Boyle Lecture Discussion Questions: A Full Initial Response

The short online panel discussion following the 2021 Boyle Lecture, The Rediscovery of Contemplation Through Science, was very rich, but attracted far more questions than we could handle at the time. I did (rashly?) promise at the time that I, and panel members if they wished, would try to address, at least in an initial form, all of the questions asked. Here is the result. I have decided that to minimise a fragmentation of response, that it is best to group the questions under subheadings. These turned out to be: Overall Rationale and Purpose, Contemplative Methodologies in Scientific Insight and Broader Practice, Science Culture and Politics, Psychological and Meditative Consequences, Natural Theology of Old and New Kinds, New Atheism, Education, Christian Practice, Lessons from the History of Science and Technology. These sections start with bold italic subtitles. The questions are in italic (followed by the questioner’s name). The response to each collection of questions follows in normal text. They are mine, except were specifically indicated.

Screenshot from the Boyle Lecture discussion with (from left top to right bottom) Prof. Fraser Watts, Prof. Michael Reiss, Prof. Tom McLeish (Boyle lecturer), Prof. Sarah Coakley, Dr. Sarah Lane Ritchie, Lord Williams of Oystermouth (Rt. Revd. Prof. Rowan Williams) (Boyle respondant)

Overall Rationale and Purpose 

Why are we doing this? (Bonnie Zahl – from a young family member)

Is the word God a verb or a noun? (Martin Bassants)

Talk of “religion” and “science” (and any type of “relationship” or whatever) seems utterly unable to capture what you are saying. What categories, and modes of thinking, including contemplation, poetry, rhetoric, understanding could you recommend to us, especially to theologians and scientists (but to all of us really) to move towards a better understanding of God as creator and ourselves as part of creation. (Esgrid Sikahall)

Why do theologians refer to God as he? (Jack Martin)

What is truth? (Rebecca Nichol)

It is inspiring to receive such perceptive and deep ‘framing’ questions stimulated by a discussion such as this one. They are salutary reminders that we tread on transcendent ground. Especially helpful is the bold and simple challenge from the young audience member. Keeping sight of the reason we are doing something is an important habit in science, theology, and everything really! 

We are doing this because it matters to being human, somehow, that we understand how our world works. This isn’t just curiosity, although it might start there, but goes deeper to a sense of responsibility we have to each other and to our world to treasure it. Another reason that I wanted to give this talk is to show directly, rather than argue in the abstract, that Christian faith is in fact a fruitful source of support for science in many ways (and this is exactly why Robert Boyle started the series of lectures all those years ago). There is a misunderstanding that it has, and does still, limit and frustrate science, and I wanted to show that this need not be the case at all. Rather, that science can be both God’s gift and calling, though as soon as you say that you need to do some work to find out what that means. Perhaps that is part of finding out what ‘truth’ means – after all ‘true’ is a woodworking term, indicating when pieces are lined up or properly parallel. ‘True’ has the sense of being in a right relationship with, and both theology and science working together aim to establish that sort of a ‘true-ness’ between us and the world, and therefore between those and Godself (the gender-neutral term that theologians now often use of God, by the way, Jack Martin). But to do that will require, as Esgrid already hints at, every mode of being human in expression and reception. 

Martin Bassant’s question turns us back to Coleridge’s (and for that matter, Moses’) experience of the divine, and of insight into the divine, at that radical moment in the Torah when God declares his substantiveness to be verbal: I AM. 

Contemplative Methodologies in Scientific Insight and Broader Practice

What kind of interaction do you suppose Dr. McLeish’s beautiful insistence on the importance of “imagination” and “suddenness” of scientific solutions through sometimes unconventional modes of contemplation and reflection might have with Bernard Lonergan’s understanding of “insight”?  (Alexander Fogassy )

Within the theoretical areas of the sciences such as physics, chemistry, biology, etc., we have the process of the thought experiment.  How do you see the contemplative and the imaginative and the poetic inspiring this process? (James Fowler)

How would you recommend the jobbing scientist under pressure of funding and publication, make room for the contemplative element of their vocation? (Roger Bretherton)

How can theological reflection seeking an understanding of the mind of God, through Biblical Poetry and Wisdom Literature inspire one’s contemplative activity in the sciences? (James Fowler)

I was struck with contemplation as a way to think about the unseen side and the hidden nature of things as being obvious in art- Cubism aimed to reveal all the unseen sides of an object at once, via the imagination- and the network of fungi that biologists found empirically verified as the probable source of trees being able not to talk to each other but to make protective chemical signals. But in practice we might need to show that this is how many solutions are revealed even to the non-scientist, and on perhaps Buddhism is getting close to doing this. Is the western faith lagging in this and will people of no faith tolerate this approach in education? (Mary lin Raisch)

An example of contemplation from an unexpected source, T.H. Huxley: ‘The student of Nature wonders the more and is astonished the less, the more conversant he becomes with her operations; but of all the perennial miracles she offers to his inspection, perhaps the most worthy of admiration is the development of a plant or of an animal from its embryo. Examine the recently laid egg of some common animal, such as a salamander or newt. It is a minute spheroid in which the best microscope will reveal nothing but a structureless sac, enclosing a glairy fluid, holding granules in suspension. But strange possibilities lie dormant in that semi-fluid globule. Let a moderate supply of warmth reach its watery cradle, and the plastic matter undergoes changes so rapid, yet so steady and purpose-like in their succession, that one can only compare them to those operated by a skilled modeller upon a formless lump of clay. As with an invisible trowel, the mass is divided and subdivided into smaller and smaller portions, until it is reduced to an aggregation of granules not too large to build withal the finest fabrics of the nascent organism. And, then, it is as if a delicate finger traced out the line to be occupied by the spinal column, and moulded the contour of the body; pinching up the head at one end, the tail at the other, and fashioning flank and limb into due salamandrine proportions, in so artistic a way, that, after watching the process hour by hour, one is almost involuntarily possessed by the notion, that some more subtle aid to vision than an achromatic, would show the hidden artist, with his plan before him, striving with skilful manipulation to perfect his work.’ (Joshua Luke Roberts)

What about the wonder of science as a way of encouraging wider participation/enthusiasm? (Timothy Jarrold)

In your view of science as contemplation, what I have heard so far, are explicit appeals to the theology of Christianity. But since science is now a truly global practice, how would we incorporate in science as contemplation the views of other traditions (mindfulness etc. for example)? (Deepanwita Dasgupta)

Contemplation, in the mystical sense, means union with the transcendent or even a rapture. can we talk about a rapture in the case of contemplation through science? I’m asking because rational science often seems to dominate the man. Thanks, (Paul Scarlat)

I think Astronomy is the way to go does the panel agree? (Jack Martin)

‘Contemplative science’: there is a story of nuclear physicists praying the Jesus Prayer as they pursued their research… (Elizabeth Theokritoff)

Could you say something about the use of language in the two magisteria, science and religion.  Science will interpret a ‘mystery’ as an as-yet-unexplained phenomenon, whilst religion seems to protect mystery as a mystery, and would not want it explained, almost putting it off limits. (Paul Devonshire)

This set of questions pushes towards a deeper understanding of what ‘contemplation’ might mean in science, and from where we might learn, or re-learn it. There are some very helpful and promising suggestions. Joshua Luke Roberts provides a lovely example from Huxley – writing like that witnesses to just the contemplative time, reflection, and long unrushed search for the right language to talk about science, that I have in mind as the beginning of the process. Note carefully the ‘watching the process hour by hour’ – how much time to scientists, or all of us for that matter, set aside for watching slow processes in the natural world and reflecting on them. Boyle would most certainly approve. 

But there is more. Here Mary lin Raisch is helpful in pointing out an analogy with cubist art – the practice of holding different perspectives on an object at one and the same time. Huxley is doing this in real time, by describing the visible aspects of the salamander egg in its early development, but also creating and holding a mental image of the latent, potential animal as well as the unknown present structures that must be present and hidden, that ‘code’ for the later forms. Robert Grosseteste, the great 13thcentury polymath to whom Rowan Williams referred in the discussion, put this aspect of contemplation in natural philosophy this way (he calls it ‘sollertia’:

Sollertia, then, is a penetrative power by which the vision of the mind does not rest on the surface of the thing seen, but penetrates it until it reaches a thing naturally linked to itself. In the same way as corporal vision, falling on a coloured object, does not rest there, but penetrates into the internal connectivity and integrity of the coloured object, from which connectivity its colour emerges, and again penetrates this connectivity until it reaches the elementary qualities from which the connectivity proceeds.

There is yet a third stage to this ‘contemplative methodology’ – if I might demean it so – that I am urging be recognized as more central and vital to science than it currently is. It is here that we come to the ‘insight’ that I think (who can be quite sure with Bernard Lonergan?) lies behind the Jesuit philosopher/theologian’s work Insight: A Study of Human Understanding. When we spend a long time absorbing, paying attention to, a chosen focus of the world, perhaps though the perspective of a question, then accompany that with other material from the ‘periphery’ of our attention (this we discussed briefly on the panel session), when all that is added to the mental imaginative re-creation of the unseen, hidden, structures that lie behind the perceived – then we might receive a token of ‘insight’. But although these glimpses into what really might make sense of the world are, according to Lonergan ‘two a penny’, the really worthwhile ones are not.

At this point the experience of the wilderness must come in. All of us must know the experience of trying everything we have talked about so far – the intense study, the attempt to find words, the adding off other ideas, the exercise of imagination – yet stillthe answer, the solution, the clarity of the way ahead, fails to materialize. We give up. We rest for a while, perhaps a long while. But our subconscious does not. When we are fortunate, a moment or rest the next day, week, year or even decade (all are recorded) allows the apparently effortless appearance of insight into our conscious mind. Those are the little or not-so-little experiences that I was trying to urge scientists to share more publicly. There are examples everywhere (certainly in astronomy, Jack Martin, yes – but everywhere else too). Part of the reason that this takes time, I conjecture, is that scientific practice on its own is not enough to generate the radically imaginative new ideas that intuit new scientific insight. Some of the material for these must come from elsewhere, including poetry, religious practice (from many traditions very possibly), music, exercise…. I researched and wrote about the commonalities in these experiences across the sciences and the arts and the humnaities for the book The Poetry and Music of Science,[1] and was astonished by the frequency I heard the same story of winning insight across all these disciplines.

The final experience of this insight feels like a gift at the time. That, in addition to the contemplative course through both focused attention and wilderness times, creates together a very strong analogy with religious contemplation. We might understand the reason for the story that Elizabeth Theokritoff gives us, or for the notion from Michael Faraday that Sunday was the ideal day for scientific experiments – the sabbath rest of our relationship with the world, perhaps?

Science Culture and Politics

How does a democratisation and ‘poetising’ of science deal with the prevalent post-truth culture in which ‘truth is what I choose to believe’? (Andrew Jackson)

Science and religion/culture are each a birthright and common grounds or lingua franca among individuals. Esau either did not understand or value his birthright /lingua franca. While the Jacobs among us are happy to pick up the ball and run with it, what are we to do about our brothers and sisters who do not value what we value? Need we run away, go into exile, only later to appease and reconcile? (Dan Collinson)

On the subject of ‘layman’s science’, do you find encouragement in the growth of ‘citizen science’ projects? (Jennifer Brown)

I think I also agree with Prof. Ritchie’s point. In a world of science as contemplation, how would you draw the boundaries between science and pseudo-science? (Deepanwita Dasgupta)

Might some of the wider engagement in the science enterprise be stimulated by an appreciation of uncertainty? Science involves recognition and appraisal of uncertainty, as a dynamic process. (Andrew Briggs)

My MP chairs the All Parliamentary Group of Christian MPs. At a hustings event he confirmed his disbelief in human-caused climate change. He has previously disregarded opportunities to discuss his reservations with a local Professor with relevant expertise. How helpful is this with regard to public understanding of science? (Alan Ramagek)

These are deeply relevant and practical questions on hard-nosed consequences of the right (or the wrong) public framing of science. I could not be more ashamed, saddened and frustrated to hear from Alan Ramagek of a Christian MP in a position of influence announcing against the weight of scientific evidence on climate change, and especially an unwillingness to enter into dialogue with someone with expertise there. But taking up an opposed, moral high ground and casting anathemas is also not the way forward. We might recall the panel discussion with Dr. Richie, who helpfully pointed out the cherry-picked bits of science by which pseudo-science (like climate change denial) proceeds. The uncertainty to which Andrew Briggs draws our attention is important to discuss, and paradoxically perhaps, it is through an offered and open discussion of that uncertainty that the skeptics might be attracted into a centre ground where there is something to play for. 

The problem when science is not shared by the experts is that truth becomes, as Andrew Jackson reminds us, ‘what I choose to believe.’ A more honestly shared process by which we come to know things, including the concomitant uncertainties, will, I believe, lead to less pseudo-science and anti-science, not more. Of course, I am not sure about that. But surely it is worth a try?

Psychological and Meditative Consequences

It seems to me that contemplation is often viewed as similar to other states, such as mindfulness and reflection. Does the panel have any thoughts on the difference/similarity between contemplation, mindfulness and reflection? (Roger Bretherton)

The practice of lectio divina is very well known in dealing with the Holy Scripture. Is it possible to develop something analogical in dealing with the Book of Nature? (Frank Velic)

The original Sanskrit word for ‘mindfulness’ is Samyak Smriti — literally ‘complete memory’. Deepanwita Dasgupta

These insights might add some depth to the ‘hidden’ or sub-conscious stages of insight that we discussed above. For the verification of scientific truth there is a (relatively) clear method of approach, but for the deeper process of insight – the creation of fresh scientific ideas about the world in the first place, there is no method. The case of lectio divina to which Frank Velic draws our attention, for example, contains the notion of reading from multiple perspectives. My own experience of science affirms that ‘reading’ nature in just one way is typically insufficient to set create a pathway to insight and new knowledge. Perhaps a more structured practice within science that drew on these traditions would be a way of instantiating the more recognized role of contemplation in science that I am recommending.

