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.

"Anyone approaching the Resurrection accounts in the belief that he knows what rising from the dead means will inevitably misunderstand those accounts and will then dismiss them as meaningless" (p. 243).

In fact, if Jesus' Resurrection were "merely" coming back to life in any way that we might comprehend, then it would be of little significance.

"Now it must be acknowledged that if in Jesus' Resurrection we were dealing simply with the miracle of a resuscitated corpse, it would ultimately be of no concern to us" (p. 243).

So what then does Resurrection mean? For Benedict it represents a new dimension of reality breaking through into human experience. It is not a violation of the old; it is the manifestation of something new.

"Jesus had not returned to a normal human life in this world like Lazarus and the others whom Jesus raised from the dead. He has entered upon a different life, a new life -- he has entered the vast breadth of God himself..." (p. 244).

Because it is something entirely new, it cannot represent a violation of natural law as understood by science.

"Naturally there can be no contradiction of clear scientific data. The Resurrection accounts certainly speak of something outside our world of experience. They speak of something new, something unprecedented -- a new dimension of reality that is revealed. What already exists is not called into question. Rather we are told that there is a further dimension, beyond what was previously known. Does that contradict science? Can there really only ever be what there has always been? Can there not be something unexpected, something unimaginable, something new? If there really is a God, is he not able to create a new dimension of human existence, a new dimension of reality altogether?" (p. 246-7)

Thus, in this view, Resurrection (as with all true miracles) is not contrary to science, but an indicator that science does not (yet?) describe the full expanse of reality. Indeed, some may argue that science itself contains similar "indicators." The 11 (or so) dimensional universe required by some versions of string theory, the multiverse theory of the universe where ours is but one of an infinite array of universes with variable physical laws, quantum entanglements, "spooky" action at a distance, the mysterious emergence of consciousness from inorganic matter -- all push the limits of human reason and imagination, suggesting to some that reality may be far more complex than the human mind can grasp.

For a moment, let us entertain the possibility that Resurrection is as Benedict interprets it: not a violation of natural law but an indicator of something beyond our scientific understanding of the universe. This has interesting implications for understanding how believers and skeptics approach the issue. If Resurrection does not violate science, then science does not necessarily constitute an impediment to accepting the reality of Resurrection. If the difference between the skeptic and believer is not science, then is it just a matter of imagination? The believer imagines greater possibilities for the universe than the non-believer. While this is possible, it seems questionable. To my knowledge, no research has found differences in imaginative abilities between religious and non-religious people. Moreover, contrarian examples easily come to mind: Isaac Asimov was an atheist but hardly lacking in imagination when it came to science fiction. I tend to think that both believers and non-believers can imagine (with varying degrees of effort, I'm sure) the new possibilities implied by Resurrection.

Thus, if it is neither imagination nor science that prompts skepticism about Resurrection, then what is left? I suggest that it comes down to a question of authority: At what point does one allow imaginative possibilities to have authority over how one lives? To the believer, Resurrection has an authority that science fiction does not. Resurrection is not thought-provoking entertainment. It requires far more than just imagining greater possibilities for the universe. It requires a change of life, here and now. Unlike the microscopic hidden dimensions of string theory, the new dimension implied by Resurrection has "broken though" into everyday reality and demands a response -- even if that response is to actively ignore it.

Now, what convinces the believer that Resurrection merits such authority when other imaginative possibilities such as extraterrestrial life or time-travel do not? The answer here appears to be historical commitment. There's no record of people committing themselves to the point of martyrdom to other imaginative possibilities as they have to Resurrection. The earliest example of such commitment being found, of course, in the dramatic post-crucifixion turn-around of the Apostles. Such an astounding change of heart, followed by an unwavering commitment capable of altering human history demands a categorically unique explanation: Resurrection.

The believer's argument, however, remains unconvincing to the skeptic. However impressive they might be, a change of heart and steadfast commitment do not necessarily add up to a new dimension of reality. Extraordinary claims require extraordinary evidence. Fair enough. So a key question regarding the interpretation of Resurrection is this: Is the post-crucifixion history of Christianity extraordinary? Does it compel the dispassionate observer to concede that a categorically unique event could plausibly be its best explanation?

It ought to be upon questions such as those above that skeptics and believers respectfully engage one another, rather than the simplistic and often acrimonious sloganeering that has increasingly become the norm.

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.

