the writings of many of the Church Fathers and Medieval theologians, and found five broad themes in their contemplation of creation.⁹

• Affective appreciation: Simply delighting in what is seen.
• Affective-cognitive appreciation: A deeper, scientific study of creation leads to even greater joy for the beholder.
• Cognitive appreciation: Thinking in more abstract ways about the beauty of the interconnected universe. Each part plays its unique role for the greater good of the whole.
• Incomprehensibility: Being overwhelmed by the magnitude and complexity of the universe and everything in it.
• The sacramental quality of the physical world: The world God has created mediates something of God’s presence and character to us.

One of my favourites among the theologians covered in Schaefer’s work was an unnamed Cistercian who in the twelfth century wrote extensively about the grounds of the abbey in which he lived, and the surrounding countryside. He was obviously very happy with his vocation, and had a good understanding of the interconnectedness of the different factors: water, weather and crops - an early ecology. Basil of Caesarea (ca. 329-379) spent time observing animals and plants, noting similarities and differences, and encouraged others to do the same, giving glory to God for everything he saw. Hugh of Saint Victor (1096-1144) delighted in what his senses could tell him about creation, so enabling him to praise the Creator all the more, and lamented that others might pass such an opportunity by.

An important Medieval figure in the early development of science is Albert the Great (ca. 1200-1280), teacher of Aquinas, who wrote on “the importance of observation and experimentation in field and laboratory studies of animals, plants, metals, and inorganic elements”. He carried out field studies, and “legitimised the study of the natural world as a science within the Christian tradition.” For him, appreciation of creation had both cognitive and emotional aspects.

For all of these early scholars, to study creation and enjoy its beauty was an activity that everyone should engage in using their God-given intellect. Their detailed exploration of the wonders of the universe was fuelled by faith in a benevolent creator God, and this deep intellectual study led to heartfelt praise for the one who made it. Is this something we can share?

Protein structure model © Dr Neville Cobbe

The series continues tomorrow with Part 2: Understanding Beauty in Science.

Notes

1. Bersanelli, M. & Gargantini, M. Galileo to Gell-Mann: The Wonder that Inspired the Greatest Scientists of all Time. Templeton Press, Philadelphia, 2009. Page 9.
2.Ibid., Page 10.
3. I should highlight that as far as I know Lynn Quarmby is not religious and has not in any way endorsed this blog.
4. Further reading: http://quarmby.ca/, http://blog.quarmby.ca/, http://www.ncbi.nlm.nih.gov/pubmed?term=Lynne%20Quarmby, http://www.ciliopathyalliance.org/
5. I try to avoid using the words ‘nature’ or ‘the natural world’ as much as possible because of the ambiguity of the word nature, which is often wrongly used to create a divide between natural and supernatural worlds. This is ancient Greek philosophy and has nothing to do with the God of the Bible. When addressing Christians I usually use the word ‘creation’ in its traditional theological sense, meaning ‘everything that exists apart from God’, without connection to any one particular interpretation of Genesis 1-3.
6. Frankenberry, N.K. The Faith of Scientists, Princeton University Press, 2008.
7. For example, Psalm 29, 104, 148; Job 38-41; Joel 2: 18-32, Isaiah 41:17-20, Hosea 14:5-8.
8. Young’s Analytical Concordance to the Holy Bible.
9. Schaefer, J. Appreciating the Beauty of the Earth, Theological Studies 62 (2001), p23-52 & Schaefer, J. Theological Foundations for Environmental Ethics: Reconstructing Patristic & Medieval Concepts, Georgetown University Press, Washington, DC, 2009.

There are two opposite errors which need to be countered about the fossil record: 1) that it is so incomplete as to be of no value in interpreting patterns and trends in the history of life, and 2) that it is so good that we should expect a relatively complete record of the details of evolutionary transitions within all or most lineages.

What then is the quality of the fossil record? It can be confidently stated that only a very small fraction of the species that once lived on Earth have been preserved in the rock record and subsequently discovered and described by science.

There is an entire field of scientific research referred to as "taphonomy" -- literally, "the study of death." Taphonomic research includes investigating those processes active from the time of death of an organism until its final burial by sediment. These processes include decomposition, scavenging, mechanical destruction, transportation, and chemical dissolution and alteration. The ways in which the remains of organisms are subsequently mechanically and chemically altered after burial are also examined -- including the various processes of fossilization. Burial and "fossilization" of an organism's remains in no way guarantees its ultimate preservation as a fossil. Processes such as dissolution and recrystallization can remove all record of fossils from the rock. What we collect as fossils are thus the "lucky" organisms that have avoided the wide spectrum of destructive pre- and post-depositional processes arrayed against them.

