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.

My editorial policy for these excerpts is explained at the bottom of this post.

Motivated Belief (part 3)

Jesus had a comparatively short public ministry, but it had enormous local impact, drawing crowds who were anxious to hear his words and who often sought the healing ministry that he exercised. Then, on a last visit to Jerusalem, it all seemed to fall apart. The authorities, civil (Roman) and religious (Jewish) acting together, moved in to avoid trouble. Jesus was arrested and hastily executed, suffering the painful and shameful fate of crucifixion, the kind of death reserved for slaves and rebels and seen by pious Jews as being a sign of God’s rejection (“any one hung on a tree is under God’s curse,” Deuteronomy 21:23). Except for a few staunch women, his followers ran away, overcome by despair and disappointment. From the place of execution there came the cry “My God, my God, why have you forsaken me?” (Matthew 27:46; Mark 15:34).

Giotto di Bondone, The Arrest of Christ (Kiss of Judas)
(ca. 1304-06), fresco, Cappella Scrovegni, Padua

On the face of it, Jesus’s death seems a moment of pathetic failure, the final disillusionment of the followers of a rejected man whose grand pretensions had suddenly and definitively been found wanting. If that really was the end of the story of Jesus, I believe that most of us would never have heard of him. At best he would have seemed to be no better than other first-century messianic pretenders whose causes also finally failed. So the first remarkable thing about Jesus is that he is known to all of us. We need to look closer into the New Testament to find out why, against all reasonable expectation, his story continued beyond his death.

Amid the variety of its component writings, there are certain common themes that recur in the New Testament. Three of the most important themes are:

(1) All the [biblical] writers believe that the story of Jesus continued because God raised him from the dead on the third day after his crucifixion. We shall have to pay further attention to this extraordinary claim, but the existence of the New Testament, and the character of its contents, are unintelligible without the recognition that this is what its writers are affirming.

(2) In wrestling with what they believe to be their experience of the risen Christ, the writers are driven, in their different ways, to speak of Jesus in a quite extraordinary manner. They know that he was a man living in Palestine in their own times, yet in the accounts they give they often seem driven to employ not only obvious human categories, but also to use language that is only appropriate to deity. The Pauline epistles are probably of the earliest Christian writings known to us, certainly antedating the gospels. Already Jesus of Nazareth is being referred to in remarkable terms. Paul begins almost all his letters with some such phrase as “Grace to you and peace from God our Father and the Lord Jesus Christ” (Romans 1:7; 1 Corinthians 1:3; and so on). Not only is Jesus being bracketed with God in a manner that would, for example, have been inappropriate for a pious Jew to use in relation to Moses, the servant of God, but he is also accorded the title “Lord.” While this word (kyrios) had a widespread secular usage amounting to no more than politeness of address, its Hebrew counterpart, adonai, also had a special Jewish religious usage as an acceptable circumlocution in place of the unutterable divine name, YHWH, a particular significance which the religious context of Paul’s greeting could scarcely fail to invoke. The gospel of John portrays Jesus as claiming unity with God (John 10:30, words uttered in a situation where the hostile crowd are shown as having no difficulty in detecting what they see as the blasphemous implication), and it assigns to Jesus the use of images (the bread of life, the true vine, and so on) which carry implications of more than human status. The Writer to the Hebrews proclaims that “in these last days [God] has spoken to us by a Son, whom he appointed the heir of all things and through whom he also created the worlds” (Hebrews 1:2). Examples could easily be multiplied.

It is clear that when it comes to Jesus, the New Testament writers cannot rest content with the standard Jewish repertoire for speaking of people with special gifts from God—the categories of prophet, teacher, healer—but, against all their instincts as monotheistic Jews, they are driven to use divine-sounding language about him. Remember that they are referring to a near contemporary, and not to some shadowy figure of a legendary past. The New Testament very seldom out and out calls Jesus God (the confession of Thomas in John 20:28 is perhaps the clearest example), but its pages manifest a continual tension between the use of human and divine manners of speaking about him. The problem thus posed is unresolved in the New Testament itself, but succeeding Christian generations had to address it and eventually the Church was led to the distinctive and extraordinary doctrinal concept of the incarnation, the affirmation of the presence of deity in the life of this first-century Jew, who truly was the Son of God.

(3) Coupled with this recourse to divine language, and fuelling its fire, was a firm conviction among those first-generation Christians that the risen Christ had brought into their lives a new and transforming experience of saving power. Paul wrote to the Corinthians, “if anyone is in Christ, there is a new creation: everything old has passed away; see everything has become new!” (2 Corinthians 5:17). I believe that an adequate Christology (a true understanding of the nature of Jesus) must satisfy the criterion of affording an adequate soteriology (a true understanding of the power of Christ in human lives, to which the Church has continued to give its testimony down through the centuries). The doctrine of the incarnation implies that in the Word made flesh a unique bridge was established between the created life of humanity and the uncreated life of God, and in this meeting of divine power and human nature there lies a way of understanding the fulfillment of the soteriological criterion.

​
Giotto di Bondone, Resurrection (Do not Touch Me) (ca. 1304-06), fresco, Cappella Scrovegni, Padua

These three lines of testimony need to be presented for consideration by anyone seeking to understand the significance that Jesus of Nazareth holds for Christian belief. In the context of science the discussion of the persuasiveness of that belief cannot be conducted satisfactorily without a detailed engagement with these claims. The task is indispensable to honest enquiry and it is made all the more important today by the fact that many people seem to have so little knowledge of what the New Testament actually says.