Today, as I write, I am no longer in the desert of southern California, nor in the beech-maple forest of New Hampshire, but on a glacial drumlin in Waubesa Wetlands—a large marsh four miles south of Madison, Wisconsin. Here Ruth and I have our home, and here I study creatures whose watery habitats my neighbors and I have worked to save from eventual destruction. While my desert study site now is covered by a city where people live alone in the land—absent the desert creatures—my wetland study site remains occupied by all kinds of native plants and animals. Embracing it is the Town of Dunn, whose land stewardship plan helps people understand, serve, and maintain this and the other ecosystems. Our town stewardship plan encourages restoration of the landscape, protects agricultural lands, and strives to transmit an intergenerational heritage of secure and wholesome homes, livelihoods, and habitats for the animals, plants, and people that live here. We live largely in harmony and accord.

House-building on slabs poured onto desert sands first alerted me to the question of praxis, the third point on the napkin. But it was later, in my work as organizer of the Waubesa Wetlands Scientific and Agricultural Preserve, and as supervisor and later as chair of the Town of Dunn, that I came to realize that science and ethics do no earthly good unless put into practice. In serving my town, I came to apply what I had learned in the desert: praxis uninformed by science and ethics usually creates more problems than are solved.

“How do you put it all together?” those students in New Hampshire wanted to know. For me, it was building a framework for stewardship that simultaneously considered the questions “How does the world work?” “What is right?” and “What then must we do?” This science-ethics-praxis triad is a framework for living, for learning, for teaching, and most importantly for acting. It is a framework for stewardship.

In order to live and act rightly in the world, we need to know how the world works. We need to know how the systems that sustain us work, and how we interact with them. Without such knowledge we could drown in a flash flood, have our homes undercut by desert winds, cross the street in the path of an oncoming car, or get sick from consuming foods with toxic ingredients. As human beings develop more and more of the world, and as the reach of human actions extends regionally and globally, our knowledge must increase accordingly. This knowledge is not limited to what we acquire from a formal education; it also includes the knowledge we gain from family and friends, and from experience and experiment. In order to live and act rightly in the world, we need to know how the world works.

In order to live and act rightly in the world, we need to know what we ought to do. A century ago, this question was addressed in many colleges across America in a course for graduating seniors on moral philosophy. The purpose of this course was to convict students that they should apply their knowledge for the pursuit of good instead of pursuing self at others’ expense. At my university, this aspect of college education is expressed in a quotation from Abraham Lincoln carved in stone on a bench behind Lincoln’s statue at the top of Bascom Hill: “Let us have faith that right makes might, and in that faith, dare to do our duty.” The question “What is right?” is represented by the ethics corner of our triad. Moving directly from the Science corner to the praxis corner, or from the ethics corner to the praxis corner, proves problematic, even disastrous. Consider the result of going from knowledge of nuclear fission (science) directly to producing and dropping an atomic bomb (praxis), or moving from the belief that death is bad (ethics) to removing dead wood from forests (praxis); both are examples of these disastrous shortcuts.

But knowing the science and observing the ethics of this stewardship framework does absolutely no good if it is not put into practice—placed into service. By themselves, the very best science and the most substantial ethics are no substitutes for action. We need to act appropriately and deliberately in the light of scientific and ethical knowledge. Praxis by itself, without being grounded in science and ethics, results in mere activism—activism that is unlikely to do good and that may produce harm. All three corners of the triad are essential—but not by themselves. Taken together and working interactively, they provide a framework for stewardship.

But will these three operate in dynamic interaction? Will they interact in ways that preserve and achieve the integrity of human life and the environment? The answer depends on what we know and understand about ourselves and the world (science), what we believe we should do (ethics), and what we in fact do, and how we respond to our successes and failures (praxis). It depends on our will, our motivation, our determination, and our dedication to strive for a harmonious world of creatures before their Creator. What might make us strive for such a world?

Part 3 explores the challenge of translating ideals into concrete actions.

Part of the BioLogos mission, then, is to show how all things hold together in Christ—to show how a Christian worldview integrates the knowledge we have of God through the Scriptures with the knowledge we have of God through the other areas in which he reveals himself as Creator and Redeemer. Our website contains a wealth of Christian scholarship in a wide range of fields—from biology, to cosmology, to mathematics, to Biblical studies, to history, to theology—all demonstrating that the best contemporary science is compatible with Biblical Christian faith. But today we introduce a new tool—the BioLogos Navigator—to make these posts more accessible, and to show how they inter-relate (see sidebar on the right).

Modeled on the astrolabes that early astronomers and sailors used to orient themselves under the heavens, our Navigator makes the cross of Christ the starting point by which we understand the cosmos. Each of the four arms of the cross represents one of the domains of knowledge and experience through which God reveals himself to the world: Scripture, the Church, Nature and Culture. These domains are not in opposition to each other, but are complementary and inter-related areas through which we can recognize God at work in the world. Linking these four domains is a network of specific topics relevant to the science and faith conversation. Their arrangement suggests how each relates to the four domains but also to teach other. Clicking on an individual topic tag highlights not only that topic, but other topics that are linked to it—sometimes in unexpected ways.