Natural Theology of Old and New Kinds

What do you mean by natural theology? (James Fowler)

From proverbs 2:

indeed, if you call out for insight

    and cry aloud for understanding,

and if you look for it as for silver

    and search for it as for hidden treasure,

then you will understand the fear of the LORD

    and find the knowledge of God.

And given the journey of the wise men – following the science (if you will) – bringing them to truth, a person – Jesus. To what extent is there a still a place for scientific truth leading directly to God? (Tim Craggs)

What Prof. McLeish is talking about – trying to see nature through God’s eyes – sounds remarkably like what the ascetic Fathers call ‘natural contemplation’. And the formulation ‘seeing through God’s eyes’ helps explain why such contemplation is seen as requiring a prior transformation in ourselves. An interesting question is the extent to which a scientific engagement with the creation of which we are part can contribute to that process of transformation – perhaps through deepening our awareness of our creaturehood? (Elizabeth Theokritoff)

Do you see it as an anthropological inspiration of the divine or merely seeing God within the confines of what you perceive nature to be? (James Fowler)

What is the methodology of looking with God into to the universe? Theologically, what are the spiritual disciplines of coming into alignment with the referent of God’s gaze into the ever-creative creation as the birthplace of wisdom/understanding? (Kaley Casenhiser)

Kaley Casenhiser asks the key question – so how do we do this? With what spiritual disciplines? Her question makes me think that science itself might be the ‘spiritual discipline’ that we seek, and that the answer is to recognise it as such, at least for those who practice it within a confessional calling. This may seem elitist and abstruse, but that is also, we recall, part of the problem of science currently – that it does not possess a ‘ladder’ of engagement from the lay to the professional. Once that is added back in, then the enjoyment of knowledge of the world becomes a shared spiritual discipline. I think that there are active extensions of this, however. For example, churches are natural local and global agents of ‘creation care’ as a result of scientific knowledge about anthropogenic effects on the planet. Kaley’s own work at the Creation Care Collective is, I think, a very good example (https://creationcarecollective.com/growingtogether/ ).

Kaley’s hint of an ingredient of the answer within her question – the ‘spiritual’ discipline that corresponds to a co-creaturely gaze into nature – suggests another direction, that of the third person of the Trinity. It is not merely that we are created in God’s image that allows us to invest meaning in this aligned, Divine gaze, but that we are ‘temples’ of the same Spirit.[2] This is surely the guarantee for Coleridge’s sanctification of the creative imagination as ‘little I AMs’. The point is made again by Malcolm Guite in contrasting Milton and Virgil in the connection, and disconnection, respectively, that they could claim with the foundational events of the distant past:[3]

For Virgil writing the Aeneid, there is an unbridgeable gap between the urbane Roman poet and the events of the heroic age he is describing. But, when Milton comes to describe the Spirit of God moving over the face of the water in the beginning, he does so in the conviction that the very same Spirit is equally present in his mind.

Science becomes a Spiritual (with a large ‘S’) discipline in this light. Again, perhaps this helps us to see why there is a tradition in confessional scientists, from Copernicus to Faraday, who see doing science as a form of worship.

So, there are two ways in which we must respond to this extremely deep question: first I think is the step of recognition that science is (or can be) the spiritual discipline of being a little I AM. Secondly, we need to let that insight drive a transformationwhat science is, certainly for believers, but beyond us, the communities we affect. There is one, perhaps bold, suggestion that presents itself here which parallels Sarah Coakley’s analogous thinking into a Théologie Totale – a practice of academic theology that is also an act of worship and religious contemplation. Might we explore a ‘Science Totale’, a practice of science, even a methodology, that unashamedly includes practices we would affirm as worship, meditation, contemplation of a devotional nature within scientific work? At the very least, such new modes of approaching scientific reflection might open up new channels of imaginative creativity, in which the deep, even sub-conscious interplay of structures and dynamics of our representations of the world come together in new ways. It would also call on new sources of desire – energies that are necessary to drive all creative processes.[4]

New Atheism

“Popular” science seems to be closely allied to a “new atheism”. Why do you think this is? (Gary Cliffe)

The way I look at it, science is a process; you make observations, and then develop theories — hypotheses if you like — to explain them (the World Around Us).  Facts emerge, but the theories or new hypotheses are a human construct and in a constant state of flux.  God doesn’t enter the process at all. (M E Bailey)

Doesn’t the conversation pantomime between the devout and the atheist need to be transcended? The crushing reality that ensues and the resulting understanding of the ‘nothingness’ that is exposed, this is the ‘something’ so powerful that can give meaning of life. The internal monologue of the struggle with our ‘self’ which characterises so much of the scholarship from Aristotle to Aquinas and to the Enlightenment is not necessary. I’m sure if Jesus was here right now, he would be saying: “You did what? You created what? A Church! No, No, that’s not what I meant !!” As William James stated, a ‘deflation at depth’ is necessary for Humans to ‘get out of the driving seat’, in order to allow an understanding of the concept of ‘there is a power greater than myself’. Discuss. (Andrew Meikle)

I wonder if M. E. Bailey helps to answer Gary Cliffe’s question? He hints at the story, so often constructed in the ‘new atheism’ (as well as the not-so-new to be honest), that the story of science is the story of a dawn-line slowly and inevitably traversing the world, replacing the darkness of ‘religious’ explanations of the world with the light of scientific ones. Among many modern voices, a version of this idea lies behind August Comte’s eras of civilization. Of course, the problem with it is that it can only be supported by processing historical evidence through a cherry-picker already set to its colour and size. It seems to me odd that it is ever claimed that fact of the ability to do science without a practicing belief in God is evidence of God’s non-existence. We don’t claim this for agriculture, medicine, knitting …, after all. The sleight of hand here is to pretend that the ‘facts’ of the world, ‘discovered’ by science amount to all that there is. What we have been affirming at this event is that science, as all human activity is relational. That relations between feeling, loving, fearing, suffering and hoping beings exist, and between them and their material world, and that these relations require healing and care, is itself an observation that, while true, is not a scientific one. It is part of the framing of science. Rowan Williams reminded us that we too often forget what it is to which we choose to pay attention. This is necessary to do science. It is necessary to do everything. But we should not forget that we are doing it, and that we need to pay attention to different things, and different aspects of the same thing, if we are to find the truth. 

Andrew Meikle reminds us correctly that this exercise of taking multiple perspectives onto the world will involve a de-centering of self. This is another reason, in passing, that the Book of Job, is so relevant a foundation-text for the relational discipline that became science. However, I cannot agree that being the Church is not an appropriate response to Jesus. Our church may indeed leave a lot to be desired. But I believe that a radical community in which there is no male nor female, no slave no free, no Jew or Gentile, that sort of radical community which also ‘groans with all of creation’ is to be the church that can effect the changes we have been discussing.

Education

I tried as a middle school science teacher to excite my student’s imagination. For example, I challenged them with the true statement of there only being one simple machine. Based on that information explain why there aren’t eight simple machines instead of the six we are told about. Why isn’t there a greater exposure to hermeneutics in education? (Richard Dube (he, him, his))

How could concepts such as creativity, imagination, joy of science, and their relation to Christian faith (looking WITH God) be combined into a module for teenagers at (UK) Sunday schools or (NL) midweek catechism sessions? (Jaap Den Doelder)

Talking about little leaps, can we have classic texts such as Faraday’s History of the Candle, or Darwin’s Origin of Species as readings on the Humanities side? (Deepanwita Dasgupta)

As an undergraduate scientist, “old science” seems full of poetry (Kekule’s, Loewi, etc) and a marvellously exciting process, while all the new fellows at my college just use machine learning or a set of bought assays! – is there hope for doing this excited poetic science even as technology advances? Google is unweaving the rainbow before we can look! (Ben Norris)

Might the ongoing and growing issue of Climate Change be a significant driver in persuading curriculum designers to move from their domain silos of separate subjects to a model where a range disciplines are in respectful dialogue and bring their expertise to bear on the great existential threat?   (Adrian Brown)

People like the panelists are part of the problem from a student’s point of view – universities use A level & GCSE grades to accept students for their courses.  Also universities want the ‘best’ students! (Martin Bassants)

That experience of sudden ‘insight’ – the coming together of ideas when making connections and discovering congruence – is not exclusively an activity when reasoning across science and religion. Do you agree that what makes it so hard today for children in school – is that this activity of ‘making connections’ is excluded by the setup of the isolated science classroom. If yes – and if schools demand assessment – can we ‘assess’ ability to make connections? (Berry Billingsley)

I think the ladder analogy is really important. Climbing higher involves work and effort from a secure lower step. I have a concern that in science teaching we try to be inclusive by holding it up as ‘easy’ – with perhaps the accumulation of facts being the relatively simple and simplistic way to measure it.  Do we need to get the idea across that you can have ‘fun’ as well as satisfaction from the hard as well as from the trivial. Not just in science, genuine thinking in any subject IS hard as you need both knowledge and imagination (and thanks to Tom poetry!). And also challenging debate! (Chris Hudson)

In addition to what may need to be improved in teaching science in schools and universities (as discussed this evening), what could be done at the other end – eg at seminaries / theological colleges – to improve the conversation and mutual learning between science and theology? (Guido de Graaff)

There are some wonderful examples of fresh, interdisciplinary and radical teaching in these comments and questions that are worth simply sharing with a ‘hooray,’ I think. I do know of some very successful science teaching that uses examples from the history of physics, for example, to teach the physics itself. There is every hope that, alongside a core curriculum of scientific knowledge, there will be room at every stage for an element of exploratory, even ‘playful’ science,  as Chris Hudson suggests, so that pupils will never have experience that would lead them to conclude that ‘science has no room for my imagination.’ Berry Billingsley points to the experience of ‘insight’ that may arise if this is done.

There is also a desperate need to develop post-16 curricula that do not ‘silo’ young people into the strict A-level boxes against which Martin Bassants inveighs. Texts such as Faraday’s candle, or current political issues such as climate change, or the Romantic poetry of the rainbow, are all examples through which humanities-leaning students might be found ways to shape a dialogue of learning with science, and by which science-leaning students might develop a maturity of language, writing and history. 

Christian Practice

Is part of the problem that Christians and many religious people have lost the art of contemplation? For example, Christianity in churches tends to represent God and what it offers as something to gain as if from a distance, rather than as closer to us than we are to ourselves, to half quote Augustine. To put it more epistemologically, Christianity has bought into the modern flip, in which truth is no longer thought to belong to the subjective realm, but the objective. (Mark Vernon)

Can a panelist address the role of discursive reason, or “rational” intellect? In eastern traditions it is often seen as divisive and dissecting. That is, it understands by dividing into component parts. It is not a “clear” seeing but rather heavily conditioned. Quite the opposite of “DIS-covery”. In some sense this suggest that “imagination” is not an activity of the “self” but rather a quieting of the self. A move beyond conditioning into open awareness. The reason I ask is because as a scientist it seems the generation and imagination of hypothesis is too often confused with deep thinking which in turn is often quite the opposite of unconditioned sight. (Carlos Neira)

Especially in evangelical churches, contemplation is rather rare. The nearest opportunity, even permission, we get is corporate worship. In these same churches there is the alarming suspicion of science and the active rise of the tawdry conflict between science and faith, witnessed by the rise of heterodoxy of young-earth creationism. Isn’t this a real and present danger to our Christian faith and witness? What coordinated steps can we take to provide resources to churches that actively include real science in the contemplation of corporate worship? (David Lee)

These comments and observations are so interesting, because they indicate that there is a forgetfulness of contemplation in (at least some) places in the church, as well as in science. As Mark Vernon suggests, this is not unconnected with the pretended dissection of subjective and objective that I tried to talk about in the lecture. Carlos Neira articulates beautifully the ‘in-betweenness’ of contemplation in science that allows the generation of ideas rather than the routine of measurement and checking. Perhaps there are new avenues of prayer and spiritual contemplation that might be fed by the wonder of material contemplation?

Lessons from the History of Science and Technology

Thanks for a great talk. Historians of science are also keen to think about practical science as well as what’s sometimes thought of as ‘pure’ science.  This involves awkward and apparently less spiritual things than Boyle talks about, such as money … I wonder where technology fits into your account, and the practice of thinking/imagining with our hands? (Charlotte Sleigh)

Might I suggest (from my own experience) that Industrial Science (if such a thing is allowed as a definition) provides plenty of cases where awe, wonder leads via creative technology development to results that might encourage the lay public in their faith in science (Jaap Den Doelder)

Question for Tom: why do you think it was possible for early modern people like Newton, Boyle, etc. to transgress disciplinary boundaries (e.g. between theology and natural philosophy), in a way that we are not able to do in our society and universities today? (Pui Ip)

As both the lecture and the response tonight showed, there’s a rich history of thought within the European Christian tradition that we can draw on to reclaim a contemplative, imaginative practice of science. If we aim to cultivate this kind of culture around science in multicultural societies with all kinds of complicated power dynamics at play, don’t we need to cede some of our intellectual ground to thinkers from other traditions which have less of a stark divide between science and contemplation/religion in their recent history?(Jenna Freudenburg)

Religion and science have been so intertwined since the very earliest of days. Religion to understand ourselves and our creator; science to know ourselves in the great scheme of the Almighty.  Why, how and when did religion and science become such “opponents” in the search for “truth”? When did the clear divide of what they are searching for become so blurred? The seemingly dogmatic argument in current times of “it is either science OR religion” ignores many beautiful characteristics of both disciplines.  When will scientists and the public who proclaim every new discovery, by either disproving a former scientific statement or at least proving it not concrete as formerly claimed, as absolute truth come to realise it proves the opposite for the argument of science as the sole custodian of that trophy?  Ignoring the miracles of both leads to a far less enlightened world. (Matt Burrows)

Would you recommend the education of the medieval concepts of virtue ethics, development of habit to graduate students in the hard sciences? This education would include the practice and perfecting of scientific experimentation, interpretation, to the point that there is not only technical mastery and data interpretation, but also to passively let the data inspire us to generate novel scientific paradigms (to be Kuhnian). How would you paraphrase the medieval contemplative terminologies to contemporary science postgrad students?(Arvin Gouw)

John Keats’ concept of ‘negative capability’ which has been given a more recent expression in popular culture thanks to Dust and the heroine Lyra’s use of the alethiometer in Philip Pullman’s His Dark Materials’ trilogy (the irony of bringing these books up in a debate involving theology is not lost on me!) springs immediately to mind as having some possible bearing on the understanding of the contemplative disposition and how it opens us up and connects us to the universe. (Kersten Hall)

Jaap Den Doelder and Charlotte Sleigh come at the question of technology from very different perspectives, and adding the essential historical insight into the entwining of industry and science, it is clear that we need to reform our fragmented notion of ‘pure’ and ‘applied’, just as much as we need to reconfigure and relate ‘science’ and ‘humanities.’ I am not sure that there are fundamental reasons why money, economy and industry should be less ‘spiritual’ than science – we are the inheritors (in the West at least) of centuries of snobbism over the hierarchical structure within which philosophy and industry occupy and upstairs and a downstairs, respectively. That also needs to change.