The pivot on which the claim of a unique and transcendent significance for Jesus must turn is clearly the resurrection. If in fact he was raised from the dead to a new and unending life of glory, then it is indeed credible that he has an altogether unique status and role in salvation history. If, sadly, his life ended in failure and his body was left to molder in the grave, then he seems at best little different from many other prophetic figures who have suffered martyrdom for holding fast to the integrity of their beliefs. The quest for motivated Christian faith has to begin by focusing on the question of the resurrection. I believe that it would be a serious apologetic mistake if Christian theology thought that operating in the context of science should somehow discourage it from laying proper emphasis on the essential centrality of Christ’s resurrection, however counterintuitive that belief may seem in the light of mundane expectation.

As a preliminary one must first face the general issue of miracle. It was as clear in the first century as it is today, that it is wholly contrary to any reasonable natural expectation that a man should be resurrected within history. While there were parties in first-century Judaism which expected a general resurrection at the end of history [for example, the Pharisees], none expected the resurrection of a specific person to take place within history, even if there was some hope that a prophetic figure, such as Elijah, might have been stored up in heaven in order to be returned for a further spell of earthly life at some critical juncture in Jewish history. It is important here to recognize the distinction between resuscitation and resurrection. The former applies to someone like Lazarus, who is portrayed in John’s gospel as being called out of the tomb after an apparent death (John 11), but who was undoubtedly expected by all to die again in due course. Resuscitation is only a temporary reprieve from mortality. Resurrection, on the other hand, implies a transition from this mortal life to a new form of glorified life, lived without end in the presence of God. Resurrection is a permanent victory over mortality. The possibility of resurrection lies wholly outside the context of scientific explanation. If the resurrection of Jesus happened, it could only have been through a special exercise of divine power. In short, resurrection is, in the strict sense of the word, a miracle.

The real problem of belief in miracle is properly a theological issue, not a scientific one, since claims of unique historical occurrences lie outside science’s competence to adjudicate. All it can do is reinforce the commonsense recognition that something like a resurrection does not usually happen. The real challenge to belief in miracle lies elsewhere. It is theologically inconceivable that God should act capriciously as a kind of celestial conjurer, doing a turn today that God did not think of doing yesterday and won’t be bothered to do tomorrow. The theological problem of miracle is that of discerning divine consistency in the face of a claim of radically novel action. How that consistency is understood depends upon a proper understanding of what is involved in speaking of God in personal terms. I have already said that divine action is not to be assimilated to a kind of impersonal and unchanging process, similar to that which characterizes the law of gravity. If personal language is to mean anything when used about God, it must imply a divine freedom to respond in particular and different ways to particular and different situations, including even the rational possibility of unprecedented action in unprecedented circumstances.

Once again we encounter the unavoidable necessity of hermeneutic circularity. Of course, persons are not normally resurrected in history, but if there is something truly unique about Jesus (the Son of God), then his story could conceivably have included unique events. Equally, if he was resurrected, this was surely a sign that he indeed did have an altogether unique status. However, if he was just another prophet, then the story of his resurrection is likely to be no more than a touching legend. Both possibilities have to be considered. To believe in the resurrection rightly requires significant motivating evidence, a question to which we shall turn shortly, but its possibility should not be ruled out absolutely from the beginning, before even considering what evidence there might be for this counterintuitive belief. Moreover, it is important to note that the Christian understanding of Christ’s resurrection is that it occurred within history as the unique seed event from which a resurrected destiny for all people will come about beyond history (“for as all die in Adam, so all will be made alive in Christ”; 1 Corinthians 15:22). In this sense, what Christian theology sees as unique about the resurrection is its timing, rather than its occurrence. Further consideration will be given to this point in the succeeding chapter.

​Giotto di Bondone, The Last Judgment (detail, ca. 1304-06),
fresco, Cappella Scrovegni, Padua

[The succeeding chapter, which will not be part of this series, deals with eschatology. Polkinghorne’s reference in the penultimate sentence to the unique timing of the resurrection can be fleshed out by quoting from the chapter on eschatology: “The eschatological destinies of human beings and of the whole universe lie together in the world of God’s new creation. <SNIP> In Christian thinking, the seed event from which this new creation has already begun to grow is the resurrection of Christ. His tomb was empty because the matter of his corpse had been transmuted into the ‘matter’ of the new creation, to become his risen and glorified body in which he appeared to the first witnesses.” In other words, the resurrected Jesus is “the first fruits of them that sleep,” in the glorious words of 1 Corinthians 15:20.]

Looking Ahead

In about two weeks, we will see how Polkinghorne brings his search for “motivated belief” to bear on the biblical narratives about the Resurrection.

References and Credits

Excerpts from John Polkinghorne, Theology in the Context of Science (2009), copyright Yale University Press, are reproduced by permission of Yale University Press. We gratefully acknowledge their cooperation in bringing this material to our readers.

Editorial Policy

Most of the editing for these excerpts involves breaking longer paragraphs into multiple parts, altering the spelling and punctuation from British to American, removing the odd sentence or two—which I indicate by putting [SNIP] at the appropriate point(s)—and sometimes inserting annotations where warranted [also enclosed in square brackets] to provide background information. Polkinghorne uses footnotes a bit sparingly, and I usually find another way to include that information if it’s important for our readers.

"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.

Tonight and tomorrow, Christians around the world stop to remember and celebrate the birth of Jesus in Bethlehem just over two thousand years ago. The familiar narrative of Joseph leading Mary to the stable to give birth to the Messiah, of the angels telling the shepherds in the fields of the great event that was happening nearby, and of the three men from the east who came to pay homage to the new King of Israel is re-told or acted out in countless churches, schools and homes. And from countless pulpits, the message goes out that those events are not just a quaint story and an excuse to give gifts, but the central mystery of our faith—that God himself became one of us in order to redeem us and the cosmos from our bondage to sin and death. That mystery—that the Creator God is also the Redeemer Christ—has been to focus of our worship since the first days of the church, and is the subject of the 7th-century Latin hymn Conditor alme siderum, presented here in a new setting from Alex Mejias and High Street Hymns.