Soft-bodied organisms, and organisms with non-mineralized skeletons have very little chance of preservation under most environmental conditions. Until the Cambrian nearly all organisms were soft-bodied, and even today the majority of species in marine communities are soft-bodied. The discovery of new soft-bodied fossil localities is always met with great enthusiasm. These localities typically turn up new species with unusual morphologies, and new higher taxa can be erected on the basis of a few specimens! Such localities are also erratically and widely spaced geographically and in geologic time.

Even those organisms with preservable hard parts are unlikely to be preserved under "normal" conditions. Studies of the fate of clam shells in shallow coastal waters reveal that shells are rapidly destroyed by scavenging, boring, chemical dissolution and breakage. Occasional burial during major storm events is one process that favors the incorporation of shells into the sedimentary record, and their ultimate preservation as fossils. Getting terrestrial vertebrate material into the fossil record is even more difficult. The terrestrial environment is a very destructive one: with decomposition and scavenging together with physical and chemical destruction by weathering.

The potential for fossil preservation varies dramatically from environment to environment. Preservation is enhanced under conditions that limit destructive physical and biological processes. Thus marine and fresh water environments with low oxygen levels, high salinities, or relatively high rates of sediment deposition favor preservation. Similarly, in some environments biochemical conditions can favor the early mineralization of skeletons and even soft tissues by a variety of compounds (eg. carbonate, silica, pyrite, and phosphate). The likelihood of preservation is thus highly variable. As a result, the fossil record is biased toward sampling the biota of certain types of environments, and against sampling the biota of others.

In addition to these preservational biases, the erosion, deformation and metamorphism of originally fossiliferous sedimentary rock have eliminated significant portions of the fossil record over geologic time. Furthermore, much of the fossil-bearing sedimentary record is hidden in the subsurface, or located in poorly accessible or little studied geographic areas. For these reasons, of those once-living species actually preserved in the fossil record, only a small portion have been discovered and described by science. However, there is also the promise of continued new and important discovery.

The forces arrayed against fossil preservation also guarantee that the earliest fossils known for a given animal group will always date to some time after that group first evolved. The fossil record always provides only minimum ages for the first appearance of organisms.

Because of the biases of the fossil record, the most abundant and geographically widespread species of hardpart-bearing organisms would tend to be best represented. Also, short-lived species that belonged to rapidly evolving lines of descent are less likely to be preserved than long-lived stable species. Because evolutionary change is probably most rapid within small isolated populations, a detailed species-by-species record of such evolutionary transitions is unlikely to be preserved. Furthermore, capturing such evolutionary events in the fossil record requires the fortuitous sampling of the particular geographic locality where the changes occurred.

Using the model of a branching tree of life, the expectation is for the preservation of isolated branches on an originally very bushy evolutionary tree. A few of these branches (lines of descent) would be fairly complete, while most are reconstructed with only very fragmentary evidence. As a result, the large-scale patterns of evolutionary history can generally be better discerned than the population-by-population or species-by-species transitions. Evolutionary trends over longer periods of time and across greater anatomical transitions can be followed by reconstructing the sequences in which anatomical features were acquired within an evolving branch of the tree of life.

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

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

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

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

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

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

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

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

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

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

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

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

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

“Now the Green Blade Riseth”

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

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

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

Evolution: just a theory

One game that my (young) children like to play is a guessing game where both players select a character from among many choices, and by process of elimination, tries to guess the character the other has selected. Questions like “does your character have red hair? glasses?” etc., are used to narrow down the possibilities. Once you have guessed correctly which character your opponent has selected, you can perfectly predict the answer to every question thereafter (and a good many parents likely prolong the questioning to keep the hopes of victory alive for their children). When considered separately, the individual features of each character—glasses, brown hair, purple hat, and so on—mean almost nothing, since they could be features shared with other characters in the game. Only the convergence of multiple features is indicative of a good guess, and the accuracy of that guess is put to the test every time a new question is asked.

A good theory is something like this: an educated guess, based on and consistent with all past work on the topic to date. It allows you to predict how future tests should pan out. In the guessing game, there are limited options to choose from (so the analogy, like all analogies, eventually breaks down). In science, we don’t really know the true way things actually work. What we have are theories—broad explanatory frameworks supported by experimentation, that make sense of our current collection of facts—that we can use to make testable predictions about the natural world. All theories in science are provisional in that they are not complete descriptions of how the world actually works and are subject to future revision; but at the same time they are robust frameworks that can be used to predict how experiments should behave with almost boring regularity. So, far from the colloquial usage of “theory” as speculation, “just a theory” is high praise in science.

The current understanding of evolutionary theory in all its scope and diversity is far more complex than Darwin himself could have ever envisaged. (As a geneticist, I’ve often wished I could have a cup of tea with him to show him how far his theory has grown, especially given his confusion about how heredity worked.) Our understanding of how evolution works has grown by leaps and bounds since the 1850s. What is remarkable is just how much Darwin got “right” given his time and place. His main hypotheses—that species descend from ancestral forms through descent with modification, that and natural selection acting on heritable variation is a significant force in that process—remains the core of modern evolutionary theory. We’ve added a lot of detail since then (population genetics, kin selection, neutral evolution/genetic drift, symbiosis, horizontal gene transfer, molecular exaptation, and so on), but Darwin’s core ideas have produced a wealth of successful predictions. They were a very good “guess” that continues to pay rich scientific dividends.

