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.

For concordists, the temptation is to interpret every Bible verse to match the current scientific picture. For non-concordists, the temptation is to interpret every Bible verse that appears to disagree with science as figurative.

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!

Congratulations to the 37 winners of the Evolution & Christian Faith (ECF) grants competition! ECF is a new BioLogos program designed to support projects and network-building among scholars, church leaders, and parachurch organizations.

God shows himself not just in the orderliness of nature, but powerfully, joyously and always surprisingly in its beautiful "non-order" as well.

I would like to look at three areas relevant to faith and science discussions where Lewis’s stated views might be surprising for his American Evangelical admirers

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.

Many people assume that until Darwin came along, devout Christians everywhere read and understood Genesis in the same way. But Dr. Pak points out that some of the most revered figures in Christian history--Origen, Augustine, Aquinas, Luther, and Calvin--offered insightful but distinctive interpretations of the text that are often overlooked today. First presented at a symposium in Raleigh, NC, Dr. Pak's paper is presented here as a three part series.

The song 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.

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.

Charles Darwin’s personal struggles and ultimate rejection of Christianity are well documented, and people are eager to link his loss of faith to his evolutionary theory. David Lack, on the other hand, began his scientific career as an agnostic, but shortly after publishing his famous book on the evolution of "Darwin's finches", he converted to Christianity.

It doesn't take a scientist to appreciate the beauty with which God has arrayed his creation. But scientists do have the opportunity (and training) to appreciate different kinds of beauty than do most non-scientists, whether they are ordinarily "hidden" in the extremes of scale, the elegant processes of an experiment, or in the abstraction of mathematics. Indeed the appreciation of various kinds of beauty has always played a critical role in motivating scientists to investigate the world, and in helping them decipher its workings. In the three-part essay, Ruth Bancewicz explores some of the ways beauty, science and theology intertwine.

The related ideas of the “fixity of species” and “natural kinds” have been prominent in the science and faith conversation. Some Christians take Genesis to mean that God created (bara) fixed species (mîn). But does the text truly indicate such a concept? Biblical scholar Dr. Richard Hess looks at the Biblical context and meaning of the Hebrew mîn, and suggests that when Christians use it to frame our understanding of the entire created order, we may be asking too much of this single word.

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.

Taken from Chapter 2 of John Lennox's book Seven Days That Divide The World, this three part series looks at scripture interpretation. Lennox looks especially at the Galileo controversy regarding the movement of the Earth and why our own interpretations do not necessarily call into question the authority of the Scripture.

Theologian, historian and Christian apologist Dr. John P. Dickson addresses the history and interpretation of Genesis 1. Making no claims about human biological origins, Dickson urges us to treat the early chapters of Genesis as a literary and historical statement, and listen carefully to it on those terms.

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.

This is a very sensitive matter for creationist proponents, who tend to take a dim view of any speakers or seminars (such as this series) that present alternatives without openly condemning them.

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.”