As Jaap well knows (and he is one of the great industrial scientists who taught me this), that there is every opportunity for healthy two-way flow of ideas in science between industry and academia. In fact, the fundamental piece of science on which we worked together – the relationship between the topological structure of branched polymers and the emergent properties of the viscoelastic fluids that they form – could only formulate its core-questions in the face of observations in an industrial setting. Yet they called on the deepest new imaginative work in statistical mechanics, which repeatedly called on exchange of samples, data, theories between university and industrial laboratories. I am increasingly convinced that we ought to write that story up as a case study in how ‘pure’ and ‘applied’ dissolve! And Charlotte’s point about ‘thinking with our hands’ is so very prescient – and I think might open up new routes into contemplative practice in science and spirituality (I think of the ‘Messy Church’ movement, for example).

Pui Ip’s question is perhaps a little strange given that it is from someone, to someone else, who have both ‘transgressed disciplinary boundaries’ in a way that he declares impossible (I do not claim for myself that I have done it successfully). But perhaps that indicates the answer: there are indeed institutional and cultural barriers to doing this; the rest is simply fear and lack of confidence. We live safely in our disciplinary silos of curricular, research topics, peer-review, professional organization, promotion criteria, journals, and so on. Quite a set of castle walls! But they do have doors in and people can walk through them. The more that do the better.

Jenna Freudenburg’s question turns our gaze not only on history but outside the Christian tradition, and is well taken. There have perhaps been misguided or overinflated attempts in the past to relate, e.g. modern physics to aspects of Eastern mysticism (I am thinking of The Tau of Physics and the like). But there is much more there of richness to absorb more gently. The ‘Ruist’ tradition of China. For example, contains clearer ideas of the embeddedness of human observers of nature in nature itself (the first of my four ‘turns’) than Western tradition, and poetry was always vital in Ruist cosmology.  

At the same (10th and 11th century) time, the great Islamic tradition of science was preparing the critical assessment and development of Aristotle that inspired, of course, the 12th century scientific renaissance in the Latin West. There is much of relevance here to students today, as Arvin Gouw suggests. I might have developed, for example, the insight that emotion and reason go hand-in-hand in working within the liberal arts, including the mathematical arts of the medieval quadrivium (they termed them aspectus and affectus). We need to teach our scientists not to be afraid of the emotional structure within the creative process of their work. And, equally ironically, Philip Pullman has (in Oxford theologian and contemporary of Darwin Aubrey Moore’s words) ‘in the guise of a foe, done the service of a friend’ in bringing a contemplative and poetic alternative framing of science.

Sarah Coakley adds:

 I don’t think we can simply fuse all kinds of ‘contemplation’ into one without some more intricate reflection on what metaphysic and practice(s) attend different versions thereof. There are certainly family resemblances between all sorts of things in this area (secular cognitive therapy, Buddhist mindfulness, attention to ‘school studies’, aesthetic ‘seeing’ of art objects, scientific wonder at the natural world, and so on); but ‘contemplation’ in the classic Christian sense does involve long-term commitment to particular practices of vulnerability and openness to God, including the enduring of inner ‘noise’ and many psychic upheavals, etc., en route to union with God. Above all, the major complication of sin cannot be left out of the Christian account of these matters, since sin – ex hypothesi – affects our senses and perceptions so profoundly. Hence the great interest in early modern science (see Peter Harrison’s work) in whether science itself could overcome these sin problems. 

In short, I don’t think the rhetorical call to ‘contemplation in science’ can, just by itself, overcome the profound issues of sin and blindness that those of us who are religious believe to be hugely problematic; nor can it short-circuit the commitments that much secular science has made to metaphysical adherences that stymie religious belief at the outset. 

Having said that, I profoundly agree with you that learning how to ‘see’ the world in the light of the divine infusion is the great invitation of Christianity, and hugely important to the scientific task too. But I fear there are no short cuts into this – which is why I’m continuing to work intensively on ‘spiritual sensation’ in the tradition and its many and conflicting interpretations. 


[1] Tom McLeish (2019), The Poetry and Music of Science. Oxford: Oxford University Press

[2] I am indebted to Rosie McLeish of Emmanuel College, Cambridge, for this point.

[3] Malcolm Guite (2012) Faith, Hope and Poetry. Oxford: Ashgate

[4] This interplay of desire (and emotion generally) and cognition in all creative process came to the fore in the research for The Poetry and Music of Science, surfacing in its own chapter (6)

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The Remarriage of Reason and Imagination

Image from the Catholic University of America Centre for the Study of Statemanship

Thinking in the modern world is characterised by fragmentation, opposition, split. The ubiquitous Cartesian dualism of mind and body (themselves split off by Descartes from talk about God) is just one of a set of divisions that, over three centuries, have worn themselves so smoothly into the fabric of the modern mind that we take them for granted, as self-evident, normative, obvious. Yet a longer historical, and wider geographical, view of cultural landscapes can put these assumptions into perspective, making it clearer that they are, just that – assumptions that may have served us for a while, but which we must move beyond.

Cover image courtesy of
Alexandra Carr

For once mind and body are dislocated, other dualisms follow. The opposition of subject and object, and of the physical and moral universes (Kant), of poetry and science (early Coleridge), of science and religion (Draper and White) – that emblematic late modern conflict, are all examples. But underneath all these fragmented separations lies, paradoxically, a set of connections. They all stem from a deliberate attempt to sever reason from imagination, and to hide the essentially theological foundation that, ultimately, holds them together.

In this short reflection, I want to uncover some of the reconnections of imagination and reason that lay behind the writing of The Poetry and Music of Science, in the company of just a few of the important thinkers from different centuries who have, perhaps, seen further than others. The high medieval polymaths Robert Grosseteste and St. Bonaventure, The Romantics Samuel Taylor Coleridge and George MacDonald, and the late modern philosopher Mary Midgely and contemporary poet Malcolm Guite will help us unpack the deep structure behind Einstein’s celebrated aphorism

Albert Einstein

Knowledge is limited; Imagination circles the world

The early modern renunciation of imagination as a route to knowledge in a complementary partnership with reason, is perhaps the singular most characteristic shift from medieval and renaissance natural philosophy to early modern science. So we find the collective and successive reinvigoration of sense, natural knowledge, imagination, memory and understanding characteristic of the philosophy of science of the 13th century replaced by an insistence that science should draw from fact and reason alone. At best a move to simplify the task of comprehending the world, but at worst the first step on the road to destroying it, it behoves us urgently now to think again.

Medieval Insight into Imagination

We start during an epoch of sophisticated and energetic free thinking before the multiple fragmentations set in. This is the remarkably creative intellectual world of the 13th century Latin West, invigorated by newly-translated science and philosophy from both Ancient Greece and early-medieval Islamic commentary. Contrast this summary of what we might term ‘theological epistemology’ from the early Franciscan thinker St. Bonaventure’s 1259 Itinerarium Mentis ad Deum (the Mind’s Road to God)

Therefore, according to the six stages of ascension into God, there are six stages of the soul’s powers by which we mount from the depths to the heights, from the external to the internal, from the temporal to the eternal–to wit, sense, imagination, reason, intellect, intelligence, and the apex of the mind, the illumination of conscience (“Synteresis”). These stages are implanted in us by nature, deformed by sin, reformed by grace, to be purged by justice, exercised by knowledge, perfected by wisdom.

with a ‘statute of limitation’ from Thomas Sprat, writing what was essentially the manifesto for the Royal Society in 1667, who urged his readers to:

separate the knowledge of Nature from the colours of Rhetoric, the devices of Fancy or the delightful deceits of Fables.

The first knits the imaginative and reasoning aspects of the mind together in a journey towards understanding, the second insists on a reduction in those faculties chosen as recruits to a knowledge of the world. To the modern mind, Bonaventure seems to be making a purely inner, ‘spiritual’, journey. But this is itself a projection of our modern mindset. For the early Franciscans, a discovery of God would always also entail a discovery of the divine mind, in which lies the conception of the world in all its multilayered physical and material polychromy. So Robert Grosseteste can write a generation before Bonaventure of the journey of the informed imagination beneath the surface of the world in his commentary on Aristotle’s Posterior Analytics:

A 14th century image of Robert Grosseteste as Bishop of Lincoln

Sollertia [the Latin translation of agchinoia, which might also be rendered ‘acumen’], then, is a penetrative power by which the vision of the mind does not rest on the surface of the thing seen, but penetrates it until it reaches a thing naturally linked to itself . In the same way as corporal vision, falling on a coloured object, does not rest there, but penetrates into the internal connectivity and integrity of the coloured object, from which connectivity its colour emerges, and again penetrates this connectivity until it reaches the elementary qualities from which the connectivity proceeds.

Without the ‘penetrative power’ of the ‘vision of the mind’ there can be no conceptualisation of nature’s inner structure. If 21st century science has forgotten this, 13th century science had not.

The advantages of Cartesian division are methodological – a limited focus on experimental method (though that itself is a work of immense theological imagination), hypothesis-testing, clear differentiation of subject and object – got modern science going. But the costs are becoming clearer, for not only are the dehumanising impoverishments of the ‘Two Cultures’ narrative diminishing possibilities in the education of today’s children, and the potentials of the adults they become, but the very framing of science as unimaginative is closing off routes to new discoveries, and placing the social and political framing of science at a dangerously alien distance from most people.

Coleridge and the Source of Imagination

A strong counter-cultural voice at the turn of the 18th to 19th centuries belonged to Samuel Taylor Coleridge. Although it was Coleridge who insisted that the opposite of ‘poetry’ was not ‘prose’, but ‘science’, by this he meant the dreary assembly of fact and mechanism that science had become under the aegis of its national institutions. A closer look at, for example his long collaboration in both poetry and chemistry with Humphrey Davy at the Royal Institution, or his collaboration with William Wordsworth on the Lyrical Ballads with its strong invocation of science as a potential source of poetic song, indicates that he believed that the opposite could be true. At Davy’s invitation, Coleridge lectured on Poetry and the Imagination at the Royal Institution in 1808, in spite of Davy’s clearly mixed view of the poet’s genius which, though possessing ‘exalted genius, enlarged views, sensitive heart and enlarged mind’, still wanted, in the scientist’s opinion, ‘order, precision and regularity.’

Samuel Taylor Coleridge by Peter Vandyke (source: Wikipedia)

Far less well-known than his early poetry, written at the end of the 18th century with its well-deserved reputation, are Coleridge’s writings that spring from theological and philosophical reflection over the first decades of the 19th. His own experience of the creative imagination, fed as it was both by the. science he loved (he read Newton’s Opticks in its entirety), together with a powerful, even shocking, personal revelation through the contemplation of Moses’ encounter with God at the burning bush (Exodus chapter 3). He writes in chapter 13 of his Biographia:

The Primary Imagination I hold to be the living power and primary agent of all creation as a repetition in the finite mind of the eternal act of creation in the infinite I AM.

As Malcolm Guite has pointed out (see below), Coleridge restores the original, and eternal co-existence of subject and object, whose divorce had been codified by Kant, in the theological insight that humans, created in imago Dei are ourselves both created and observed object and living, creating and participating subjects. In a remarkably prescient insight, Coleridge is here writing, not immediately of the imagination that science, or of poetry, requires, of hidden inner structure to nature (that, related, human endeavour is the ‘Secondary Imagination’, but of ‘mere’ sensory perception itself – this is the ‘Primary Imagination’ whose power draws from the projected energies of Creation itself. But once this is understood, the connectivity between the proceeding, and cousinly, secondary imaginations of both science and poetry is laid bare. The greatest of all early modern. astronomers, Johannes Kepler, would have understood – he who contemplated the humble glory of ‘thinking God’s thoughts after Him.’

George MacDonald and the Power of Imagination

The inventor of ‘fantasy literature’, lauded by C.S. Lewis and J.R.R. Tolkien, is himself now not very much read. Yet George MacDonald’s literary production, including fictional works such as Lilith, opened possibilities for the literary creation of worlds than enabled these, and others to call them up into the forms of Narnia and of Middle Earth that have not yet seen an equal. Like Coleridge, MacDonald also wrote in philosophical/theological mode, and unfortunately like the poet, this genre is much less well known than his artistic writing. It is worth quoting a core paragraph from his 1867 essay, The Imagination, its Function and its Culture in full. It starts in an imagined dialogue with a disciple of Thomas Sprat:

Illustration from MacDonald’s The Golden Key

“But the facts of Nature are to be discovered only by observation and experiment.” True. But how does the man of science come to think of his experiments? Does observation reach to the non-present, the possible, the yet unconceived? Even if it showed you the experiments which ought to be made, will observation reveal to you the experiments which might be made? And who can tell of which kind is the one that carries in its bosom the secret of the law you seek? We yield you your facts. The laws we claim for the prophetic imagination. “He hath set the world in man’s heart,” not in his understanding. And the heart must open the door to the understanding. It is the far-seeing imagination which beholds what might be a form of things, and says to the intellect: “Try whether that may not be the form of these things;” which beholds or invents a harmonious relation of parts and operations, and sends the intellect to find out whether that be not the harmonious relation of them—that is, the law of the phenomenon it contemplates. Nay, the poetic relations themselves in the phenomenon may suggest to the imagination the law that rules its scientific life. Yea, more than this: we dare to claim for the true, childlike, humble imagination, such an inward oneness with the laws of the universe that it possesses in itself an insight into the very nature of things.