While this recording includes only verses one and three from the original text (given in full below), it adds a refrain that catches the spirit of the whole hymn and emphasizes the longing we still feel even in our Christmas joy—the “already, but not yet” state in which we find ourselves today, living between that first Advent and the second Advent yet to be: “Come, O come to us!” For while we know that God has come to us in Jesus—that his death and resurrection have redeemed us and the universe—we are still waiting for that final consummation, depending on the Spirit to be working out our salvation even now. Until the time when, as the hymn says, “all hearts must bow,” the entire BioLogos community invites you to join us in the blessed work of declaring, celebrating, and following the Christ who is both Creator and Savior.

Creator of the Stars at Night

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.

When he opened the sixth seal, I looked, and behold, there was a great earthquake, and the sun became black as sackcloth, the full moon became like blood, and the stars of the sky fell to the earth as the fig tree sheds its winter fruit when shaken by a gale. The sky vanished like a scroll that is being rolled up, and every mountain and island was removed from its place. (Revelation 6:12–14)

The non-concordist view of science and Scripture argues that Biblical texts about creation were never intended to concord with modern scientific theories. Thus, Genesis 1 is not cryptically describing the Big Bang or instant fiat, a young earth or old earth, special creation or evolutionary creation. It is not “literal” language describing the physics of the universe; it is “literary” genre describing God’s sovereignty over creation and most likely his covenantal relationship with his people.

But the argument against literalism of language of the creation of the heavens and the earth is also applicable to the language of the destruction of the heavens and the earth, or what the Bible calls, “the last days,” “the end of the age,” “the end of days,” or “the Day of the Lord.” Christians often refer to this as “the end times,” but the technical theological term is eschatology, which means “the study of end things.”

Regarding the end times, the modern Evangelical popular imagination has been deeply influenced and at times dominated by a theological construct that is best reflected in the 1970s bestselling The Late Great Planet Earth by Hal Lindsey and the newer bestselling fictional phenomenon Left Behind by Tim LaHaye and Jerry Jenkins.

This view believes that the Bible foretells an as-yet future scenario on the earth of a rapture of Christians, followed by the rise of an “Anti-Christ,” a world dictator who initiates a Great Tribulation on the earth, requires a “Mark of the Beast,” and assembles global forces for a battle of Armageddon against Israel, resulting in the Second Coming of Christ who replaces the universe with a new heavens and earth to rule forever. The technical theological term for this view is futurism, the belief that prophecies about the end times are yet to be fulfilled in the future.¹

In this article, I will address the hermeneutic or interpretive approach used by this futurist perspective and apply it to the particular aspect of creation language, or in this case, decreation language -- the collapsing universe and the destruction of the heavens and the earth.

In short, the language of cosmic catastrophe often interpreted literally as referring to the end of the space-time universe is actually used by Biblical authors to figuratively express the cosmic significance of the covenantal relationship between God and humanity.

The tendency of modern literalism is to interpret descriptions of signs in the heavens and earth as being quite literal events of the heavens and earth shaking, stars falling from the sky, the moon turning blood red, and the sky rolling up like a scroll. The problem with this hermeneutic is that it assumes the priority of modernity over the ancient world. Rather than seeking to understand the origins of symbols and images used by the writers within their ancient context, this literalism often suggests the writer was seeing events that would occur in our modern day but did not understand them, so he used his ancient “primitive” language to describe it.

So for instance when the apostle John saw modern day tools of war in his revelation, such as battle helicopters, he did not know what they were so he described them in ancient terms that he did understand such as locusts with the sting of scorpions, breastplates of iron, a crown of gold and human faces, whose chopper blades made the “noise of many chariots with horses rushing into battle” (Rev 9:3-9).

I was taught this modernist interpretation and lived by it for many years. When I read about Jesus explaining the “end of the age” I would assume he meant the “end of the space-time universe” because that’s the kind of language I, a post-Enlightened modern scientific mind, would use to describe such an event. When he spoke of the moon turning blood red and the sun being darkened, I assumed such events were easy miracles for God, so if you considered them figurative, you were falling down the slippery slope of neo-orthodoxy. When Jesus said stars would fall from the sky, you had better bet stars would literally fall from the sky (a primitive description of meteors²) or else you’re a liberal who doesn’t believe in the literal accuracy of the Bible.

But all that changed when I sought to understand the prophetic discourse on its own terms within its ancient cultural context instead of from my own cultural bias. I now propose that the ancient writers did understand what they were seeing, but were using symbols and images they were culturally steeped in, symbols and images with a history of usage from the Old Testament, their cultural context – not mine.

In this essay, I will argue that the decreation language of a collapsing universe with falling stars and signs in the heavens was actually symbolic discourse about world-changing events and powers related to the end of the old covenant and the coming of the new covenant as God’s “new world order.” In this interpretation, predictions of the collapsing universe were figuratively fulfilled in the historic past of the first century. The technical theological term for this view is preterism, the belief that most or all prophecies about the end times have been fulfilled in the past.³

Notes

1. The Left Behind series is a particular version of futurism called Dispensational Premillennialism. For a more in depth presentation of these varieties of eschatology see Bock, Darrell L. ed., Three Views on the Millennium and Beyond. Grand Rapids, MI: Zondervan, 1999.
2. Interestingly, as soon as the interpreter thinks falling stars are meteors, he has just engaged in figurative speculation, which is not literal.
3. Some examples of orthodox scholars who hold to this view are Sproul, R.C. The Last Days According to Jesus. Grand Rapids, MI: Baker, 1998; and Gentry, Kenneth L. Jr. Navigating the Book of Revelation. Fountain Inn: SC, Goodbirth Ministries, 2009.