Clicking a topic tag a second time takes you to the Topic Landing page: a curated selection of the best resources on that subject from the BioLogos archives. (The image above shows the Christianity & Science—Then and Now Landing page, complete with Navigator and highlighted tags.) At the bottom of each page is a link to our Resource Finder, where you can investigate additional materials on that topic, as well. By exploring the relationships between the topics on the Navigator itself, and by delving deep into each topic via the resources presented on the landing pages, readers can focus on specific aspects of the harmony between science and Christian faith while also getting the wide view of God’s providential work in all things in the heavens and on the earth.

In the coming days and weeks, the BioLogos Navigator will be more fully integrated into the rest of the site, accessible directly from the Forum homepage and from the Resources dropdown list at the top of every page. We’ll also be including features that help place each blog post on the “knowledge map” defined by the domains and topic tags. Finally, the Topic Pages will also be periodically updated with the latest and best new materials in each topic. In the meantime, you can access the Navigator by clicking anywhere on the small image in the sidebar, above, and find a link to this post at the upper right corner of our homepage. So take some time to explore our site with this new tool, which we think will to help orient our readers in the science and faith conversation, while always pointing to Jesus, the Christ, through whom all things were made.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Originally posted February 4, 2012

Photo credit: Jan Bacon

Singer/songwriter Andy Zipf’s “Stumble on the Line” is built around the image of a river flowing through a canyon it has sculpted—an image that can easily be played out as a picture of the way that the Lord has been at work preparing a path for us in the material world, complete with signposts to his former and present activity. Zipf’s imagery of flowing water as a powerful (even dangerous) but also refreshing force echoes the similarly-complicated place of springs and rivers and seas in the scriptures; his description of his own path through the canyon calls to mind the Psalmist’s affirmation that his help comes not from the idols erected on the heights, but from the maker who has crafted both heaven and earth. Here, the river has literally made the canyon, carving it through the “years and layers,” and leaving the evidence of that long work as a sign to all who journey through.

But though Zipf’s canyon provides shelter, a good measure of necessary constraint, and even encouragement to keep moving along the river-course, the thrust of the song is that seeking God is a complicated, sometimes difficult endeavor, whether we are looking for Him through what He has made or through what He has said. The lyrics suggest that walking with the Lord is a path of halting discovery and intrigue, of our learning to notice the way God’s actions in the past are written subtly into the world around us. But Zipf also implies that this is a path that requires obedience, since we are also confronted with the fact that He sometimes speaks to us directly and unequivocally, saying, “follow me.” The song does not take its name and refrain from the river itself, then, but from how we tend to navigate and respond to the terrain it has carved: we “stumble on the line.”

Though pursuing the text’s geologic conceit a bit further is possible, what is more poignant for all of us engaged in the science and faith dialogue is that “Stumble On the Line” is at its heart a love song addressed to the “you” that is the river—the one who has carved the path and along whose banks the singer and we pick our way. Our attentiveness to this terrain of faith does not come first from our desire to analyze and categorize the “evidence” of how it came to look as it does, or even to demystify the mechanism by which a message might be written “in a line of stones.” Rather, what leads us on is the desire to know how to relate to the water itself. The song describes not just a physical path, then, but one of the heart and will.

Indeed, the personal address of the song focuses our attention on the fact that the subtlety or obviousness of the signs along our way have much less to do with whether or not we heed them than does the basic dividedness of our hearts. As Zipf says, we alternate between “trying to reach” and “trying to leave” the One we love. Put another way, we do not reject how God has written his past activity into the layers and years of the earth, or spelled out his intentions for us in the future because they are not obvious, but for the same reason we reject any and all of His claims on us at one time or another: because we wish to be the ones who forge the path, write the story, and sing the song. Our pride—whether in our science or our righteousness—is what keeps us blind and deaf to His leading in our daily path. And yet, even—perhaps especially—in response to our pride, God makes a way for us to gain a better perspective, and leads us on towards Him through whatever means we need.

To return to the language of the song, there is a beautiful ambivalence to the word “stumble,” that contains reminders that following the Lord involves being ever surprised by His ways (we “stumble on” his truth as an unexpected discovery), and ever broken by our own ways (we “stumble on” our pride as an impediment to seeing and following). Yet in both cases, our stumbling leaves us in the same position: on our knees before the one who is both maker and guide. In the last few repeated lines of the piece Zipf affirms that we must and will continue to stumble on in this path of love, whether we come to each stumbling place through surprise and joy, or pride and brokenness. From that position of humility and worship we have the proper perspective to see and affirm that the God who creates is the God who speaks is the God who redeems—the Lord who meets us on our knees, lifts us up, and guides us into the steps of His righteousness.