The unmistakable resonances with Grosseteste’s sanctified gaze beneath the surface of the world, and the insight from Coleridge that we possess ‘the world in man’s heart’ because we are ‘little I AM’s, combine with the juxtaposition of ‘poetic relations’ with ‘the scientific life’. MacDonald continues, ‘to inquire into what God has made is the main function of the imagination … The man has but to light the lamp within the form, his imagination is the light, it is not the form.’ This is as close as I have found in existing writing to the reason I gave for writing about the ‘Poetry of Science’. As some readers have complained, the book does not discuss poetry about science, or inspired by science at all. Rather, poetry becomes the metaphor for science because both shape the power, or ‘light’, of imagination by the creative constraints of ‘form’. In poetry the form is literary, in science simply the form provided by the world as we observe it.

Mary Midgley on Science, Poetry and the Imagination

But perhaps as Coleridge and MacDonald hint, there is a closer connection between science and poetry than the merely metaphorical. The North-East of England’s most visionary 20th century philosopher, Mary Midgley chose Science and Poetry as the title of a book which, although like The Poetry and Music of Science does not discuss much poetry, nevertheless sees the poetry-science nexus as the necessary road to bridging the science and arts, imagination and reason, and recovering freedom from determinism.

In particular, Midgley takes as a theme for the book the ‘dependence of detailed thought on entirely non-detailed visions’. This captures precisely the first stage of the ‘creation narrative’ I described in Poetry and Music of Science, as common in artistic creation as in scientific, in which a distant, defocused, half-conceived vision of a poem, picture, composition, theory, hypothesis, novel … is glimpsed, but without at first either a firm structure or a clear pathway to its realisation. It is the imaginative conception of this apparition, and its generation of the desire to discover it in its fullness and entirety, that Midgley terms ‘poetry’ for the sake of her thesis. She continues:

Mary Midgley

What makes theories persuasive in the first place is some other quality in their vision, something in them which answers to a wider need. There is always an imaginative appeal involved as well as an intellectual thirst for understanding.

Science and Poetry also tackles the related dualism of subject and object, noting that there is a right, but also a wrong way of attempting to unite them. The wrong way is to make something called ‘consciousness’ an isolatable, objective puzzle. In this endless self-referential and circular labyrinth, the subject becomes it’s own solipsistic object:

To suppose that we have a problem about the existence of other minds is to be in trouble already because it is to have started in the wrong place – Descarte’s wrong place. If we once sit down in that place we shall never get rid of the problem (Bertrand Russell, who was wedded to this starting point, never did get rid of it). This approach conceives of minds – or consciousness – unrealistically as self-contained, isolated both from each other and from the world around them. It is terminally solipsistic.

Midgley’s vision bursts the Descartian isolationism that insists on suppressing the essentially relational task of all art and science. The task is a healing of a set of broken relationships to each other and to the natural world itself. As George Steiner put it (in Real Presences):

Only art can go some way towards making accessible, towards waking into some measure of communicability, the shear inhuman otherness of matter.

But art (and of course, pace Steiner, science – for what else could science be doing?) can never hope to do this if its ‘imagination’ is caught in a solipsistic loop of self-reference. It must be, as Steiner writes elsewhere in his weighty little book, ‘a wager on transcendence.’ Imagination’s source, as Coleridge perceived, is outside us, but, as MacDonald clarified, shines though us illuminating the world, and each other’s consciousness, by reflection.

Malcolm Guite and the Epistemology of Imagination

The poet, scholar and priest Malcolm Guite, who has just completed a term as chaplain to Girton College, Cambridge, has written a glorious book on the topic of ‘re-imagining imagination’. Faith, Hope and Poetry; Theology and the Poetic Imagination (Ashgate 2012). His declared task is to reconceive (which amounts to the rousing from a cultural amnesia) the imagination as a route to knowledge in partnership with reason. Guite has no illusion over the magnitude, nor the essential importance, of this task, and articulates supremely well the challenge of centuries of modernist (and pre-modern too) assumptions that confuse (in Coleridge’s terms) ‘imagination’ with mere ‘fancy’, and so debar it from any efficacy in the acquisition of knowledge. The illumination of Christian theology and experience becomes essential to understand both the problem and the task. From Augustine (if perhaps mis-read) to Bacon, reason is supposed less ‘fallen’ less damaged or prone to mis-shapen perversion than ‘imagination’, yet ‘these two ways of knowing are mutually enfolded and depend on one another.’

The key idea, threading its way through the book (which also picks up on Midgley’ writings and above all those of Coleridge) is that:

Malcolm Guite

If part of the Imago Dei is itself our creative imagination then we should expect the action of the Word, indwelling and redeeming fallen humanity, to begin in, and work outward through, the human imagination. If this is so then we should be able to discern the presence of that Word in the works of art which are the fruit of out imagination.

Furthermore, Guite knows that this must be true of science as well:

I want to support [Mary Midgley’s] thesis that the poetic imagination is fully engaged in scientific endeavour and also that poetry is capable of refining and expressing the doubt, as well as the faith, that is part of the dynamic of both science and theology.

Where poetry, science and theology combine is in the perspective or the projection of gaze onto and into the world that I also wrote about in Faith and Wisdom in Science. We look upon the world as an image, and with the same imagination of the gaze of love that is bestowed by its first Creator. Our poetry, finding form for expression, and our science, exploring in the imagination of theory the form of observational constraint, are related acts of ‘waking into some measure of communicability, the shear inhuman otherness of matter.’

Commenting on Coleridge’s celebrated long poem The Ancient Mariner, Guite comments on the moment of redemption when the mariner gazes down at a shoal of writhing water-snakes illuminated by reflected moonlight, and realises their happiness and beauty. ‘It is though by seeing these creatures in moonlight he is given, however briefly, some notion of how God sees them. That idea, that we must learn to look upon nature from a Creator’s perspective, turning that into a creator’s perspective, is a very ancient, and poetic notion.

Job and the Wisdom of Imagination

It is, precisely, in the highest and best of all Hebrew poetry in the Bible that we are presented with the same double and patterned vision of divine and human imaginative gaze onto the natural world. For when Yahweh finally answers Job’s anguished demands for an answer to the uncontrolled and unjust world as it appears to him, the righteous suffering human is taken (in Job chapter 38) on a a questioning exploration of the heavenly, watery and earthly structures of that very cosmos:

When all the angels sang for joy
Job Ch. 38
Illustrated by William Blake

Have you entered the storehouses of the snow? Or have you seen the arsenals of the hail, …

Where is the realm where heat is created, which the sirocco spreads across the earth? Who cuts a channel for the torrent of rain, a path for the thunderbolt? ...

Can you bind the cluster of the Pleiades, or loose Orion’s belt? Can you bring out Mazzaroth in its season, or guide Aldebaran with its train? Do you determine the laws of the heaven? Can you establish its rule upon earth?

These are the questions, sprung from an imagination confronted by the tensions of nature’s order and chaos that require a reconciliation through deep observation and contemplation. The great poem of the ‘Lord’s Answer’ to Job, from which these verses are selected, is a response to many earlier sections of the text. In some ways it responds to the entire sequence of discourses between Job and his friends, for whom natural objects (rocks, plants, trees, stars, milk, winds, floods …) are a continuous source of metaphors for the human condition. It certainly picks up on the references to Genesis in chapter 3 of the book. But its chief precedent is the equally great poem, the ‘Hymn to Wisdom’ of chapter 28. Here the uniquely human potential to explore the hidden structure of the world is portrayed through the underground view of the miner, who sees what no animal eye can see – the jewels, seams of precious metals, and ‘the earth transformed below by fire’. There is a shocking juxtaposition and comparison with the Divine gaze, which at the hymn’s close is revealed:

God understands the way to it
    and he alone knows where it dwells,
 for he views the ends of the earth
    and sees everything under the heavens.
 When he established the force of the wind
    and measured out the waters,
 when he made a decree for the rain
    and a path for the thunderstorm,

For Basil the Great, who wrote the first major commentary on Job that we possess, the attribution of this divine perspective on nature was too much to swallow – he assumed that the opening verses on the subterranean vista was also referring to divine sight. But the Hebrew wisdom verse is clear – the mark of the maker that is to perceive the world by measure is also a vocation to humans mandated to make that world fruitful.

The Theological Energy of Scientific Imagination

If Malcolm Guite is correct when he conjectures that poetry is inextricably God-breathed, and so will display signs of transcendence even at the authorial hands of those who deny the divine, and if it is true that the same energies of imagination and divine perspective are present in the poetic form which we call science, then it ought also to be true that science itself cannot help but signify the transcendence of love, reconciliation, hope and resurrection.

I must insist that this is not a ‘natural theology’ of the 19th century sort advanced by Paley and others. That hopeless and watery fancy that we would perceive God through observing nature, as deducing the existence of a watchmaker from the intricacies of a watch, is as far from this idea as night is from day. More precisely, the adoption of the Creatorly gaze by the human creature possesses arguably an exactly opposite orientation. For, rather than looking through nature to a distant, dim and distorted divinity, we are called to look into the world from the same perspective as God. The closer we are to God, and the more faithfully we look with his gaze, then the less directly we see him. The more our perception and attitude towards nature aligns with that of its Creator, the more we look with, rather than towards, him. So the theological import of science is not that it ‘gives evidence for God’ but that by doing science at all we participate in the mystery of a relationship with the rest of creation that holds together both the transcendence of distance and the imminence of our own materiality.

Artwork from Reverend Ally

The glimpses of eternity and hope that Guite finds in the poetry of those who disavow theistic belief are there for those who have eyes to see at every turn of our science. For what is true of the one imaginative energy, whose source is from the Creator himself, must be true of the other. If both poetry and science ‘wake into some measure of communicability the shear inhuman otherness of matter,’ then both must open pathways to such transcendence both ways. A covenant relationship with the material world (another idea from the poetry of Job) is also a covenant relationship with its Maker. One cannot look upon Le Maitre’s mathematical solution of Einstein’s field equations for the universe as a whole without thinking of Julian of Norwich’s vision of the hazelnut in her cupped hands that was revealed as ‘all that is’.

Electron micrograph of a
self-assembled lipid vesicle.

A moment’s reflection on the theory of self-assembly of biological cells’ lipid membranes, displaying spontaneous order among a sea of thermal chaos that turns out to be necessary to their formation, parallels perfectly the Joban discourse of how apparently chaotic floods are channeled into water-courses, forming their pathways. The apparently threatening inhuman forces of nature that confront us in our immaturity become understood and reconciled when we build the ‘poetic’ forms of a scientific theory of nature to meet them.

Like the Ancient Mariner turning from the initial strangeness and fear of the roiling underwater snakes and finding symbols of healing, we can face the inhuman materiality of the world through the scientific imagination, and turn from its infinite spaces without horror, but with a redeemed reverence and respect, and an understanding that leads us home.

More on ‘The Poetry and Music of Science’ – Contemplative Creativity and Being made in the Image of God

 

Coverpic smallAs I posted last time, one of my great joys is the opportunity to visit sixth-form classes to take a general studies sessions on the history and philosophy of science. I am often impressed by the students’ critical abilities and intelligence, but also wondered why at least some of the really bright ones choose not to study science at this level. Far too often I get answers along the lines of, “I didn’t see any role for my own creativity or imagination.”  At this point I know that something has gone terribly wrong in the message young people are receiving about science – that it is simply a body of ‘facts’ to learn, a set of known questions with right ‘answers’. Yet working scientists know that without imagination there can be no progress in science at all, and that  formulating the right questions, not answers, is the central and critical step in our inspirational calling to ‘re-imagine the universe’.

What seems to have happened is that what I would now call the ‘second half of the scientific method’ – that is the way that we test our ideas when we have had them, has dominated all discussion of the way science is done, so that the first, and more important half has been effectively silenced. There may be no formal ‘method’ for having the ideas or formulating the hypothesis in the first place, but that does not diminish the essential importance of ideation.

I determined to explore where the threads that bind science to the creative imagination had become unraveled. This led to a long journey into its history, philosophy and theology, but I decided to begin simply by asking colleagues to tell me the story behind their most cherished idea or discovery. I didn’t want the polished results and the covered tracks, but the unvarnished truth of how science is actually done, from biophysics to materials science to astronomy. They gave fascinating accounts of curiosity, initial trials, chance encounters repeated frustrations and, in fortunate cases, illuminations that often seemed to come effortlessly, as ‘gifts’, and during moments of rest or mental relaxation.

Eagle Dark matterI felt enabled to reflect more deeply on my own experiences of seeking, and sometimes finding, scientific ideas in the imagination—the macromolecular picture that began as a dance in my mind’s eye; the long-sought structural geometry of a two-phase fluid that came in a dream; the sudden and simultaneous realisation of what a polymer network was doing as a colleague and I glanced at each other and shared the same thought… I also asked the same questions, as a sort of ‘control’ of artists, composers, poets and writers.  Would their stories of creativity differ markedly from those of the scientists? The first remarkable (for me) discovery from those conversations was that, just as the scientists tended to be shy about the inspiration phase of their work, so the artists were a little coy at first about just how much experiment, re-working, encounter with material constraints, they themselves experienced in their own work. I have often hears scientists say of, say, novelists, ‘it’s all very easy for you – you can make your characters do just as you please; we have to get things right!”. Nothing could be further from the truth. It turns out that thinking of creativity as the outward and explosive force of the imagination being met and formed into something true and beautiful by the world’s constraints, is just as true a generalization of science as of art.

