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.

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.

In this series, Kathryn Applegate addresses the concern that randomness implies the absence of God's activity and involvement in the natural world. She begins by clearing up some common misconceptions about the concept of "randomness", and later focuses on the mechanisms of the immune system to demonstrate that God works through random processes to preserve life. Far from being an indication of a "godless" universe, one might conclude that randomness is one of God’s favorite mechanisms for creating and sustaining life!

In this four part series, David Opderbeck explores the interesting relationship between God and his creation. He first looks at his transcendence over the material world. In one respect, God is completely distinct from all creation, yet he is also immanent, or present within all creation. Another aspect of God reflected in creation is his Triune nature. Just as love, fellowship, and delight exist within the Trinity, so these characteristics are present in the world, and experienced by humans. He completes his thoughts with a discussion about God’s interaction with humans.

... I would exhort these, my fellow conservative evangelical shepherds and thinkers, to set aside all reticence and fear, emerge from anonymity, and storm the forum of discourse, engaging this most pressing matter with vigor, equanimity, and humility. In doing so, know upfront that there will be few handrails to guide; you will not be building upon an extensive precedence of published conservative thought.

The God who created the cosmos is the God who came to us as a child in Bethlehem.

The language of a collapsing universe is related to the end of the old covenant and the coming of the new covenant as God’s “new world order.”

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?

The debate is often not about evidence, but about making sure that others do not transgress our interpretive boundaries and insist that we're wrong. We've bitten from the tree of knowledge and we love its taste.

Speaking in parables is indeed similar to an artist’s craft. They create impressions, whole new worlds of meaning intended to turn old worlds on their heads.

Classical Christian orthodoxy as expressed in the Creeds begins at the beginning: nature owes its existence to and is sustained by Jesus Christ. One implication is that the best way of finding out about nature is to look at nature.

“I flatter myself,” Hume triumphantly proclaimed, “that I have discovered an argument . . . which, if just, will, with the wise and learned, be an everlasting check to all kinds of superstitious delusion, and consequently, will be useful as long as the world endures.”

In this talk, Professor Plantinga addresses the fact that many contemporary thinkers—including many theologians—believe that God cannot perform miracles, providentially guide history, or interact in the lives of people, as these activities would be contrary to science. Plantinga, on the other hand, makes the case that this popular view is mistaken; excluding divine action in the world is not a central feature of natural science itself, but a philosophical or theological preference that has been added on to science (and can just as readily be removed). Plantinga concludes that it is completely logical to accept the miracles of the Bible and support contemporary science.

It is not uncommon to hear voices proclaiming that biology and physics have shown us that—at fundamental levels—nature is random, hence meaningless, purposeless, and without a creator. But how might God work providentially through indeterminate processes? The John Templeton Foundation has provided a generous grant of $1.69 million to support a new research initiative on the theme of Randomness and Divine providence.

Our desire to engage in gracious dialogue with fellow believers who reject biological evolution has been receiving increased attention in both the Christian and secular press. More importantly, we are being joined in this reconciling project by our brothers and sisters in Christ who have often been defined primarily as our “opponents”.

In this series, Davis identifies core tenets or assumptions about the view of concordism, beginning with propositions about the Bible before concluding with a short historical commentary.

This BioLogos videocast addresses the idea of randomness as a part of natural selection, and whether it challenges the possibility of God using the evolutionary process as a means of creation.

Does God need to supernaturally "intervene" in order to bring about the diversity of life that we observe today? Is that kind of action different from God’s ordinary action? We begin our three-part series with Robert John Russell’s description of how views of divine action have changed throughout history, excerpted from his book Cosmology: From Alpha to Omega. Part 2 addresses why “intervention” in the natural world is a problem philosophically, theologically, and scientifically; and Part 3 explains Russell’s own theory of divine action in the natural world.

In this three-part series from Pruim’s chapter in the book Delight in Creation: Scientists Share Their Work with the Church, mathematician Randall Pruim explains what scientists and mathematicians mean when they speak of something being “random”. He also addresses God's use of apparent randomness in creation as a part of his sovereign rule.

It should not be surprising that John Cage asked the stuff he used to make paintings to take part in the process—to contribute its own identity to the intentional, purposeful, and determined work of creating “based on chance.”