“Stumble On the Line”

© 2009 by Andy Zipf

I walk a weathered canyon
you're the rapids, running through it
years and layers start to show
in the soil, there is a swelling, beating rhythm to it
earnest prayer I used to know

on the one side, I reach you
on the other, try to leave you
in between the faults of my youth
I stumble on the line to love you

came upon a message,
hidden in some shallow water,
written in a line of stones
telling me to go on down the canyon, follow after. . .
so I keep on. . .

on the one side, I reach you
on the other, try to leave you
in between the faults of my youth
I stumble on the line to love you

I walk a weathered canyon
you're the rapids, running through it
years and layers start to show
in the soil, there is a swelling, beating rhythm to it
earnest prayer I come to know

on the one side, I reach you
on the other, try to leave you
in between the faults of my youth
I stumble on the line to love you.

Though now based in Washington, DC, Andy Zipf began life in the Midwest (Indiana, Illinois, Iowa), but moved to Pennsylania and then New Jersey before his family settled in northern Virginia. He began his career as a professional singer and songwriter shortly after high school, and has performed over 400 times in the last four years—in living rooms, coffee houses, churches, concert halls, and bars. Though “Stumble on the Line” comes from Andy’s 2009 ep “Our Voice Is a Weapon,” his third full-length album and seventh studio release, “Jealous Hands,” became available in July, 2011. More details on Andy and downloads of his music may be found on his website.

Asa Gray

If Thomas Huxley earned the title of "Darwin's bulldog," then Asa Gray should be remembered as "Darwin's dove." Whereas Huxley enjoyed a good fight in his defense of Darwin's theory, Gray sought to mediate and bring sides together around a common understanding of "good science." As Darwin's strongest and most vocal scientific ally in the United States, Gray recognized the scientific importance of Darwin's efforts for the growing professionalism of biological researchers.

But as an orthodox Christian, a Presbyterian firmly devoted to the faith expressed in the Nicene Creed, Gray saw in Darwin's theory both evidence for his philosophical commitment to natural theology and support for his opposition to the idealism advocated by Louis Agassiz and the Naturphilosophen in both Europe and America. Indeed, Agassiz's advocacy of Platonic forms as a basis of biological understanding (e.g., "A species is a thought of the creator")¹ would be a major source of American opposition to Darwin's theory.

Professor of botany at Harvard during most of the middle half of the nineteenth century, Gray was one of the few members of the scientific community to whom Darwin revealed his theory before the publication of On the Origin of Species, and, from what I can tell, the only American. Gray and Darwin met briefly in January 1839 during one of Gray's visits to England. Later, during the 1850s, Darwin wrote Gray on several occasions requesting information--a practice that Darwin frequently employed. In 1854, Darwin's friend and confidant, Joseph Hooker, showed Darwin Gray's review of Hooker's Flora of New Zealand, in which Gray had argued strongly against Louis Agassiz's idealism and had raised questions from his own work on the stability of species. Gray was not yet ready to deny their permanence, but hybrids and other observations were beginning to trouble him.

The next year Gray wrote a lucid and penetrating positive evaluation of Alphonse De Candolle's two-volume Géographie botanique raisonnée, a pioneering work dealing with plant geography and distribution from a statistical perspective. Hooker had sneeringly dismissed the work. In A. Hunter Dupree's authoritative biography of Gray, he describes Gray's puzzlement at Hooker's response in these terms:

Although in the long view Gray's evaluation of the epoch-making nature of De Candolle's book was more justified than Hooker's sneers, [Gray was confused by his response, for] Hooker seemed to be talking with a more comprehensive theory definitely in mind, some reason for taking his position, which he did not divulge and which his friend [Gray] did not possess.²

Darwin, however, saw in both Gray's review of Hooker's book and in his comments on De Candolle's tome that Gray was troubled by some of the same empirical data that had been bothering him. In April 1855, Darwin wrote Gray to urge that Gray update his Manual of the Botany of the Northern United States first published in 1848, and especially to address the issue of the range of Alpine plants in the United States. Specifically, he said: "Now I would say it is your duty to generalise as far as you safely can from your as yet completed work."³

Behind this request was Darwin's desire to test his impression that Gray could make a good ally. Gray passed the test, and finally, in July 1857, Darwin let Gray in on his theory of the transmutation of species. Gray was never an uncritical supporter, and there are many evidences in the correspondence between these two scientists that Gray was willing to challenge Darwin and disagree with some of his conclusions. Nevertheless, Gray saw the importance of Darwin's work and the ways in which it provided answers to the troublesome issues that he had confronted in his own botanical efforts.