The new book, The Poetry and Music of Science, began to take shape – here I write a little more about the story of its writing. I thought at first that it would begin with an account of scientific creation, followed by material from conversations with the artists, composers and writers, motivating a final discussion of the similarities and differences. Yet this structure proved impossible to impose. Dividing scientific and artistic creativity along the ‘Two Cultures’ lines in this way just wasn’t faithful to the experiences I was hearing about, nor to the rare but occasional accounts of creativity in science and the arts, such as the physiologist William Beveridge’s 1950 book The Art of Scientific Investigation, which deliberately echoes novelist Henry James’ earlier The Art of the Novel. Instead, science and art seem to share three imaginative modes, which I have called the visual, the textual and the abstract.

rainbowThe first is the realm of visual art, and of visual conception in science from cosmology to biophysics. Visual thinking is so powerful that it endows us with our normal metaphor for understanding itself – ‘I see!’ Plato thought that vision itself was an ‘extromissive’ process – that visual rays from our eyes alight upon objects and allow us to perceive them. I have come to hesitate before criticizing such old and ‘unscientific’ ideas hastily: modern neuroscience teaches us just how much we create what we think we see. That is after all what ‘Bayesian inference’ means. Seeing is indeed a creative process, and arguably science itself can be defined as an extension of our visual perception. Theoretical science creates internal vision in our ‘mind’s eye’ into the smallest biological cells or out into the processes at the heart of distant galaxies; experiment enhances our vision directly with microscopes and telescopes. There are close parallels between scientific imagination and expressionist art, where the viewer’s plane of focus is perpetually redirected between the two ‘planes’ of the canvas and the world behind it. And much mathematical conception is essential visual.

arabtext2

The second mode of imagination employs words and text, rather than image. The story here begins with the coincident but not coincidental origin of the experimental method and the literary novel. We find Daniel Defoe writing the ‘experiment’ of Robinson Crusoein the same mode as Robert Boyle’s new style of scientific writing, and even claiming that the novel was an authentic record of diarized events. Margaret Cavendish, the great natural philosopher of the late 17thcentury, chooses a novelistic ‘science fiction’ setting – in her Blazing World–to mount her most serious critique of the new ‘experimental philosophy’.  The mutual entanglement of imaginative writing and science continues from Newton and Milton, via Goethe and Humboldt, to Coleridge and Davy. Then in Wordsworth we find an almost prophetic glimpse into two possible futures, one in which science grows to inspire the great poetry of the future, and another in which its structures, powers and beauties fail to achieve a universal cognizance, and so retreats into an exclusive world of the technical and abstruse. Sadly the latter future seems to be the one we have inherited, for now at least.

hscore1

The first page of the printed score of Hayden’s Creation (Novello edn.) – a musical depiction of chaos.

The third imaginative domain is the miracle of the wordless, picture-less worlds of music and mathematics.  At the point at which there are no images and no words left to us, and when we expect a conceptual vacuum, there we find these transcendent wonders. An assumed connection between music and mathematics has become a commonplace, but I do not think we really understand it. The occurrence of numbers in both is really a misleading commonality – the numerical is not the core essence of mathematical structures; nor is it at the centre of musical creativity. The family relationship becomes clearer at the deeper level of harmonic patterns and sequences of music, and at the partially resolved architectures of mathematical reasoning. To discover this requires not only a broad panoramic gaze over the fields, but also deep-dives into the creation of particular examples. Sitting at the feet of scholars in literature, music and mathematics has been one of the most satisfying experiences of the project – one pay-off for example was the privilege of working with Durham musicologist Julian Horton over an analysis of my favourite piece of music, Robert Schumann’s Konzertstück for four horns and orchestra. Not only does this musical glory deserve a published structural analysis, but the epoch of its writing coincides with the fragmentation of disciplines in the 19thcentury that runs parallel with a silencing of conversation on imagination in science.

Detailed examination of the three imaginative modes also uncovered a truth that may be uncomfortable to some: thought and emotion are inseparable in all stories of creativity. In our late modern world we pretend that cognition and rationality can be divorced from the affective currents in our minds. It turns out that David Hume was attuned to this deception – maybe this is one reason that Einstein, so aware of the vital imaginative energies of science, read him with such avidity. But the last era that saw a wide, communicated and nuanced contemplation of creative impulses turns out to be the medieval. Anslem, Grosseteste and Aquinas knew, surely through longer, deeper and more unhurried internal gaze than we habitually permit ourselves, that emotions are not just pinned to the start (desire) and end (joy) of the creative process, but weave their way throughout the stages of conception, trial, retreat, incubation, inspiration, and refinement.

That very structure to the creative process leads to the slow dawning of another realization – that in the human miracle that brings structure and beauty into existence where there was nothing before – there is a great narrative. Christopher Booker is one of those writers who have attempted a categorization of the ‘great plots’ of all human stories. He lists the love story, the great battle of good and evil, the journey home among other ur-stories of literature and experience. But the human story of creation seems to be another, although missed out from such lists. It is the ultimate romantic adventure – all creativity begins with a desire reach a dimly-perceived goal, whether that be a sonnet on a visage or the science of vision. There is surprise on the meeting of unexpected constraints, whether of oil-paint on canvas or of observational data. The frustration and despair at inability to progress is shared by those experiencing writers’ block as much as wrong predictions of an experiment. The resignation of time spent fallow, the moving on to other matters when all seems hopeless, is shared by composers and chemists, but so is the occasional joy when the wonderful and under-researched subconscious creative processes of the human mind throw up solution strategies at the most unexpected moments. I did not expect to have to read my way into the literature of narrative analysis, or of left and right brain lateralization, but it turns out that an account of creativity is impossible without them.

The final surprise for me was the suggestion of a new task – to account for the deeply-felt human purpose in bringing the new into being. There is a teleology in creativity. Here the discipline of theology is unique in brining its critical tools to bear on illuminating the deepest seam of all. The drive to bring order out of chaos, to seek for beauty and understanding where dullness and ignorance lay before, draws on deep roots within our religious traditions. The study of creativity is another way in to seeing that to ask ‘how one reconciles’ science and religion, is profoundly the wrong question. Until the last century or so, the moral and purposive framing of natural discovery has been assisted by the traditions of contemplation and theology. I was led once more to sources such as the incomparable Book of Job, found buried in the central pages of the Old Testament, that contains such jewels as the ‘Hymn to Wisdom’ in which human insight into the deep material structures of the world is compared to the unique vision of the miner into the underground structures of the Earth. The ‘visual mode’ of scientific imagination turns out to possess very old roots. Job links knowledge of the world to the heart of wisdom itself, and the ability of humans to see deeply into the structures of the world as an aspect of sharing in the divine. There is insight here into the Biblical mystery of the Imago Dei – the idea that human beings are in some sense ‘in the image of God’. How this extraordinary idea is to be interpreted has spawned theological debate down the centuries, but one way to think about it that brings the huge potential, yet great responsibility of homo sapiens into focus, is through creativity itself. We, too, create, and so alter and grow the world around us.

Sun Beams Entering CaveThinking about creativity in this way leads to serious consequences for how we teach science at school or share it in public, and for how we train our researchers, even in entirely secular contexts. I  cannot recall a single discussion during my own formation as a scientist of what practices, disciplines, rhythms of work and relaxation, types of reading or directions of thought might encourage that vital visit from the scientific muse. When challenged about this, many colleagues expressed doubt that anything can be said. As traditionally formulated, the scientific method describes only the second phase of the process—testing ideas. There is no method, it is claimed, for having ideas. But this does not imply that there is an absence of any possible advice. We know that innovation rarely emerges from exposure to narrowly conventional thinking. This is why interdisciplinary conversation is so important. Time spent talking across boundaries causes ideas to spark over the highly-charged disciplinary gaps, shocking us into new modes of thinking. Furthermore, those ‘aha’ moments—which more than one scientist has told me are what they live for—never come when the conscious mind is busy. They are the product of the unconscious winnowing of apparently fruitless weeks of labour into fresh thought. They will never come unless we give them the space to do so. Hence the need to alternate hard work with experiencing liminal moments of changing mental space.

It is my great hope that we can move the public history of scientific ideas back onto the track that Wordsworth, Goethe and Humboldt enacted in their own inspirational prose and poetry. To do this we will need to talk more openly about the creative process in science, its groping in darkness as much as its illumination, its contemplative practice as much as its generation of understanding, its way to wisdom as much as its path to knowledge.

 

The Poetry and Music of Science

In this month’s blog, I write about the story of a new book, out in March 2019 with OUP, The Poetry and Music of Science. It follows from one of the consequences of a ‘theology of science’ articulated in Faith and Wisdom in Science – that of the ‘healing of the academy’. If the first is my ‘not a science and religion book’, then this is my ‘not the two-cultures book’. Here is how it happened, once upon a time ….Coverpic small

 

‘I just didn’t see in science any room for my own imagination or creativity.’

Not just on one occasion, but repeatedly have I heard this from young students bright enough to have succeeded at any subject they set their minds to. Yet it doesn’t take an Einstein to observe that without the essential first step, without a creative re-imagining of nature, a conceiving of hypotheses for what might be going on behind the perceived surface of phenomena, there can be no science at all. Einstein did of course have something to say on the matter, in his book with Leopold Infeld:

I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.

Every scientist knows this, but for two centuries we have fallen largely silent about it, preferring instead a narrative about the ‘empirical method’ or, ‘the logic of scientific discovery.’ Science education is full of it, favouring the presentation of results, rather than the human stories of wonder, imagination, failed ideas and those glorious and uninvited moments of illumination that thread through the lives of all who actually do science. Our media mouths the same message – ‘there is no room for imagination in science’ assured the presenter of a TV documentary on computer science, face to camera. No wonder my young colleagues became disillusioned.

If scientists are somewhat shy about their experiences of imagination, then I found that the artists, writers and composers I spoke to needed the same patience (and similarly the occasional drink) to draw them out on their repeated need to experiment. Scraping the paint from the canvas, re-drafting the novel for the tenth time, rescoring the thematic musical material is, as every artist knows, the consequence of the material constraints that creativity meets unanticipated. The artist, too, makes hypotheses about how her material, words or sounds will achieve the goal in mind, however indistinctly conceived. The historically simultaneous birth of the English novel and the experimental method in science turns out to be no coincidence. Without making the naïve claim that art and science are in any sense ‘doing the same thing’, the similarities in the experience of those who work with them are remarkable. They need digging out because they become obscured by scientists shy of talking about imagination and artists about experiment.

physics-schrodinger-s-formula-freezelight-bokeh-schrödinger-equation-quantum-mechanics-99006614The project of listening to anyone who creates, be it with music or mathematics, oil paint or quantum theory, and the creative power of the constraints they encounter, became itself the project of a book. Yet in a strange obedience to the pattern of its material, the originally-imagined plot of The Poetry and Music of Science refused to play out. Juxtaposed catalogues of creation in science and art, followed by an extended ‘contrast and compare’ essay, increasingly failed to do justice to the material. Historical and contemporary sources were telling a very different story about creative imagination, one that did not divide across the worn-out lines of ‘The Two Cultures’. Instead, a pattern of three ‘modes’ of creative expression seemed more faithful.

Visual imagination is, of course, the chief source for the artist, but the same is true for many scientists, from molecular biology to astrophysics. Astronomy is the provider of the original projective perspective. If the observer of a painting is asked to re-create a three-dimensional world from a representation or impression on a two-dimensional canvas, then the task of ‘seeing’ the universe from the picture that we call the sky, bears clear structural resemblance.

A second mode is textual and linguistic. The entanglement between science and the written word in prose or poetry may possess a principle knot at the birth of the novel, as we have already noted, but its story is a much longer one. It also has an ‘alternative history’, envisioned by Wordsworth (and surely Goethe and Humboldt before him) in which

The remotest discoveries of the Chemist, the Botanist, or Mineralogist, will be as proper objects of the Poet’s art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us.

With notable exceptions (such as R S Thomas and occasionally W B Yeats in poetry, and the ever-present fluttering trespass of Vladimir Nabukov’s beloved butterflies from his scientific work into his novels) this early-Romantic vision has sadly yet to be fulfilled, and is surely frustrated by the very desiccated presentation of science with which we began.

Imagination’s third mode appears as both pictures and words fade away. For there, when we might have expected a creative vacuum, we find instead the wonderful and mysterious abstractions of music and of mathematics. This shared space is surely why these two have something in common – it is surely not their superficial sharing in numerical structure that links melody and harmony with mathematical structure, but their representational forms in entire universes of our mental making.

Lion-man-angles-Vergleich-drei-Ganzkörper-Ansichten

The 40000 year old ‘Lion Man’ ivory (Museum of Ulm)

When a journey has taken one to as numinous a place as this, it is but a short step to recognise the need for theological thinking to make sense of it all. The anthropology and cognitive neuroscience of creativity is fascinating, the one taking as to the stone tools of our distant ancestors at the dawn of humanity, the other to the delicate balance between the analytic left hemisphere of our brains and the integrative right. The philosophical tradition is equally rich, discovering, for example Levinas’ suspicion of the ‘visual’ mode for its implied distancing, preferring the ‘musical or auditory’ for its immersion of subject in object. But theology seems to be unique in maintaining possession of the critical tools necessary to tease out the role of purpose in human creativity. Both the artistic and scientific modes of re-imagining nature seem to have been part of what drives humans to be human for as long as the records of those attempts have survived. It is the rich tradition of understanding humans themselves as some form of living ‘image’ – the Imago Dei – that does justice to the experience of deploying creativity to a purpose. George Steiner wrote in his Real Presences:

Only art can go some way towards making accessible, towards waking into some measure of communicability, the sheer inhuman otherness of matter
I could say precisely the same of science.