Introduction

One of the reasons that some of us are hesitant to accept evolutionary creation is that it seems to make God responsible for the suffering and death of innumerable creatures over millions of years—before humans ever existed or sinned against their creator. Since we believe in and worship a God who is loving, benevolent, and all-powerful, it sounds quite implausible that our God would have created a world like that; therefore, any scientific evidence for evolution must be incorrect.

Other people look at the scientific evidence for evolution and find a compelling case that it has taken place during our earth's history. On this basis they may conclude that if evolution is true, then the belief in an all-powerful, perfectly good God must be false!

The trouble with both of these views is that they tend to invoke a completely abstract, philosophical god, not the living God of the Bible—the God who became a human being, experienced unimaginable suffering, and died in a grotesque and humiliating public display. The death of Jesus completely defied the expectations (and common sense) of his followers, as well as the expectations of any “rational” understanding of the way the Creator of the universe should act in the world. On the cross, in the person of Jesus, God took upon himself far more suffering than any creature has ever experienced.

If God himself is willing to die, particularly in such a gruesome way, then perhaps we should at least consider the possibility of God allowing the death of other creatures, too. But would this really be compatible with what we know of God through Scripture? In this essay, we will explore this quandary through a “theology of the cross”, a concept articulated by pastor George Murphy in his book Cosmos in the Light of the Cross.¹

Theology of the cross

Before we jump into the theological problems associated with evolution, let’s take a look at how we understand Christian theology itself. For the reformer Martin Luther, any theology (or science) that tries to reach knowledge of God apart from the cross is bad theology.² Instead, Luther pointed to a theologia crucis, in which the true God is seen first and foremost “through suffering and the cross”. To make his point even clearer, Luther insisted that “the CROSS alone is our theology”.³ It is the lens through which we view everything.

Of course Martin Luther, having lived in the 16th century, was not aware of the vast history of life on our planet (or any other aspect of modern science, for that matter), but George Murphy draws from Luther’s teachings the foundation that all human knowledge begins with the Word made flesh and crucified.⁴ With the cross of Christ as the ultimate framework through which we view reality, we are bound to view the processes of nature quite differently. As Murphy explains it,

A theology of the cross is an explication of belief in a God who becomes a participant in the history of the universe and thereby shares in the suffering, loss, and death that are part of worldly experience.⁵

God does not sit idly by and watch unaffected as his creatures suffer, but neither does he swoop in and make everything completely effortless and easy. Instead he chose another way, the crucifixion of Jesus—certainly not the approach that we would have preferred! The apostle Peter went so far as to try to talk Jesus out of it, but he was met with a stern rebuke (Matthew 16:21-23).

Why is evolution so disconcerting to Christians?

The problem of suffering throughout all of human history is troubling enough for us to reconcile with a loving, personal God. But in addition to that, the discovery of vast numbers of fossils reveals that death has taken place on a far greater scale than we had ever imagined. Both the wide variety of extinct creatures and their sheer numbers is quite staggering, and it raises questions about our Creator:

The picture of a God who is immune from suffering and death but who forces organisms through millions of generations and extinction is disturbing to those who believe in a God of love.⁷

The mass extinction of life on earth was already well established by the early 19th century—decades before Darwin’s research—and extinction can be empirically verified independent of any theory of evolution.⁸ The fact that the earth’s crust is a veritable graveyard of long-lost creatures is deeply troubling, and as late as the 1790’s, distinguished intellectuals such as Thomas Jefferson denied the very possibility of extinction.⁹

But in addition to the reality of species extinction, the theory of evolution by natural selection proposes that new species also arise in an environment containing widespread pain and death. Both the creatures that are now living and those that are gone are tainted by an “acrid smell of death”.¹⁰ It makes us wonder, if our Creator is not the God of the dead, but of the living (Mk. 12:27), where is God’s presence in the evolutionary picture?

In all honesty, creation through evolution is not what we would expect from God, but Scripture is full of examples in which God acts in unexpected ways. After all, God’s choosing to undergo an agonizing death on a cross is not what we would expect from the all-powerful Creator of the universe, either. In both cases, new life comes about through pain, suffering, and death. As George Murphy puts it,

A priori ideas about God have to be overcome, and God's character has to be learned from God's self-revelation.¹¹

God’s fullest self-expression is in Jesus Christ himself, one who is intimately familiar with and personally endured creaturely pain and death. The theology of the cross reveals that God's self-revelation takes place in situations of suffering, loss, and apparent hopelessness, much like situations that occur through natural selection.¹²

The crucifixion is disconcerting too

Not only is creation through evolution an unexpected and unsettling process, but so is the crucifixion of Jesus! Killing someone by hanging them on a cross is an unbearably painful, prolonged, humiliating form of death. It was such a horrific type of public execution that it wasn't until after the Roman Empire stopped the practice of crucifixion—and people no longer witnessed it personally—did the cross become a visual object of devotion.¹³ Our culture is sufficiently removed from crucifixion that we are desensitized to its original significance, but to connect it to our current context, imagine the reaction you would get by wearing jewelry designed to look like an electric chair.¹⁴

Once we are more attuned to the brutality of crucifixion, it seems all the more striking that the cross is the sign of God’s work, what George Murphy calls “the trademark of God”.¹⁵ The suffering and death of Jesus is featured prominently in the Gospels, but the crucifixion-resurrection pattern is strongly resonant within the Old Testament, too. Israel suffered and toiled as slaves in Egypt for centuries before they were rescued in the Exodus, bringing life to a people who were spiritually dead. Centuries later, the nation of Israel would experience death again when the Babylonians destroyed the Davidic monarchy, burned their Temple, killed their people, and sent many into exile.¹⁶ Neither Israel (God’s chosen people) nor Jesus (God’s own son) were spared from death and suffering; rather, suffering seems to have been the way in which God re-forms and renews humanity to fully bear His own image.