Gray responds to Darwin's theory

After considerable interchange--one might even say debate--among Gray, Darwin, and Hooker, Gray wrote to Hooker in October 1859 (one month before the publication of On the Origin of Species) saying that he had absolutely no problem with cognate species arising by variation. He did, however, raise a concern that would be the source of much future discussion. He wondered about Darwin's "carry[ing] out this view to its ultimate and legitimate results,--how [do] you connect the philosophy of religion with the philosophy of your science." He added: "I should feel uneasy if I could not connect them into a consistent whole--i.e., fundamental principles of science should not be in conflict."⁴

When Origins was published, Gray wrote a clear, positive, yet critical review in The American Journal of Science. Aware of mounting religious opposition, he ended his review by arguing that whereas one could use Darwin's theory in support of an atheistic view of Nature, one could use any scientific theory in that way. He wrote: "The theory of gravitation and ... the nebular hypothesis assume a universal and ultimate physical cause, from which the effects in nature must necessarily have resulted."⁵ He did not see the physicists and astronomers who adopted Newton's theories as atheists or pantheists, though Leibniz earlier had raised such reservations. And a similar situation existed with the origin of species by natural selection. Darwin, Gray continued: "merely takes up a particular, proximate cause, or set of such causes, from which, it is argued, the present diversity of species has or may have contingently resulted. The author does not say necessarily resulted."⁶

This far Gray could go with Darwin. But there was a point at which he parted company, and that was the fortuitous randomness of the process that Darwin's theory seemed to imply.

In part 2, Dr. Miles describes Darwin's struggle with the problem of natural evil and design in nature.

Notes

1. Cited in A. Hunter Dupree, Asa Gray: American Botanist, Friend of Darwin (Baltimore: The Johns Hopkins Press, 1959), 151. 2. Ibid., 236.
3. Charles Darwin, More Letters of Charles Darwin, ed. Francis Darwin, (New York: D. Appleton and Company, 1903), 252.
4. Dupree, Asa Gray, 266.
5. Asa Gray, "The Origin of Species" in Darwiniana (Cambridge, MA: The Belknap Press of Harvard University, 1963), 44.
6. Ibid.

Darwin’s finches are some of the most visible and recognizable symbols of evolution in the world today. Biology textbooks feature them prominently, and the National Academy of Sciences has enshrined them in the entrance of their headquarters in Washington, DC. Surely the finches that Darwin collected on the Galápagos islands were a central feature of his evolutionary theory, right?

Lobby of The National Academies Building. Courtesy of CPNAS. Photo by Robert Lautman

Actually, the Galápagos finches are never even mentioned in Darwin’s famous work On the Origin of Species. Nor do they appear in Darwin’s famous notebooks on “Transmutation of Species”, in which he formulated the idea of evolution by natural selection.¹ Even Darwin’s private diary of his voyage on the HMS Beagle only mentions the Galápagos finches briefly in passing.²

It was only in 1845, in the second edition of The Voyage of the Beagle, that Darwin included a tantalizing sentence about the Galápagos finches:

Seeing this gradation and diversity of structure in one small, intimately related group of birds, one might really fancy that from an original paucity of birds in this archipelago, one species had been taken and modified for different ends.³

However insightful this statement may have been, Darwin never published anything else about the Galápagos finches for the rest of his life. Nor did he publically present these birds as direct evidence for this theory of evolution.⁴

If these finches were so important to Darwin’s evolutionary theory, why did he remain silent about them? One of his comments in The Voyage of the Beagle provides us with a clue:

Unfortunately most of the specimens of the finch tribe were mingled together; but I have strong reasons to suspect that some of the species of the subgroup Geospiza are confined to separate islands.⁵

When Darwin was exploring the Galápagos himself in 1835, he had not formulated his theory of evolution yet, and thus he did know what data would be necessary to make definitive conclusions about finch evolution. In particular, he did not keep careful track of which of his specimens came from which islands. Moreover, as was customary among naturalists at that time, Darwin only collected a small number specimens—he brought home only 31 finches and 64 total birds from the Galápagos.⁶

Though Darwin sensed that these birds were truly special, he lacked sufficient evidence to reach any specific conclusions about their evolutionary origins. It would be up to the rest of the scientific community to carry out the necessary empirical research. Subsequent expeditions in 1868, 1891, 1897, and 1905 brought back thousands of Galápagos finch specimens, but instead of unlocking the mysteries of evolutionary theory, the Galápagos finches became a great enigma.⁷

A century after Darwin's voyage, scientists still struggled to explain the staggering variety of finches on this tiny, remote archipelago. By the mid-1930’s, British Museum ornithologist Percy Lowe argued that the finches presented a "biological problem of first class importance", and he told the British Association for the Advancement of Science that the finches displayed a "bewildering diversity, intergradation, and distribution".⁸ Who would be up to the challenge of making sense of such tremendous biological complexity? It was David Lack.