50 Years Ago Apollo 8 Fulfilled a 2000 Year-Old Dream

File 20181219 45397 1ghvwxz.jpg?ixlib=rb 1.1
NASA

This blog was originally written for and published by TheConversationUK

Half a century of Christmases ago, the NASA space mission Apollo 8 became the first manned craft to leave low Earth orbit, atop the unprecedentedly powerful Saturn V rocket, and head out to circumnavigate another celestial body, making 11 orbits of the moon before its return. The mission is often cast in a supporting role – a sort of warm up for the first moon landing. Yet for me, the voyage of Borman, Lovell and Anders six months before Neil Armstrong’s “small step for a man” will always be the great leap for humankind.

Apollo 8 is the space mission for the humanities, if ever there was one: this was the moment that humanity realised a dream conceived in our cultural imagination over two millennia ago. And like that first imagined journey into space, Apollo 8 also changed our moral perspective on the world forever.

In the first century BC, Roman statesman and philosopher Marcus Tullius Cicero penned a fictional dream attributed to the Roman general Scipio Aemilianus. The soldier is taken up into the sphere of distant stars to gaze back towards the Earth from the furthest reaches of the cosmos:

And as I surveyed them from this point, all the other heavenly bodies appeared to be glorious and wonderful — now the stars were such as we have never seen from this earth; and such was the magnitude of them all as we have never dreamed; and the least of them all was that planet, which farthest from the heavenly sphere and nearest to our earth, was shining with borrowed light, but the spheres of the stars easily surpassed the earth in magnitude — already the earth itself appeared to me so small, that it grieved me to think of our empire, with which we cover but a point, as it were, of its surface.

Earth-centric

Even for those of us who are familiar with the ancient and medieval Earth-centred cosmology, with its concentric celestial spheres of sun, moon, planets and finally the stars wheeling around us in splendid eternal rotation, this comes as a shock. For the diagrams that illustrate pre-modern accounts of cosmology invariably show the Earth occupying a fair fraction of the entire universe.

The geocentric model. Bartolomeu Velho, 1568 (Bibliothèque Nationale, Paris). Wikimedia Commons

Cicero’s text informs us right away that these illustrations are merely schematic, bearing as much relation to the actual imagined scale of the universe as today’s London Tube map does to the real geography of its tunnels. And his Dream of Scipio was by no means an arcane musing lost to history – becoming a major part of the canon for succeeding centuries. The fourth century Roman provincial scholar Macrobius built one of the great and compendious “commentaries” of late antiquity around it, ensuring its place in learning throughout the first millennium AD.

Cicero, and Macrobius after him, make two intrinsically-linked deductions. Today we would say that the first belongs to science, the second to the humanities, but, for ancient writers, knowledge was not so artificially fragmented. In Cicero’s text, Scipio first observes that the Earth recedes from this distance to a small sphere hardly distinguishable from a point. Second, he reflects that what we please to call great power is, on the scale of the cosmos, insignificant. Scipio’s companion remarks:

I see, that you are even now regarding the abode and habitation of mankind. And if this appears to you as insignificant as it really is, you will always look up to these celestial things and you won’t worry about those of men. For what renown among men, or what glory worth the seeking, can you acquire?

The vision of the Earth, hanging small and lowly in the vastness of space, generated an inversion of values for Cicero; a human humility. This also occurred in the case of the three astronauts of Apollo 8.

A change in perspective

There is a vast difference between lunar and Earth orbit – the destination of all earlier space missions. “Space” is not far away. The international space station orbits, as most manned missions, a mere 250 miles above our heads. We could drive that distance in half a day. The Earth fills half the sky from there, as it does for us on the ground.

Apollo 8 crew-members: James Lovell Jr., William Anders, Frank Borman (L-R). NASA

But the moon is 250,000 miles distant. And so Apollo 8, in one firing of the S4B third stage engine to leave Earth orbit, increased the distance from Earth attained by a human being by not one order of magnitude, but three. From the moon, the Earth is a small glistening coin of blue, white and brown in the distant black sky.

So it was that, as their spacecraft emerged from the far side of its satellite, and they saw the Earth slowly rise over the bleak and barren horizon, the crew grabbed all cameras to hand and shot the now iconic “Earthrise” pictures that are arguably the great cultural legacy of the Apollo program. Intoning the first verses from the Book of Genesis as their Christmas message to Earth – “… and the Earth was without form, and void, and darkness was upon the face of the deep…” – was their way of sharing the new questions that this perspective urges. As Lovell put it in an interview this year:

But suddenly, when you get out there and see the Earth as it really is, and when you realise that the Earth is only one of nine planets and it’s a mere speck in the Milky Way galaxy, and it’s lost to oblivion in the universe — I mean, we’re a nothing as far as the universe goes, or even our galaxy. So, you have to say, ‘Gee, how did I get here? Why am I here?’

The 20th century realisation of Scipio’s first century BC vision also energised the early stirrings of the environmental movement. When we have seen the fragility and unique compactness of our home in the universe, we know that we have one duty of care, and just one chance.

Space is the destiny of our imagination, and always has been, but Earth is our precious dwelling place. Cicero’s Dream, as well as its realisation in 1968, remind the world, fresh from the Poland climate talks, that what we do with our dreams today will affect generations to come.

Should a Christian do Science Differently?

FaWis_450Welcome, first of all, to a considerable number of new subscribers to the Faith and Wisdom in Science blog. I hope you find the posts and reports helpful, and do remember that its a blog in order to open up discussion. You can post questions and comments for me and others, although I will moderate to the standards of respectfulness and openness that this adventure is all about.
There are a few other resources on the blog site for those who are new – if you have a copy of Faith and Wisdom in Science then the (increasingly few with each reprint I hope) corrigenda are to be found on the Errata page. There is also a page containing links to media presentations, interviews etc. here.  lettherebescienceAnd don’t forget that if you, or someone you know, perhaps a high school or university student would like, or like to give away, a rather faster read of the message that science is not an obstacle to faith, but a gift from God, and not a threat to the Church but an equipping to a task, then the broader readership Let There Be Science co-written with school physics teacher Dave Hutchings is a great introduction.

 

Over the Easter break I had the fascinating experience of (1) speaking at the UK Christian festival Word Alive in Prestatyn, North Wales (of which a future blog when the materials are online) and also attending this year’s meeting of the European Society for the Study of Science and Theology (ESSSAT) in Lyon, France. Both in their different ways were challenging and interesting and full of people with good ideas and questions. The Lyon meeting was entitled Nature and Beyond: Immanence and Transcendence in Science and ReligionBut at both, very different, settings, the question, ‘What Difference does it make?’ was weaving throughout the discussions.

Of the very large topic of the ESSSAT title, the session that I spoke in was concerned with ‘Methodological Naturalism’ (MN) – that is the actual methods that scientists use to do science, the experiments, theories, hypothesis-testing, invocation of physical and chemical laws and so on. As first formulated formally by Medieval theologian Thomas Aquinas, the observation is that when we do science, we investigate nature on its own terms. Belief in God, in other words, is not necessary, nor impinges on the tools we use to find out about nature. ‘Methodological’ means ‘to do with tools and method’ and ‘naturalism’ means ‘on nature’s own terms’, or if you like, omitted explicit requirement of belief in, or actions of, God.

The first thing to be clear is that Methodological Naturalism is very different from ‘Metaphysical Naturalism’ – this is the entire worldview that omits the divine. But in spite of this, some Christians have expressed discomfort that MN works, and that Christians can somehow ‘forget about God’ in the function of science. One such is Andrew Torrence of St. Andrews University, who has recently written a paper about it, Should a Christian Adopt Methodological Naturalism in the journal Zygon.

I addressed the question in my talk at Lyon (and there will be a full paper later in the year), and others have written a reply for the journal itself, but there are a few very important things to say about this.

The first is about common grace – God gives gifts of tools for all sorts of reasons: gardening, medicine, cooking, teaching, singing, woodwork,… in an important way the scientific toolkit of method belongs to this set.  Everyone gets given this! (in principle – we need to learn and practice!). So to look for a special toolkit in science for Christians is like looking for a special way to bake a cake.

The second is to do with the three-way relationship between God the Creator, the natural creation, and ourselves. Since the articulation of the commission in Genesis 3 to make nature fruitful ‘by the sweat of our brow’ it has been understood that the work of gaining knowledge of nature as part of the work of healing our broken relationship with it, and that the way that nature works, has, like our own natures, a freedom to it, to explore possibility of structure and development, that does not require the moment by moment disruption by God.  Our calling as scientists is to look into nature with the same love and interest as its Creator, and doing that is part of our obedience.

Thirdly, MN does not exclude the possibility of miracles. Science is as able to detect anomalies as well as it detects regularities, but leaves it as that.  Reporting them is what science does, explaining them beyond science is, by definition NOT what science does.

Fourthly,  the relationship between the human and the natural world needs to be understood within the tradition of wisdom. This is the source of healthy relationship-building. It goes well beyond the, somewhat flawed, ‘two books’ analogy of reading nature as a second revelation, and becomes what theologian Eleanor Stump calls a ‘second person’ narrative (see short paper in appendix below).

But finally, Christian calling makes ALL the difference in doing science, as in doing anything. The reasons we do it, the way we interact with others in its performance, the choice of tasks to undertake, the very creative inspiration in the science we do – – all this and more can and does draw on a life of prayer, learning, worship and theological understanding. The toolkit is just the beginning.

 

For those who would like to read a little more deeply there follows, as an appendix, the 4-page ‘long abstract’ paper for the ESSSAT conference.

Appendix:

Methodological Naturalism but Teleological Transcendence: Science as Second Person Narrative

A metaphorical story of reading has dominated the theological framing of science, or more properly natural philosophy, since the high Medieval period.  It is the dual narrative of the Two Books: that of a twin revelation though the Book of Scripture and the Book of Nature. The 12thcentury scholar Hugh of St Victor in his compendium, the Didiscalion, wrote,[1]

This wholw world is like a book written by the finger of God …’,

Reading the two books became a dominant metaphor for the application of human sense, reflection, and insight into nature. It surfaces in Grosseteste in the 13thcentury, notably in Galileo in the early 17th, and especially in the ‘hermeneutical stance’ of early modern science. An example is found in Boyle’s advocacy of the early form of ‘citizen science’ known as Occasional Meditation. He writes[2]

The World is a Great Book, not so much of Nature as of the God of Nature, … crowded with instructive Lessons, if we had but the Skill, and would take the Pains, to extract and pick the out: the Creatures are the true Aegyptian Hieroglyphicks, that under the rude form of Birds, and Beasts etc. conceal the mysterious secrets of Knowledge and of Piety.’

The metaphor finds its flourishing in the natural theology of Paley and the authors of the Bridgewater Treatises. To deduce a personal creative agent of interventionist design in the structure of a biological lensed eye is precisely to read and interpret the text of the Second Book in terms of its author. The narrative of the Two Books is compelling for aesthetic, cultural and theological reasons. The parallel growth of literacy and science in Europe from the medieval period onwards, the emergence of printing, widespread education, and the new forms of writing and publication that accompany early modern science, render it almost irresistible. But we now know that simplistic adherence to the metaphorical reading of the Book of Nature as a conceptual framing for science generates a set of irresolvable problems at its nexus with theology.

The first is the structural flaw in natural theology that became increasingly visible during the nineteenth century, and was exposed in the greatest clarity by the ascent of the theory of evolution by natural selection. The passivity of written text fails to follow faithfully the emergent explorative potential of the tree of life. A written word implies an immediate and proximal author, yet an evolved species, perfectly accommodated to its environmental niche, did not require a pen to inscribe it there.

The second implication of the metaphor of the book is that its readers may deduce the character and purpose of its author through sophisticated levels of reading. Nature becomes a veiled or coded message from, and concerning, its Author. So if the Sacred Page can say of itself, [3]

In reading this, then, you will be able to understand my insight into the mystery of Christ, which was not made known to people in other generations as I has now been revealed by the Spirit to God’s holy apostles and prophets.

then nature also becomes a once-veiled but increasingly transparent mode of insight into the person and nature of God. In the developed form of reading nature that became Natural Theology, we look throughnature towards a vision of its Creator. Attractive though such neo-oracular, albeit Christianised, interpretation of how to read nature might be, it runs rapidly into the thicket of theodicy – what must we deduce, in this mode, about the creator of catastrophes and carnivores?

A third issue, delayed until it appears on the beach of the late-modern period as the tide of near-universal theism retreated, is a problematizing of scientific method. If the effective practice of science is unaffected by any personal stance of belief, and if both its methods and conclusions align with a material metaphysics, namely the set of practices and assumptions termed ‘methodological naturalism’,[4]what value theistic belief and practice? The adoption of methodological naturalism has sat uncomfortably with some believers, and some theologians,[5]because its deployment of method that ostensibly ignores the divine seems to imply irrelevance of a position of faith.  Attempts to reintroduce particular differences in scientific methodology with a theistic philosophy run into insuperable problems at the experiential and epistemological levels.

The impasse at all three of these levels can be traced to the progressive narrowing of a philosophy of science to epistemology, ontology and methodology – the very categories that would be employed in literary criticism (of reading), ignoring another essential human category of teleology. The gradual silencing of the category of purpose from academic discourse is itself a potential source of its marginalisation, and plays to the pretence of a human viewpoint onto nature abstracted from it, rather than embedded.

Within Christian theology it has become necessary to look for another narrative metaphor, that more faithfully frames the relational aspect of the human condition to the natural world, accounts for the success of methodological naturalism within a theodicy, and places science within a coherent setting in relation to the narrative of creation-fall-election-incarnation-resurrection-new-creation. In particular, its relational content must be at the same time faithful to our experience of nature, and to the theological story with which we make sense of our human condition. In complementary terms, late-modern discourse has tended to categorise narratives about nature as ‘third person’. In her magisterial reworking of theodicy by example, Eleanore Stump[6]points out that much Biblical narrative is inherently ‘second person’, however, and that the category-error of forcing ‘third person’ structure onto it leads to artificial hermeneutical problems, rather like the three we have identified in the ‘Book of Nature’ approach to science.  A vital case in point is found in the Book of Job, which adopts not only a second-person approach to theodicy, and to the relationship between God and humans (through the example of Job himself), but also introduces a second-person approach to the relationship between humans and the natural creation.[7]In support of the claim that, within the Biblical Wisdom tradition, the Book of Jobconstitutes the best Biblical starting point for a narratology of the human relationship of the mind with physical creation, let us read from the point at which God finally speaks to Job (after 37 chapters of silence) in chapter 38:4-7:[8]

Where were you when I founded the earth?