Redemption extends to all of creation

Fortunately, God’s story does not end with death. God gives new life after his creatures have been subjected to terrible circumstances. Redemption was promised to Israel itself—Ezekiel’s vision of the valley of dry bones describes how God would renew His chosen people (Ezek 37:1-14). Later, the astonishing resurrection of Jesus made salvation possible not only for Jews, but for all people in Christ (Gal 3:26-29). Ultimately, the New Testament makes it clear that God’s renewal will encompass the entire Creation:

For God was pleased to have all his fullness dwell in him, and through him to reconcile to himself all things, whether things on earth or things in heaven, by making peace through his blood, shed on the cross. (Colossians 1:19-20)

With all wisdom and understanding, he made known to us the mystery of his will according to his good pleasure, which he purposed in Christ, to be put into effect when the times reach their fulfillment—to bring unity to all things in heaven and on earth under Christ. (Ephesians 1:8-10)

Christians are accustomed to thinking of the death of Christ in regard to humans, but our culture rarely acknowledges God plan for the redemption of His entire creation. This is partly attributable to the fact that discussions of creation and origins are often separated from the topic of salvation.¹⁷ In doing so we tend to marginalize Jesus as we argue about Genesis. Rather than fall into this trap, if we view nature through a theology of the cross, we will see Christ as both the alpha and the omega point in discussions of life’s history and life’s future. With this perspective, we are more apt to sense our solidarity with the rest of creation as we wait in eager anticipation of a glorious future:

The creation waits in eager expectation for the children of God to be revealed. For the creation was subjected to frustration, not by its own choice, but by the will of the one who subjected it, in hope that the creation itself will be liberated from its bondage to decay and brought into the freedom and glory of the children of God. (Romans 8:19-21)

Conclusion

As part of the Church’s conversation about the problem of natural evil, this essay is meant to be a brief introduction to a “theology of the cross”. One can explore this concept in greater detail in Murphy’s book The Cosmos in the Light of the Cross. While there is a lot more to be said, let me conclude with the following observation: though evolution may not be compatible with some interpretations of Christianity, evolutionary creation is certainly compatible with the crucified Christ and the theology of the cross. In the person of Jesus, God suffers with the world and ultimately redeems it. As George Murphy puts in, “The world's pains are God's stigmata.”¹⁸

Explore this Topic Further

• Miller, Keith. “And God saw that it was good”: Death and Pain in the Created Order. BioLogos series
• Murphy, George L. The Cosmos in the Light of the Cross. Harrisburg, PA: Trinity Press, 2003.
• Murphy, George L. “Cross, Evolution, and Theodicy: Telling It Like It Is”. In The Evolution of Evil. Edited by G. Bennett, M.J. Hewlett, T. Peters, and R.J. Russell. Göttingen: Vandenhoeck & Ruprecht, 2008.
• Southgate, Christopher. The Groaning of Creation: God, Evolution, and the Problem of Evil. Louisville, KY: Westminister John Knox Press, 2008.

Notes

1. Murphy, George L. The Cosmos in the Light of the Cross. Harrisburg, PA: Trinity Press, 2003.
2. Murphy, p34
3. “CRUX Sola Est Nostra Theologia,” in D. Martin Luthers Werke, Kritische Gesammtausgabe (Weimar: Hermann Boehlau, 1892), 5:172. The captitalization is in the original. Cited in Murphy, p26.
4. Murphy, p108
5. Murphy, p4
6. Murphy, p43
7. Murphy, p3
8. Some Christians ascribe animal death to some combination of Adam’s fall and Noah’s flood, but this does not resolve the problem that the animals are still suffering and dying through no fault of their own. See Keith Miller’s BioLogos series Death and Pain in the Created Order for the limitations inherent in a fall-based theodicy.
9. Rudwick, Martin. The meaning of fossils: Episodes in the history of paleontology. Chicago, University of Chicago Press, 1985.
10. See Jeff Schloss’ BioLogos essay Evolution, Creation, and the Sting of Death
11. Murphy, p63
12. Murphy, p122
13. Murphy, p27
14. This example is drawn from an evangelical outreach event held by a Christian student group in Innsbruck, Austria. On campus one day, they started conversations with their classmates by asking the question, “Would you wear an electric chair on your neck?”
15. Murphy, George L. The Trademark of God: A Christian Course in Creation, Evolution, and Salvation. Wilton, Conn.: Morehouse-Barlow, 1986.
16. Murphy, Cosmos in the Light of the Cross, p 31-32.
17. Murphy, p35
18. Murphy, p87

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

[T]he purpose of Jesus’ “art” was to give verbal, visual, and dramatic forms to those complicated and confounding relationships and symmetries and harmonies between Himself (and the Father and Spirit) and the world, ourselves included in the latter. Such creative expressions did and do not make everything clear, but rather resist simple clarity, forcing their hearers to come at the whole complicated, opaque truth from a position of intellectual and spiritual humility.

Speaking in parables is indeed similar to an artist’s craft. Neither are systematic, logical arguments aimed at intellectual persuasion. Rather, they create impressions, whole new worlds of meaning intended to turn old worlds on their heads. Further, they do not always clarify, but actually can by design obscure a deeper reality. To apprehend that deeper reality, one must—like a patron facing a timeless painting—continue to seek, ponder, and meditate on what is being said.

Parables are radical pieces of communication meant to disorient the hearers and then reorient them to an entirely new way of thinking. The reason Jesus does so much story telling is because stories—not debate or other “proofs”—are best suited for such a whole scale reorientation. Jesus’ preaching, after all, was about the kingdom of heaven (or of God). This kingdom was not about where one goes after death, but a here-and-now transformation of how people thought about God and their relationship to him.

Jesus “explains” this new kingdom in several ways, one of which is the Sermon on the Mount (Matthew 5-7), where Jesus lays out the types of behaviors that should now characterize the people of God. These new behaviors contrast again and again with the old and are fully at odds with what the religious leaders of the time were teaching the people. Jesus’ kingdom is counter-cultural.