Whale evolution: an example of converging lines of evidence

One of the things I personally find quite enjoyable about evolutionary theory is the counter-intuitiveness of some of the predictions it makes. One example that is a personal favorite, and one I often use to illustrate how evolution makes sense of converging lines of evidence, is cetacean (whale) evolution. Let’s set up the “problem” that evolutionary biology forces upon us:

• Modern cetaceans are mammals – they nourish their young in utero through a placenta, give birth to live young, and feed newborns with milk – all features of standard mammalian biology.
• Mammals are tetrapods – organisms with four limbs. Mammalian life shows up in the fossil record as an innovation within tetrapods, so mammals are “nested within the set” of tetrapod forms. Not all tetrapods are mammals (amphibians, for example) but all mammals are tetrapods.
• Tetrapods are by and large terrestrial creatures. Having four limbs for locomotion is a distinctly land-based adaptation.

The “problem”, of course, is that modern whales are emphatically not terrestrial, nor do they have four limbs – they have two front flippers and a tail, with no hind limbs in sight. Yet they are mammals, which forces evolution’s hand as it were. Evolution thus is dragged, under protest, to the prediction that modern whales, as mammals, are descended, with modification, from ancestral terrestrial, tetrapod ancestors. Instantly this prediction raises a host of uncomfortable questions: where did their hind limbs go? How did they acquire a blowhole on the top of their heads when other mammals have two nostrils on the front of their faces? How did they transition to giving birth in the water? What happened to the teeth of the baleen whales? What happened to the hair characteristic of mammals? and so on. In some ways, evolutionary thinking about whales creates more difficulties than it appears to solve.

And yet, these difficulties are the stuff of science. If indeed our “educated guess” of terrestrial, tetrapod ancestry for whales is correct, the evidence will show that these transitions, challenging though they may seem, did indeed occur on the road to becoming “truly cetacean”.

Going out on a limb

Anyone who has seen a modern whale skeleton in a museum and noted it carefully may have noticed that though whales lack hind limbs, they do have a bit of bone back there where the hind limbs ought to be. While this is suggestive of a vestigial characteristic (a feature in a modern organism that has a reduced role relative to the role the structure played in an ancestral species), it’s hardly a smoking gun for evolution. Still, it’s consistent with the idea.

When we look at the cetacean fossil record, we also see forms suggestive of a progressive loss of hind limb function and structure over time, as David Kerk and Darrel Falk have elegantly explained before. Again, if one were resistant to evolutionary explanations, it would be possible (if a bit strained) to interpret these creatures as having been created directly as we find them in the fossil record. The facts that we do not see these forms in the present day, and that they seem to blur the distinctions between terrestrial tetrapods and whales might make one a bit uncomfortable, however.

Recent work on cetacean embryogenesis (how whales and their relatives develop from fertilized eggs into fully-formed baby whales) has shed even more light on the issue for modern species, however. Dolphin embryos actually have four limbs early in their development, as well as a few facial hairs, just as any good mammal should have. The hind limbs and hairs are lost later in development, and work on the molecular signaling events that halt hind limb growth and cause the limb bud to regress into the body wall have now been worked out in some detail. Moreover, early in dolphin development the nostrils are distinct and on the front of the face, and only fuse into a blowhole and migrate to the top of the head later in development. Early dolphin embryogenesis is distinctly mammalian and uncannily tetrapod-like.

… and passing the test

Taken in isolation, these facts about whales are interesting trivia. Taken together, however, they begin to form a picture entirely consistent with the prediction that modern whales are derived from terrestrial ancestors. The true strength of evolution as a scientific theory for the origin of whales is this: not that we can prove it, (for no theory is ever proven in science due to its permanently provisional nature), nor that we have full access to every bit of data we would like (consider how fragmentary the fossil record is, for example), but rather that we haven’t been able to disprove it yet, despite our best efforts. Descent with modification remains a productive educated guess that grows stronger with each investigation.

In the next post in this series, we’ll explore some additional lines of evidence for cetacean evolution that further illustrate the predictive power of evolutionary theory.

For further reading

Evidences for Evolution, Part 2a: The Whale's Tale

Evidences for Evolution, Part 2b: The Whale's Tale
J. G. M. Thewissen, M. J. Cohn, L. S. Stevens, S. Bajpai, J. Heyning, and W. E. Horton, Jr. (2006). Developmental basis for hind-limb loss in dolphins and origin of the cetacean bodyplan. Proceedings of the National Academy of Sciences 103 (22), 8414–8418. available freely online.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.