David Lack

Ornithologist David Lack

David Lack had an exceptionally keen eye for bird-watching, and he possessed a passion to match it. By age 15, he had already observed 100 distinct species of birds, and before entering college, authored his first scientific paper. At Cambridge University in the early 1930’s, Lack was disappointed to find that his zoology professors taught “nothing about evolution, ecology, behavior or genetics, and of course nothing about birds.”⁹ In fact, at that time, there were only two professional ornithologists in all of Britain!

Thus David Lack took it upon himself to create his own learning opportunities. As an undergraduate, he became the president of the Cambridge Ornithological Club, traveled to Greenland for a bird-watching expedition, and cultivated a relationship with the prominent biologist Julian Huxley (grandson of Thomas Henry Huxley). Huxley was an inspiring mentor and encouraged Lack to expand his research further by studying tropical birds.¹⁰ Following this advice, Lack embarked on a research trip to Tanzania in the summer of 1934, but his greatest adventure was yet to come.

In 1937, Lack became fascinated by the scientific mysteries surrounding the Galápagos finches. But in order to study their behavior, Lack would need to travel to remote islands halfway around the world. How could he possibly get there? Once again, Julian Huxley was tremendously supportive and raised funds from two prominent scientific societies to pay for his expedition. After a long delay, David Lack and five companions finally set off on their journey.

Instead of residing in comfortable quarters aboard a royal naval ship, Lack’s group subsisted on a shoestring budget, traveled on commercial steamers, and stayed with local settlers. Their experience was definitely not a romantic tale of imperial expedition:

The Galápagos are interesting, but scarcely a residential paradise. The biological peculiarities are offset by an enervating climate, monotonous scenery, dense thorn scrub, cactus spines, loose sharp lava, food deficiencies, water shortage, black rats, fleas, jiggers, ants, mosquitoes, scorpions, Ecuadorian Indians of doubtful honesty, and dejected, disillusioned European settlers.¹¹

Whereas Charles Darwin spent only nineteen days on the shores of the Galápagos, Lack and his crew conducted more than five months of meticulous and exhausting study in the harsh climate. At that time, even the finches themselves provided little solace. Lack wrote,

Darwin’s finches are dull to look at, not only in their orderly ranks in museum trays, but also when they hop about the ground or perch in the trees of the Galápagos, making dull unmusical noises. Only the variety of their beaks and the number of their species excite attention.¹²

Large Cactus Finch on Española Island in the Galápagos Islands

The repetitive tedium requisite for important scientific discoveries is rarely discussed in public, and even today many bright-eyed science students become disillusioned by the painstaking work demanded by their Ph.D. programs. But one of the things that distinguishes great scientists is their unwavering commitment and tenacity in completing major projects. David Lack's efforts were not in vain:

"Despite his personal discomforts (or perhaps because of them), Lack did see something on the Galápagos that no one had ever seen before—natural selection at work among its finches through interspecies competition." ¹³

When the birds’ breeding season ended in 1939, Lack was ready to return to his home in England. But the captive finches that he had brought with him fared so badly on the voyage home that he detoured to San Francisco and put them in the care of the California Academy of Sciences. Turning this mishap into an opportunity, Lack stayed there for five additional months to study the Academy’s enormous collection of Galápagos finch specimens.¹⁴

To complete his systematic research, Lack then travelled across the United States to study the Galápagos finch collection housed at the American Museum in New York.¹⁵ Altogether, Lack examined more than 8000 specimens and specifically measured the length, width, and depth of all their beaks.¹⁶

Lack’s final obstacle was in getting his research published. Though he completed his academic manuscript “The Galápagos Finches—A Study in Variation” in 1940, paper shortages during World War II delayed its publication by the California Academy of Sciences until 1945. Were he only interested in making an original contribution to science, Lack could have stopped here and congratulated himself on a job well-done. However, his motivation sprung from a deeper source:

David Lack's drawing of 14 species of Galápagos finches, p. 19 of Darwin’s Finches

"I did not watch birds primarily for scientific reasons but for sheer enjoyment, and from the age of 15 onward returned day after day in a glow of excitement after seeing a new bird or a new habit." ¹⁷

Lack’s joyful fascination with the Galápagos finches inspired him to continue developing his conclusions long after returning from his expedition. While waiting for his academic paper to be published, he began writing a book that would enable students and the general public to share his excitement about these remarkable birds and the evolutionary processes that shaped them.