But Jesus more often “shows” the people what this kingdom looks like by telling a good story, which regularly begins, “The kingdom of heaven is like….” Sometimes the best way to get an idea across is to paint a verbal picture, which is precisely what Jesus does in the parables.

Jesus’ stories are not like Aesop’s Fables (as interesting as they are), where there is a moral to the story. The parables are not about playing nice with each other. They actually plant you in a different world where things are running according to a wholly different set of rules of the kingdom of heaven.

We can see this by looking at one of Jesus’ favorite topics in the parables: how Jews related to Gentiles. Jewish identity was an extremely important and touchy issue in Jesus’ day. Even though the Jews had returned to their land after the exile (539 BC), they had been guests in their own land—first of the Persians, then Greeks, and now the Romans. How Jews could maintain their ethnic and religious identity in such a pressure cooker of pagan Greek and Roman ideas, not to mention the embarrassment of pagan rulers telling them what to do, was a sore point.

So, one can understand why Jewish attitudes towards tax collectors, for example, are a repeated concern in the Gospels. Tax collectors were fellow Jews who were traitors to their own people by collecting taxes for the Romans. They were even spoken of in the same breath as prostitutes (e.g., Matthew 21:31-32).

No “good Jew” committed to maintaining his or her identity amid a pagan world would lower themselves to work alongside the Romans. Yet, what does Jesus do? He associates with these (and other) “sinners” on a regular basis, and even calls a tax collector (Matthew) to be among his select group of followers. By his actions Jesus demonstrates that his kingdom operates by different, counter-intuitive, counter-cultural rules.

These types of concrete actions were supported again and again by Jesus’ parables. Such a radical change in how Jews viewed God, the world, and their place in it—where sinners and other outsiders were welcome—required a communication strategy that was up for the task.

Stories are that communication strategy. Parables were Jesus’ canvas for “painting” a new vision for what life in his kingdom should look like. And in Jesus’ kingdom, there was no longer any place for maintaining those fundamental ethnic and religious distinctions by which the Jews had been operating.

We can go to virtually any parable to make this point, but the well-known parable of the Good Samaritan works as well as any (Luke 10:30-37). We recall that what drove Jesus to tell this story was the question asked by the “expert in the law” (v. 25): “Who is my neighbor?” Jesus’ answer was this parable, and it carries a double punch.

First, the Jewish leaders step around the beaten man on the road—certainly a non-Jew—feeling no obligation to come to his aid. The point is that the leaders of Israel, of all people, should know enough of God’s character to stop and help him. They shouldn’t ask whether he is “one of us,” an insider. All one needs to know is that this human being needs help. In Jesus’ kingdom, carefully drawn lines of ethnic and religious separation are a thing of the past.

But second, on a deeper level, Jesus’ point is far more threatening. By calling upon a Samaritan as the “good guy” in this story—with all of the backdrop of cultural hostility—Jesus is making a more pressing point than “be good to everyone” (which is where the Sunday School lesson typically ends). The hated Samaritan sees the man lying there, and without asking questions about who he is—whether Jew, Samaritan, Greek, Roman, or anything else for that matter—helps him. The Samaritan, of all people, acts like a neighbor toward the man who needed help, the very thing the Jewish leaders failed to do.

By telling Jewish leaders that they have something to learn about their own God from, of all people, Samaritans, is not a suggestion to be more open-minded and tolerant. It is nothing less than a rewriting of the Jewish narrative or religious and ethnic identity. Jesus uses a story to paint a vivid mental and emotional picture for his hearers. No other medium would do.

It is sometimes thought that Jesus told stories because he wanted to persuade the masses, the common people who are not used to debating fine points of theology like the scribes and priests. This is partially true, but it is also true that the radical message of the kingdom of heaven required a means of communication that was best suited for it. Like any work of art, stories “create” new ways of seeing the world—and it is, after all, a new world that Jesus means to create.

Let me put this another way: Jesus himself communicated the deep mysteries of a new way of being through the use of such things as vivid imagery, symbolism, metaphors, and other devices common to artistic expression. In fact, the incarnation, God in human flesh, is not a debate or argument about the nature of God that appeals primarily to the intellect. It is a vivid—and true—demonstration, a portrait, of a radically new and mysterious way of thinking about God, the world, and our place in it.

If this is how God chooses to communicate at the incarnation—the very climax and epicenter of his story—we should not be surprised to see God painting vivid portraits elsewhere in Scripture. This is especially true of Genesis and creation. Something so fundamental to God’s story may need to be told in a way that transcends the limitations of purely intellectual engagement. Genesis may be written more to show us—by grabbing us with its images than laying out a timeline of cause and effect events—that God is the central figure on the biblical drama.

Originally posted February 1, 2011.

A Christology for Science

The theologian Robert Barron has nicely clarified much of what lies behind recent conflicts over human origins that feature supposedly biblical truths contending against supposedly scientific conclusions.

In his words, “recent debates concerning evolutionist and ‘creationist’ accounts of the origins of nature are marked through and through by modern assumptions about a distant, competitive, and occasionally intervening God, whether the existence of such a God is affirmed or denied.”¹ Barron’s response to these modern debates is a sophisticated exposition of classical Christology aimed at his theological peers. My effort is much simpler and is aimed at academics in general, but it comes from the same christological perspective.

Christ as Creator, Sustainer, Redeemer

Classical Christian orthodoxy as expressed in the creeds that summarize the Scriptures begins at the beginning: nature owes its existence to and is sustained by Jesus Christ. From this starting point several important ramifications follow naturally.

One is the implication that the best way of finding out about nature is to look at nature. This implication comes directly from the christological principle of contingency. As described in the Gospels, individuals who wanted to learn the truth about Jesus had to “come and see.” Likewise, to find out what might be true in nature, it is necessary to “come and see.”