Tell me, if you have insight.

Who fixed its dimensions? Surely you know!

Who stretched the measuring cord across it?

Into what were its bases sunk,

or who set its capstone, when the stars of the morning rejoiced together,

and all the sons of God shouted for joy?

 

The writer delineates a beautiful development of the core creation narrative in Hebrew wisdom poetry (a form found in Psalms, Proverbs and some Prophets that speaks of creation through ‘ordering’, ‘bounding’ and ‘setting foundations’[9]), but now in the relentless urgency of the question-form, throughout its history the imaginative core of scientific innovation. The subject matter of the poetic question-catalogue moves through meteorology, astronomy, zoology, finishing with a celebrated ‘de-centralising’ text that places humans at the periphery of the world, looking on in wonder at its centre-pieces, the great beasts Behemoth and Leviathan. This is an ancient recognition of the unpredictable aspects of the world: the whirlwind, the earthquake, the flood, unknown great beasts.

Long recognised, as a masterpiece of ancient literature, the Book of Job has attracted and perplexed scholars in equal measures for centuries, and is still a vibrant field of study right up to the present day. David Clines, to whom we owe the translation employed here, calls the Job ‘the most intense book theologically and intellectually of the Old Testament’[10]. Job has inspired commentators across vistas of centuries and philosophies, from Basil the Great, to Kant, to Levinas. Philosopher Susan Neiman has recently argued the case that the Book Job constitutes, alongside Plato, a necessary source-text for the foundation of philosophy itself.[11]

However, although readers of the text have long recognised that the cosmological motif within Job is striking and important, it has not received as much comprehensive attention as the legal, moral, and theological strands in the book, albeit with a few notable exceptions.[12]Arguably the identification of a direct link of the subject matter of Job to the human capacity for natural philosophy goes back at least as far as Aquinas, who refers at several points to Aristotle’s Physicsin his extensive commentary on the wisdom book,[13]  but these connections are rare in preference to metaphorical readings. This de-emphasising of cosmology might partly explain why Job 38, from which we have taken the extracts above, known as ‘The Lord’s Answer’ has had such a problematic history of reception and interpretation. Does it really answer Job’s two questions about his own innocence and the meaninglessness of his suffering? Does the ‘Lord’ of the creation hymns correspond to the creator Yahweh of the Psalms, the Pentateuch and the Prophets? Does the text even belong to the rest of the book as originally conceived? Some scholars have found the Lord’s Answer to Job spiteful, a petulant put-down that misses the point and avoids the tough questions.[14]But are these interpretations justified? Even looking at the text through the fresh lens of science today resonates with the difficultyof questioning nature, even its painfulness, as well as its wonder––that is how scientists respond at a first reading time and again.

To begin to answer, at a textual level, the charge that the ‘Lord’s Answer’ isn’t an answer, we need to observe that the intense nature imagery of the Book is by no means confined to Yahweh’s voice. On the contrary––nature imagery is employed from the very outset of the prologue, and throughout the disputations between Job and his friends. Indeed, every theme picked up in the Lord’s Answerhas already appeared in the cycles of dialogue between Job and his friends. The entire book is structured around the theme of wild nature. There is, furthermore, an ordered pattern in the realms of creation explored predominantly in the three cycles of speeches, moving from inanimate, to living then cosmological nature, as the tension between Job and his friends reaches its crescendo of personal invective in the third cycle.

Between the speech-cycles and the Lord’s Answer is a third vital strand of material. For the question to which chapter 38 is the answer, is found in the equally magisterial ‘Hymn to Wisdom’ of chapter 28, which begins with a remarkable metaphor for human perspicuity into the structure of the world – that of the miner underground:

Surely there is a mine for silver, and a place where gold is refined.

Iron is taken from the soil, rock that will be poured out as copper.

An end is put to darkness, and to the furthest bound they seek the ore in gloom and deep darkness.

A foreign race cuts the shafts; forgotten by travellers, far away from humans they dangle and sway.

That earth from which food comes forth is underneath changed as if by fire.

Its rocks are the source of lapis, with its flecks of gold.

The subterranean world takes us completely by surprise – why did either an original author or a later compiler suppose that the next step to take in the book was down a mineshaft? Reading on,

There is a path no bird of prey knows, unseen by the eye of falcons.

The proud beasts have not trodden it, no lion has prowled it …

There is something uniquely human about the way we fashion our relationship to the physical world. Only human eyes can seethe material world from the new viewpoint of its interior. It is an enhanced sight that asks questions, that directs further exploration, that wonders. The conclusion of the hymn points to the shocking parallel of the human wisdom of the miner, and the divine wisdom of the Creator (28v23):

But God understands the way to it; it is he who knows its place.

For he looked to the ends of the earth, and beheld everything under the heavens,

So as to assign a weight to the wind, and determine the waters by measure,

when he made a decree for the rain and a path for the thunderbolt –

then he saw and appraised it, established it and fathomed it.

 

It is by no means true that the hymn concludes that wisdom has nothing to do with the created world, for the reason that God knows where to find it is precisely because he ‘looked to the ends of the earth, …, established it and fathomed it’. It is, as for the underground miners, a very special sort of looking – involving number (in an impressive leap of the imagination in which we assign a value to the force of the wind) and physical law (in the controlled paths of rain and lightning). This is an extraordinary claim: that wisdom is to be found in participating with a deep understanding of the world, its structure and dynamics.

A reading of the entire book reveals that it continually navigates possible relationships between the human and the material, throughout the cycles of speeches, the Hymn to Wisdom and the Lord’s Answer.[15]From ‘nature as eternal mystery’ to ‘nature as moral arbiter’, alternatives are rejected, until the Hymn to Wisdom itself points to a new notion of relationship. This new voice hints at a balance between order and chaos rather than a domination of either. It inspires bold ideas such as a covenant between humans and the stones, thinks through the provenance of rainclouds, observes the structure of the mountains from below, wonders at the weightless suspension of the earth itself. It sees humankind’s exploration of nature as inImago Dei, and a participation in Wisdom herself.

The story of search for wisdom through the perceptive, renewed and reconciliatory relationship with nature, begins to look like a potential source for a new theological narrative of nature in our own times. It is rooted in creation and covenant, rather than Aristotelian tradition; it recognises reasons to despair, but undercuts them with hope; it points away from stagnation to a future of greater knowledge, understanding and healing – it is centrally teleological. Furthermore, it offers a stark opposition to the stance of natural theology.  Rather than looking into nature in the hope of perceiving God, we look with the Creator into creation, participating in his gaze, his love, and his co-creative ability to engage in nature’s future with responsibility and wisdom.  The applicability of methodological naturalism is unproblematic because it is God’s gift of sight, as creative chaos  becomes the gift to nature of freedom in possibility.

[1]Hugh of St. Victor Didascalicon (Book 7)

[2]The Works of the Honorable Robert Boyle, Vol. I, New Experiments Physico-Mechanical Touching the Spring of the Air, p.16 A new edition (1772) London: W. Johnson et al.

[3]Ephesians 3vv. 4,5 (NIV)

[4]See e.g. Joseph B. O. Okello (2015) A History and Critique of Methodological NaturalismEugene, Oregon: Wipf and Stock.

[5]Alvin Plantinga (1997) Philosophical Analysis Origins & Design18:1

[6]Eleanor Stump, Wandering in DarknessOxford: OUP (2010)

[7]Tom McLeish, Faith and Wisdom in Science, Oxford: OUP (2014)

[8]We take quotations of the text from the magisterial new translation and commentary by David Clines, Thomas Nelson pubs., Nelson, Vol. 3 (2011).

[9]W. H., Brown, The Seven Pillars of Creation, (Oxford: Oxford University Press 2010).

[10]David J.A. Clines, Job 1-20 (Dallas: Word Books, 1989), Introduction.

[11]See her article, ‘The Rationality of the World: A Philosophical Reading of the Book of Job, http://www.abc.net.au/religion/articles/2016/10/19/4559097.htm (date accessed: 7/12/2016).

[12]N.C. Habel, The Book of Job,(SCM Press 1985)

[13]Thomas Aquinas Expositio super Iob ad litteram, translated by Brian Mulladay and available on the web here: http://dhspriory.org/thomas/SSJob.htm#382

[14]David Robertson, “The Book of Job: A Literary Study,” in Soundings, 56 (1973) 446-68.

[15]McLeish op. cit.

 

 

 

The Book of Job and Science come alive on Stage!

Faith-In-The-Questions-poster-423x600Imagine the long river of longing, questioning, pain and triumph, that starts from the pen of the long lost author of the Book of Job, and flows to the present day, when human desire to see deeply into the structure of nature takes the form of ‘science’.  Both of the great wisdom poems in Job, the ‘Hymn to Wisdom’ of chapter 28 and the ‘Lord’s Answer’ of chapters 38-42 describe reaching out into the cosmos, and deep down into the structure of the Earth with the insight and imagination of mind and eye.  They also grasp the nettle of pain, of the frustration of incomprehension, especially in the face of the chaotic, the unpredictable, the seemingly purposeless.  This is also why science is also so very deeply human – all of life, hope and creativity is there.

Job on stage

Justin Butcher plays Job

Now imagine these two visions – the ancient poetic figure of Job, and that of a modern scientist facing the challenges of the unknown – brought into the same focus, the old longing to understand meeting the severe challenges of physics, mathematics and nature.  Job and his friends circle around each other, around the unanswered questions, and on a stage that circles itself amid a cosmic backdrop of the universe he longs to comprehend, including its chaotic and threatening aspects.

 

Job and friends 2

Job rails against his comforters

 

 

It was brilliant.  It worked. Job as scientist, Christian, and sufferer, right but also self-righteous.  Felix’ articulation of view of those for whom science is a threat, an inhuman desiccated exercise of the mind that dries up emotion and aesthetic.  And it sparked off wonderful questions and discussion for the panel of four scientists who are also Christians each evening.

Personally, working with Riding Lights and Nigel Forde has been inspiring.  To see some of the themes (and even some of the lines!) of Faith and Wisdom in Science woven into a vibrant dialogue between a modern day Job and his friends, has been a wondrous experience.

It left us all wanting to do more, to help the church embrace science as a gift of God, to support scientists in their calling, to appreciate the interplay of science and art in being human for everyone, to participate in the great work of healing our relationship with nature.

Look out for it later this year or next on a national tour!

Re-embedding Science in the Human

logo-zwart-poThis title was the one given to me by my hosts in Maastricht this week for the Brightlands Campus spring Science Lecture.  The experience was  rich and fascinating one.

I have been fascinated for many years by the effectiveness of deep collaborations between industrial and university scientists, and have tried several experiments along those lines myself.  For ten years I and a team of physicists, chemists, engineers, mathematicians and computer scientists from six UK universities worked with our industrial counterparts in six global companies in a giant project to elucidate and innovate with the molecular rules that govern the connection between molecular structure of polymers and the flow of their melts.  A number of us currently run an industry-university PhD training centre in ‘Soft Matter and Functional Interfaces’ between the universities of Durham, Leeds and Edinburgh, and 24 companies in polymers, coatings, food and personal care.Print

The point here is emphatically not the usual ‘application of research’, or ‘public benefit of science’ stories.  Told and retold by government departments to justify science spending, these Sheherezade-like tales that are needed every day to keep science funding from being cut-off I have criticized as part of the cultural lack of understanding around science today, in Faith and Wisdom in Science.  No, the truth is that more intellectual traffic flows from industrial screen-shot-2016-01-22-at-8-22-45-amscience into academic in a healthy collaboration – for the industrial research digs deeper than a disconnected academic lab would do, driven by business need into the rich loam of the world’s material complexity. And here new phenomena are discovered. This has been my experience for 30 years of doing science.  The most satisfying fundamental pieces of science that I have bee involved with have all arisen from long-term industrial collaborations.

But the Maastricht folk have taken this to a new level and invested in a shared site – labs, computers, pilot-plants, … academic and industrial groups from several businesses sharing the same campus.  I was impressed!  Even more so that 3 or 4 times a year everyone is encouraged to come to hear an afternoon of two lectures.  One is from an early-career scientist from university or industry, the other from a more experienced scientists.  Topics are of general interest but usually scientific, so I was surprised and delighted when Brightlands asked me to talk on what is really a secular version of my thesis in Faith and Wisdom.

lettherebescienceThe point is that if science is to become recognised as a public and human good in a way that goes beyond the instrumental or the monster, to take two of the poles that Dave Hutchings and I describe in the new Let There Be Science, then the science-religion question needs to be defined anyway.  For it is the theological tradition that leads to a rediscovery of the human purpose for science, and its human value in reconciling our precarious condition in the world.

Question time was fascinating – and one young scientist asked if I were able to stay for the Dutch March for Science – an international event, or series of events, taking place yesterday to appeal for the central importance of science in the face of its political marginalisation, especially in the USA. March for_sciencedcIt’s a good point – science will become truly valued when the science community create other ways in to enjoy and contemplate science, as well as urging its vital role in establishing truth, and good policy.

 

I also sold out of an entire suitcase supply of both books!

Rather looking forward to going back there again next year, which I think is the plan.

Shakespeare and the Scientific Imagination

What fun it is to roll up the sleeves, make for the Forest of Arden, and join the dance this weekend in celebration of the life of England’s greatest writer, and the greatest writer of English.  All are welcome, and the marvellous universality and plasticity of Shakespeare’s thought and language mean that story, politics, dance, war, love, music – all life, all perspectives play out and discover themselves in the living plays and poems of the Bard.