First published in 1947, Lack’s book became tremendously influential. Before this time, biology textbooks had never even mentioned the Galápagos finches. But after David Lack’s study, the finches became a primary example of evolution by natural selection, specifically adaptive radiation. Not only did textbooks fully rely on Lack’s findings, they also followed his lead in calling them “Darwin’s finches”, the title of Lack’s famous book.¹⁸

Iconic Finches

What was it about these birds that made them such a prominent symbol of evolution? As Darwin himself pointed out, the numerous Galápagos finch populations each have distinctive beaks, and he speculated that they could have evolved from an ancestral species that came to the islands. But a complete picture of finch evolution would have to wait another hundred years, when David Lack arrived.

During his five months on the Galápagos, including both the rainy and dry seasons, Lack observed that these beak differences enable the finches to subsist on different kinds of food:

The beak differences between most of the genera and subgenera of Darwin's finches are clearly correlated with differences in feeding methods. This is well borne out by the heavy, finch-like beak of the seed-eating Geospiza, the long beak of the flower-probing Cactornis, the somewhat parrot-like beak of the leaf, bud, and fruit-eating Platyspiza, the woodpecker-like beak of the woodboring Catcospiza, and the warbler-like beaks of the insect-eating certhidea and Pinaroloxias.¹⁹

Lack's image of beak adaptations from Darwin’s Finches

Specializing in such different sources of food enables these finches to live in close proximity without directly competing with each other or driving populations to extinction. The fact that so many of these closely related finches are able to co-exist is a remarkable fact in itself. As Lack himself put it, “It is not only the origin, but also the persistence, of new species which require explanation.”²⁰

But it is also fascinating to consider how these birds got to be so different in the first place. How did a finch come to have a beak like a “parrot”, “woodpecker”, or “warbler”? The answer lies in the distinct characteristics of the Galápagos. Because the islands are so remote, no actual parrots, woodpeckers, or warblers ever settled on it. In the absence of these species, the Galápagos finches were able to adopt feeding habits and forms that they would never have taken on a large continent full of other birds competing for food. The isolation of these islands offered just the right conditions for us to see living examples of adaptive radiation.²¹

Conclusion

Considering the immense popularity of the Galápagos finches, it is quite surprising to learn that Charles Darwin himself had so little to say about them. In fact, it was actually David Lack, one century later, who conducted the critical research that immortalized the finches in biology textbooks and popular lore. By naming his landmark book Darwin’s Finches,²² Lack paid homage to the man whose voyage on the HMS Beagle helped transform the study of natural history. But at the same time, Lack also obscured the fact that evolutionary biology is an enterprise conducted by a large community of brilliant scholars, not just the product of one man’s efforts.

This tendency to immortalize “great men of science” has also led many people to refer to modern evolutionary theory as Darwinism, despite the fact that it has substantially changed and developed over the past 150 years. It is important to give credit where credit is due, and if that’s the case, we should seriously reconsider how we refer to the Galapagos finches. Evolutionary biologist Dolph Schluter, who studied the finches several decades after David Lack, had this to say:

I find Lack's intuition really stunning given how little information he had. He's my hero actually… They should be called Lack's finches.²³

In the second part of this series, we’ll explore the fact that David Lack, in addition to being a world-renowned evolutionary biologist, was also a devout Christian. His study of evolutionary theory did not cause him to lose his faith; in fact, he actually converted to Christianity after completing his Galápagos finch research.

For Discussion

Further Reading

• Grant, Peter R.; Grant, B. Rosemary. How and Why Species Multiply: The Radiation of Darwin's Finches, Princeton University Press, 2008.
• Sulloway, Frank J. (Spring 1982), "Darwin and His Finches: The Evolution of a Legend" (PDF), Journal of the History of Biology 15 (1): 1–53.
• Weiner, Jonathon. The Beak of the Finch: A Story of Evolution in Our Time. Vintage Books, 1995.