The process of “coming and seeing” does not lead to infallible truth about the physical world since there is no special inspiration from the Holy Spirit for the Book of Nature as there is for the Book of Scripture. But “coming and seeing” is still the method that belief in Christ as Savior privileges for learning about all other objects, including nature. This privileging means that scientific results coming from thoughtful, organized, and carefully checked investigations of natural phenomena must, for Christ-centered reasons, be taken seriously.

From this perspective, the successes of modern science in recent centuries testify implicitly to the existence of a creating and redeeming God. To once again quote Robert Barron, scientific activity by its very nature “implies . . . an unavoidable correspondence between the activity of the mind and the structure of being: intelligence will find its fulfillment in this universal and inescapable intelligibility.” But how can this implication be justified? According to Barron,

The universality of objective intelligibility (assumed by any honest scientist) can be explained only through recourse to a transcendent subjective intelligence that has thought the world into being, so that every act of knowing a worldly object or event is, literally, a recognition, a thinking again of what has already been thought by a primordial divine knower.²

In lay language, the “transcendent subjective intelligence” and the “primordial divine knower” guarantee the possibility that a researcher’s mind can grasp something real about the world beyond the mind. The Scriptures—in John 1, Colossians 1, and Hebrews 1 — provide a name for that “intelligence” and that “knower.” In these terms, the existence of nature and the possibility of understanding nature presuppose Jesus Christ.

A second implication arising from the centrality of Christ in creation concerns the interpretation of Scripture. Classic biblical texts about the purpose of the Bible reinforce the foundational principle that the believers’ confidence in Scripture rests on its message of salvation in Jesus Christ. Thus, in John 20, the Gospel story has been written down so “that you may believe that Jesus is the Christ, the Son of God, and that by believing you may have life in his name” (20:31). In 2 Timothy 3, the inspired or God-breathed “holy scriptures” have as their main purpose instruction “for salvation through faith in Christ Jesus” (3:15). And in 2 Peter 1, “the word of the prophets made more certain” as these prophets were “carried along by the Holy Spirit” (1:19, 21) deals preeminently with “the power and coming of our Lord Jesus Christ” (1:16).

As these passages suggest, salvation in Christ anchors the believer’s confidence that all of Scripture is trustworthy.³ But because of that supreme fact, the effort to understand how Scripture is trustworthy for questions like the ordering of nature should never stray far from consideration of Christ and his work. Yet as we have seen, “Christ and his work” includes, as an object, the material world of creation, and as a method, “come and see.” In other words, following the Christ revealed in Scripture as Redeemer means following the Christ who made it possible for humans to understand the physical world and offered a means (“come and see”) for gaining that understanding.

Final and ultimate disharmony between what “come and see” demonstrates about Christ and what “come and see” reveals about the world of nature is impossible. This Christ is the same one through whom God has worked “to reconcile to himself all things . . . making peace through his blood, shed on the cross” (Col. 1:20) and in whom “all things were created” and in whom “all things hold together” (1:16-17).

Yet it is indisputable that on some science-theology questions, trust in Christ (and therefore trust in Scripture) has seemed to conflict with trusting in what Christ-authorized procedure (“come and see”) reveals about a Christ-created and Christ-sustained world. The parade of difficult questions arising from the effort to bring together standard interpretations of Scripture and standard interpretations of the natural world is a long one. Trying to answer these questions has been a consistent feature of the modern scientific age.

• In the nineteenth century, many earnest believers were wondering, if “coming and seeing” in geology and astronomy led to the conclusion that material existence has a very long history, should the “days” of Genesis 1 be understood as long periods of time or should a new interpretation of Genesis 1:1 be adopted that posits a “gap” between “in the beginning” and “God created”?

• More recent advances in both historical understanding (the ancient Near East) and empirical science (genetics, biology, astronomy) have prompted questions about the creation accounts of early Genesis. Well-trained scientists with strong Christian convictions have followed the Christ-rooted procedure of “coming and seeing” in their study of physical evidence for the origin of the universe and have concluded that much of standard evolutionary theory seems well grounded.⁴ Similarly, well-trained biblical scholars with strong Christian convictions have followed the Christ-rooted procedure of “coming and seeing” in their study of ancient Near Eastern cultures and have concluded that the early chapters of Genesis seem to be directly concerned about attacking idol-worship that substituted the sun or the moon for God.⁵ Given the combination of these two streams of testimony, should it be thought that early Genesis is not concerned with modern scientific questions but is very much concerned about encouraging worship of the one true God who is the originator and sustainer of all things?

• Even more recently, the rough consensus on evolutionary change assembled from many scientific disciplines makes for even more complex questions: for example, if human evolution seems indicated by a wide range of responsible scientific procedures (“come and see”), how might responsible biblical interpretation understand the New Testament stress on Christ (very definitely in historical time and historical space) as overcoming the sinfulness inherited from Adam and Eve, whom Scripture, at least on a surface level, also represents as individuals in historical time and historical space?

All such questions caused understandable consternation when they were first raised, since they challenged specific interpretations of Scripture that had been tightly interwoven with basic interpretations of the entire Bible. Even after long and hard thought, such questions continue to pose definite challenges.

Answering such questions responsibly requires sophistication in scientific knowledge and sophistication in biblical interpretation — exercised humbly, teachably, and nondefensively. Unfortunately, these traits and capacities have not always predominated when such questions are addressed. But the difficult questions will almost certainly only continue to multiply because of two ongoing realities: the Holy Spirit continues to bestow new life in Christ through the message of the cross found in Scripture, and responsible investigations lead plausibly to further evolutionary conclusions from the relevant scientific disciplines.

This excerpt was drawn from chapter 3 of Mark Noll's book Jesus Christ and the Life of the Mind. If you would like to read the whole chapter, click here. First posted August 30, 2011.