So what about science? The Guardian’s weekly podcast has invited scholars to unpack the psychology of hallucinations in Macbeth, the meteorology of tempests in – well – of course, The Tempest and the rhetoric of crowd control in Julius Caesar.  But what of science itself?  Does the deepest drawer from the well of English language pour out for us any metaphor, any narrative that might help us grasp what this extraordinary empowering is – that we are able, with our eyes and minds, to comprehend nature inwardly as well as outwardly?

 

Sir_Joseph_Noel_Paton_-_The_Quarrel_of_Oberon_and_Titania_-_Google_Art_Project_2

Sir Joseph Noel Paton’s The Quarrel of Oberon and Titania; Scottish National Gallery

 

Of course he does; but we need to read carefully – not all writing about ‘science’, perhaps even the majority of it, owns the name.  For ‘science’ is a new term for a long human story that is far better referred to by its older name ‘natural philosophy’ – ‘the love of wisdom to do with nature’.  The long case for this long story is what Faith and Wisdom in Science is all about.  It tells a tale of purpose too, of a broken relationship with nature, characterised by ignorance and harm gradually, by a labour of love, receiving healing through knowledge and wisdom.  A ‘sheer inhuman otherness’ of nature, identified in the 20th century by thinkers like Steiner and Arendt is gently rendered ‘commensurable’, one might say ‘imaginable’.  Steiner writes that this is the role of art, but it answers perfectly the question of what science is for.

So let us hear Theseus in A Midsummer Night’s Dream expand on the poet’s work, in his ostensible brush-off of lunatic, lover and poet in one apparently dismissive wave of the hand (Act V Scene I):

The poet’s eye, in fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.

Shakespeare’s ‘poet’ gazes over the entire universe, and in the pattern of the natural science texts from antiquity and the early medieval centuries from the genre De Rerum Natura (Lucretius, Pliny, Isidore of Seville, Bede) starts with the heavens and encompasses all as it falls earthward.  The universe is full of ‘the forms of things unknown’, but the poet give them form – a form that allows their image to dwell with humans.  It is a sort of incarnation – the heavenly and unknown ‘dwells among us’ in its local habitation.  Above all, the nameless is given a name, so that we can know it, refer to it, describe its relations, powers and inner nature.  For Shakespeare, the poet’s task is identical to that of science.

Perhaps that is why Wordsworth (in his preface to Lyrical Ballards) juxtaposed the poet and the scientist, declaring both to be seekers of truth, and predicting that the poet would inspire and light up the new findings of the scientist in ways that would stir the human soul.  Here he is in transcendent mood on the statue of Newton:

… with his prism and silent face

The marble index of a mind for ever

Voyaging through strange seas of thought, alone.

‘Giving to airy nothing a local habitation and a name’ is a wonderfully rich description of what science does, why it is so deeply human, and why it can stir in us an aesthetic as rich as poetry or music.  Vitally, it also draws on the same aesthetic to power its difficult search for words, names, forms that represent, that re-create, the universe around us.  The Dirac field of electrons is a local (mathematical) habitation in our minds in which electrons can receive a name.  The LIGO experiment and its interpretation in terms of the gravitational waves emitted from merging black holes is our imagination bodying forth, and returning with a form of the wildest ‘thing unknown’ we have yet imagined.

A Christian Voice to the question, ‘What is Science For?’

BBC Radio 4 once nearly caused me a nasty road accident. I had foolishly believed that a drive along the A1M might be safely accompanied by the last of a series of panel discussions on ‘Culture in our Times’ (very ‘radio 4’). All very worthy and improving it was too as I recall – until the last few seconds of the programme when the chair cut in with something like, “Do you think that it’s strange that we’ve been debating ‘culture’ for 6 weeks now and haven’t once talked about science?”. One of the panellists came back immediately with: “Oh no! No – we wouldn’t want to be talking about anything as anoraksic as science in a discussion of culture.” This was of course the point at which I nearly lost control of the car …

It so saddens me – what we have done with science: put it in a little box with ‘geeky’ and ‘weird’, and filtered it for

Why is Science not more like Music?

Why is Science not more like Music?

public consumption in a way that no-one can see the art, the imagination, the love, despair, beauty in it – unless they have gone through years of special training. It stuck me recently that if we had done with music what we have done with science, no-one would ever go to hear a real live jazz quintet, or a symphony orchestra, or an opera. They would happen of course – but only in laboratory conditions away from untrained public ears. We might get the tune hummed to us the next morning on Radio 4’s ‘Today’ programme and a slightly condescending interview by John Timpson with a conductor or bass player, but the idea that ordinary people might appreciate the difficulties of live harmony and counterpoint would be ridiculous; except of course, that we can – because music is at the heart of being human, whether we just enjoy listening, or can play the Brahms violin concerto from memory.

The 60’s social critique Jacques Barzun once wrote ‘Science with us is not with us an object of contemplation’, and he was right. But it could be. As a lover of creativity and art as well as a scientist I have long felt, long known that science belongs in that ‘basket’ of activities that make us human, where we also find story-telling, song, painting, sculpture, dance, poetry, philosophy, language, … All of these are ‘with us’ ‘objects of contemplation’. You might say that they all have their own human stories – their own ‘social narratives’.

But right now science doesn’t have a social narrative that ties it to the deeply human and creative – the very idea to some here will sound ridiculous – but this strange divorce has many harmful consequences from which I just want to pick out three – in politics, in education and in religion (so two out of three taboo topics – I’m working on making it three out of three with sex as well but you’ll have to stay tuned for that)

nuclearThis first is in the area of science and technology-based policy and its discussion in the public area. Have you noticed that we don’t seem to be able to carry on an adult conversation about this in public and in the press? I’m talking about fracking, climate change and global warming, genetic modification, nuclear power, nanotechnology – we might call them the ‘troubled technologies’. Rather than a reasoned debate on of whether and how to take these things forward, people tend to retrench to their initial positions and lob opinions over the parapet. The politics of conflict, usually fuelled by an intransigent ignorance on all parts, takes the place of informed engagement and convergence. Some of my Durham University colleagues in the faculty of social science have been interested in this phenomenon for a long time, and I was fascinated by their careful research, teasing out the hidden narrative structure of some of these debates. In a large project analysing the fraught Europe-wide discussion of potential nanotechnologies, for example, they found that behind and underneath a conversation ostensibly about appraising risk and benefit lay five unseen narratives:

  1. Be careful what you wish for
  2. Don’t open Pandora’s Box
  3. Don’t meddle with sacred Nature
  4. They will keep us in the dark
  5. The rich will get richer and the poor will get poorer.

Philosopher Jean-Pierre DuPuy calls these ‘narratives of despair’: desire, evil, the sacred, alienation and exploitation. It’s not that science doesn’t have a social narrative – it has actually accrued many contradictory and dark narratives such as these – and all the more powerful and damaging for being silent ones. Like sharks circling under the surface on which the public discussion swims, they control the debate by their fear-inducing presence, without having to surface themselves. Did you notice one thing about them? The ancient ones are all pagan, the modern all grimly secular.

Education. I love to visit schools, especially sixth forms – I sometimes go to their general studies sessions to talk about art and science, or science and faith or something like that. And as in all teaching it quickly becomes apparent by the looks in their eyes who the very bright ones are who are engaging critically with every idea, and who I’m having to work a bit harder for … At some point I like to ask those who did not choose to follow science subjects why they didn’t. The struggling ones sometimes say that they found it too difficult, or weren’t ‘good at it’. That’s itself a sad thing – rather than allow a young person to find an appropriate way of engaging with one of the most astonishing of human accomplishments, we manage to engender a belief that they aren’t good enough for it. But the bright ones never say Eagle Dark matterthat; they say something like, ‘I didn’t see that science would give me room for my creativity or imagination’. It’s like a knife through my heart – what have we done when we have so mis-told the story of human re-imagination of the entire cosmos, from the life-cycle of galaxies to the intricate chemistry of plant cells, that our children don’t see any room there for creativity? And so very likely they never do. I have come to believe that one of the cruellest things you can ask of a young person is, ‘are they on the science side or the arts side?’ It’s one of those nasty questions that entraps and restricts rather than frees and creates possibilities.

The church has not escaped from its own versions of ‘narratives of despair’ when it comes to science – or even of ‘narratives of conflict’. Although historians now recognise that 19th century polemics with titles like Andrew White’s A History of the Warfare of Science with Theology in Christendom are just that – un-evidenced polemics without a shred of history behind them, yet the myth of those conflicts lingers on at the same time as the real conflict of ‘young earth creationism’ infiltrates a biblically and scientifically illiterate church. On the surface, above the circling of these two very dangerous submerged sharks, is a Christian church in most places keeping its distance from science.

What we desperately need is a true story to tell about science, one that enables us to understand it within the long cultural history of humanity. It will tell us what science is for – a narrative of purpose – the philosophers would say, a teleology. And that is why, even if we are secular, we look to theology for resources here. Of all the humanities, theology is alone in still comfortably talking about purpose when in all others it has evaporated from modern discourse. Now when I say ‘purpose’, I’m not looking for an answer at the level of ‘it helps us make better aeroplanes’. Of course it does that, but I’m interested in where science belongs in the story of being human, and for an answer that might sit alongside an answer to the question, ‘what is the purpose of music?’ What does science do within the project of being human?

For scientists who are also Christians, this is by far the most important and fruitful question to ask at the nexus of science and religion. As a professor of physics and Anglican lay reader I am always being asked, ‘how do you reconcile science and religion?’ – a question that begs so many false assumptions that I never know where to start. It belongs in the class of ‘have you stopped beating your wife yet?’ questions. I’m not even going to recognise the framing. The real question is the one we can allow ourselves to explore if for once we can get off the back foot of apologetics and on to the front foot of thinking theologically about the world. It is the question, ‘What God’s gift of science do, as a means of work within God’s Kingdom?’

REal PresencesI’ll never forget the unexpected source of my first clue towards an answer to this question of purpose. A post-holocaust atheist Jewish thinker of the stature of Prof. George Steiner might be the last person you would think might reach for Christian theological narrative in a critique of the post-modern humanities! But in his deep and moving short book, Real Presences, he does just that – drawing on the three-day Easter shape of lost-ness and despair, waiting in the ‘not-yet’, and future hope, to articulate the human experience. And within this he talks about the purpose of art, in a simple statement that left me breathless:

Only art can go some way towards making accessible, towards waking into some measure of communicability, the sheer inhuman otherness of matter.

This is a wonderful idea – that the human is special among the animals because in some strange way we don’t feel at home in the physical space and time within which we live. The world frightens us with its ‘sheer inhuman otherness’. But – ‘Only ART?’ Surely this is exactly what science does – bridging this gulf of inaccessibility, and by observation, contemplation, mathematical reasoning and careful experiment, ‘waking into some measure of communicability’ this strange spiritless stuff around us, and of which we ourselves are made?

Steiner points us to a task of reconciliation with the physical world that needs to be done, and to a long extended story that describes its history, its present and its future. For just this idea of learning to see the world in a new and powerful way –of learning to see it in all its solid fabric of rock and water and ice and space – in the same way as its Creator sees it – lies at the heart of what the Old Testament calls ‘Wisdom’.   Here’s an example – the ‘Hymn to Wisdom’ in the Book of Job tells us why it is that God knows the way to wisdom:

But God understands the way to it; it is he who knows its place.

For he looked to the ends of the earth, and beheld everything under the heavens,

So as to assign a weight to the wind, and determine the waters by measure,

A special kind of looking, a special kind of seeing, and measuring – this is the ancient ‘way to wisdom’. This deeply physical book, seeped in Nature imagery from beginning to end, has always fascinated me. At its climax we find what surely must be the most striking of all nature poems from the ancient world – in the form of God’s long-awaited answer to Job’s demands for an explanation of his unjust suffering. It is not the answer we expect, because it takes for form of questions – 163 of them – and all about the natural world:

Were you there when I laid the foundations of the Earth?

Do you know the way to the storehouses of the hail?

Where is the way to the abode of light?

Can you bind the stars of the Pleiades or loose the cords of Orion?

Questions about the areas of science we now call astronomy, meteorology, geology, zoology and more pile up in stunning sequence as Yahweh asks Job to think about how to constitute a creation rich enough and delicate enough to support the complexity of the inhabited skies, oceans and land of the Earth. It’s as if he is saying to the angry Job – yes I can make you the comforting, ordered, world you wish for, the world without storms and floods and earthquakes – but it will be as ordered as a stone, as a crystal – it will be a dead world.

I’ve often suggested to scientist colleagues that they read these chapters from Job – and invariably they come back astonished at the probing imagination behind the text. Now one of the reasons that scientists find the Lord’s Answer to Job so impressive is to do with its very form. For we know that, at the heart of science, is not the so-called ‘scientific method’ with its experiments, tests, refutations and all that. For the ‘method’ would have nothing to work with if new ideas, bold hypotheses, possible worlds, were not first imagined. And the central imaginative, creating act in science is the formulation of the creative question. To those school sixth formers who could not see the creative content of science, we need to ask not ‘can you find the right answer?’ but ‘can you imagine the creative question?’

And to the church we need to say, ‘recognise science not as the secular world’s threat to your belief, but as God’s gift in your service of community, nation and world’. And more than that – recognise that the activity we now call ‘science’ is really only the name of the current chapter in a book that humankind has been writing for centuries, whose earlier chapters were called by other names. Only a century or two ago I would not have been called a scientist, but a ‘natural philosopher’ or – if you like – a lover of wisdom to do with natural things. Perhaps it would be better if we still were to call science by that humbler and older name that contains both love and wisdom within itself, to recognise that science has the ancient story of wisdom as its own story.

Then perhaps we could start to go about our work of healing, of mending, of gently and firmly replacing falsehood with truth – and start to work with science rather than in fear of it, and loving away those fearful narratives of desire, evil and the sacred in nature, with the narratives of reconciliation, of knowledge, of wisdom and of hope.