Notes

1. Sulloway, F. (1983). "Darwin and his finches: The evolution of a legend." Journal of the history of biology 15(1): 32. Darwin’s notebooks on transmutation mentioned Galapagos tortoises and mockingbirds, not finches.
2. Lack, David. Darwin’s Finches. Cambridge University Press, 1947: 9. Confirmed by Sulloway (1983), p5.
3. Darwin, Charles. Journal of researches into the natural history and geology of the countries visited during the voyage of H.M.S. Beagle round the world. London: John Murray. 2d ed. 1845: 379-80. This edition of the book also contained the drawings of four different finches that have become enshrined in biology textbooks and on the walls of the National Academy of Sciences in Washington, DC.
4. Sulloway, p35. Sulloway points out that the first published evolutionary account of the Galapagos finches was not until 1876, by Osbert Salvin: "On the Avifauna of the Galapagos Archipelago." Trans. Zool. Soc. London, 9:447-51.
5. Darwin (1845), p395.
6. Sulloway, p40.
7. Sulloway, p40.
8. Larson, E. J. Evolution's Workshop: God and Science on the Galapagos Islands. New York, Basic Books, 2001: 166-67.
9. Lack, David. (1973) “My life as an amateur ornithologist.” Ibis: 424.
10. Lack (1973), 425-27.
11. Lack (1947), p1.
12. Lack (1947), p11.
13. Larson, 167-68.
14. The California Academy of Sciences sponsored an expedition to the Galapagos in 1905-06 and collected nearly 9000 Galapagos finch specimens (Sulloway, p40).
15. In New York, Lack roomed with the curator of the finch collection—German émigré zoologist Ernst Mayr. By developing this relationship, Lack had close ties with two of the biggest figures in the neo-Darwinian synthesis, Julian Huxley and Ernst Mayr (Larson, 168).
16. Larson, p168.
17. Lack (1973), p424.
18. Larson, p198.
19. Lack (1947), p60.
20. Lack (1947), p158.
21. See Lack’s concluding chapter on “Adaptive Radiation”, pp146-159 of Darwin’s Finches (1947).
22. British ornithologist Percy Lowe originally proposed the name “Darwin’s finches” in 1935, but the name did not catch on until Lack used it in his book. See P.R. Lowe, (1936) "The Finches of the Galapagos in Relation to Darwin's Conception of Species." Ibis, 13th ser., 6:310-321. (Cited in Larson, p287)
23. Schluter, in an interview with Edward Larson, 16 March 2000.

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

Psalm 27: 4

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

Marie Curie¹

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

Konrad Lorenz²

Beauty in Science

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

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

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

Lynne Quarmby, Numero Cinq, 2011³

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

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

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

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

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

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

Christian Appreciation of Beauty in Science

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

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

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

Augustine, The City of God

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

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

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

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

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

Protein structure model © Dr Neville Cobbe

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

Notes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A History of Scientism

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

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

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

The Enlightenment

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

Positivism

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

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

Logical Positivism

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

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

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

Scientism of Today

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

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

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

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

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

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

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

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

Distinguishing science from scientism

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

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

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

Notes

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

The astronomy community is particularly interested in this event because exoplanets throughout the Milky Way galaxy regularly transit their parent stars in just the same way. This local example will allow astronomers to test and refine techniques used to determine the composition of these exoplanets' atmospheres, providing insight into whether these distant planets could possibly harbor life.

As Venus begins to cross in front of the disk of the Sun, Venus's atmosphere will refract the Sun's light, illuminating the backlit portion of the planet's atmosphere. Telescopes on the ground and in orbit will be trained on this thin arc of atmosphere lit up by the Sun. Astronomers will use spectrometers to break the light up into its constituent colors, from which they can determine the chemical composition of our over-heated sister planet's atmosphere. Once perfected, this same technique can be used to examine the atmospheres of planets far beyond our own solar system, offering us one of our best clues as to the habitability of these distant worlds.

Not only is this process of discovery exciting for natural science, but it has profound theological ramifications as well. Surely a God capable of orchestrating both the majestic swirls of a spiral galaxy and the intricate language of DNA could bring forth life where and when He chooses, but only now are we on the verge of being able to answer the age-old question: “Did God confine His creative life-giving actions to our own planet, or does His abundant fertility extent far beyond our limited experience?”

In 1882, William Harkness, the Director of the U.S. Naval Observatory, was one of two astronomers to determine from the transit of Venus the distance from Earth to the Sun. Just as previous viewers could never have imagined calibrating the scale of the solar system from such an event, Harkness could not predict its importance in 2004 and 2012 (the most recent Venus transits). As we look to the future, we can hardly imagine what new frontiers the next Venus transit of 2117 will find us exploring.

The image above shows Venus on the eastern limb of the Sun during the 2004 transit. As described in Tucker's essay, the faint ring around the planet comes from the scattering of light through its atmosphere, which allows some sunlight to show around the edge of the otherwise dark planetary disk. The faint glow on the disk is an effect of the TRACE telescope through which the image was captured. For more on the historical significance of the transits of Venus (including the voyage of Captain James Cook), see this article from NASA, which also includes links to several live webcasts of today's transit.

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

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

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

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

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

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

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

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

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

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

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

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

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

“Now the Green Blade Riseth”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.