Notes

1. Robert Barron, The Priority of Christ: Toward a Postliberal Catholicism (Grand Rapids: Brazos, 2007), 221. For convenience, I return several times in the following paragraphs to this book by Robert Barron. But there are other parallel efforts, for example from the physicist and Anglican theologian John C. Polkinghorne, in books like Belief in God in an Age of Science (New Haven: Yale University Press, 1998), and Science and the Trinity; The Christian Encounter with Reality (New Haven: Yale University Press, 2004).
2. Barron, Priority of Christ, 154.
3. See above on providence.
4. Barron, Priority of Christ, 13.
5. A Summa of the Summa, ed. Peter Kreeft (San Francisco: Ignatius, 1990), 174 (from Thomas Aquinas, Summa Theologica, I, 22, 4).

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.

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.

“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.

An example of the way poetry helps re-make our interpretive framework is Richard Wilbur’s poem, Still, Citizen Sparrow. Directly addressing our “natural” revulsion for death and those contaminated with it, the poem contrasts the small “darting” sparrow with the vulture—an unwelcome visitor in the sparrow’s space. Surely, the vulture must seem an awkward and ungainly abomination in the fruitful orderliness the smaller bird inhabits, for those “orchard aisles” hint at both a garden and a church. Yet the poem also presents a two-fold defense of this most un-clean of birds, beginning with the difference between how it seems on the ground and how it is in its own element, at the “tip of the sky.” “[N]o more beautiful bird is in heaven's height “, Wilbur tells us, “No wider more placid wings, no watchfuller flight.” But more than just his aeronautic skills are at issue. It is the vulture’s “rotten office”—the very thing that makes it so repulsive to our sensibilities—that Wilbur names as its saving grace.

The “naked-headed one. . . Devours death, mocks mutability, / Has heart to make an end, keeps nature new.” This description of the vulture could be a purely naturalistic assessment of the importance of biological recycling, but a turn at the poem’s fourth stanza takes its imagery in an explicitly scriptural direction. From here on, it connects the vulture with Noah, and the sparrows (and implicitly us) as those “who would have died / Gladly with all [they] knew” rather than put up with the tedium and apparent foolishness of Noah’s incessant sawing and hammering. At last, Wilbur implores the sparrows to consider how “high and lonely” was Noah’s time on the waters as “He rocked his only world, and everyone's.”

The vulture here is more than just “the hero” of the poem, as Wilbur puts it, but exactly what he stands for is not immediately clear. In terms of the great narrative of the Bible, we are used to thinking of ourselves and all humanity as “Adam’s sons,” and even as the “sons of Abraham”; in Christ, both of those images are completed and fulfilled, and all of us redeemed. But Still, Citizen Sparrow ends not with a claim of kinship with Adam or Abraham, but with this: “all men are Noah's sons.” Might Noah also be a type of Christ? How does the all-too-natural vulture connect with it, deepening our understanding the role and experience of Jesus as the Messiah?

Following Wilbur’s account of the nobility of the vulture, we can make the connection between it and Jesus’ role of overcoming death. But what unites them more subtly (and perhaps even more poignantly in this season of Lent) is shame and rejection, even exile. These terms are not at all unrelated to death, for touching the dead was one of the things that made an Israelite ceremonially unclean, and vultures’ ordinary habits might account for their similarly-rejected status in the Jewish bestiary. Elsewhere in the Bible, the characteristic baldness of the vulture provides imagery of shame, despair and humiliation, as in Micah 1:16: Make yourselves bald and cut off your hair, for the children of your delight; make yourselves as bald as the vulture, for they shall go from you into exile.

Surely the vulture is an unlikely symbol for Christ, especially when wrapped up with the character of Noah. But the key insight of the poem and the image actually lies in the relationship between the vulture and the sparrow, the latter of which serves as our stand-in. We are too often like that small bird in Wilbur’s account, wanting a more noble and glorious emblem than this of how the Kingdom bears on our world, wishing ever still to banish the unclean from our presence and keep our own lives neat and tidy. The cause of Christ is not neat or tidy, though, and brings ridicule and rejection from our peers more often than it brings honor. As we draw close to Jerusalem with Jesus, may we be willing to accept the “rotten office” ourselves, and to take his (and the vulture’s) perspective on rejection—in his story, and in our own.

“Still, Citizen Sparrow”

by Richard Wilbur

Still, citizen sparrow, this vulture which you call
Unnatural, let him but lumber again to air
Over the rotten office, let him bear
The carrion ballast up, and at the tall

Tip of the sky lie cruising. Then you'll see
That no more beautiful bird is in heaven's height,
No wider more placid wings, no watchfuller flight;
He shoulders nature there, the frightfully free,

The naked-headed one. Pardon him, you
Who dart in the orchard aisles, for it is he
Devours death, mocks mutability,
Has heart to make an end, keeps nature new.

Thinking of Noah, childheart, try to forget
How for so many bedlam hours his saw
Soured the song of birds with its wheezy gnaw,
And the slam of his hammer all the day beset

The people's ears. Forget that he could bear
To see the towns like coral under the keel,
And the fields so dismal deep. Try rather to feel
How high and weary it was, on the waters where

He rocked his only world, and everyone's.
Forgive the hero, you who would have died
Gladly with all you knew; he rode that tide
To Ararat; all men are Noah's sons.

From Richard Wilbur: New and Collected Poems. San Diego: Harcourt Brace Jovanovich, 1988: p. 318. ©Richard Wilbur.

Richard Wilbur is a poet, translator, and playwright, and was appointed as the second Poet Laureate of the United States in 1987. Please read the poem aloud, then click here to buy your own copy of Wilbur’s latest work, Anterooms: New Poems and Translations.

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.

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

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

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

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

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

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

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

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

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

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