Explainer
Belief
Creed
4 min read

Beyond cold certainties

The Creeds set out a vision of reality – a vision that cannot be proved to be true, but which was found to be true by a community of people.

Alister McGrath retired as Andreas Idreos Professor of Science and Religion at Oxford University in 2022.

A red shutter door bears a large painted message reading 'io ci credo'
'I believe it.'
Paolo Gregotti on Unsplash.

“I believe.” For many, the opening words of the Christian Creeds are self-defeating. Why read any further, when all they offer is opinions, rather than certainties? Faith is just a lower form of knowledge – a kind of hesitant half-truth, which seems out of place in today’s more sophisticated world, informed by science and philosophy rather than outdated worldviews inherited from a credulous past. 

It’s a fair point. We cannot believe anything we like; there has to be reason to believe it, evidence in its support. For those wedded to a hard rationalism, we can only believe what can be proved to be true. Yet the problem is that the secure truths of logic and mathematics are existentially inadequate. We seem unable to escape the lure of “ultimate questions”, to use Karl Popper’s term for truths about meaning and value in life that frustratingly lie beyond the scope of science to confirm. 

We can prove shallow truths. Yet the truths that really matter to us seem to lie beyond rational confirmation.

When it comes to the really important things in life, we are confronted with a rationalist dilemma. We can prove shallow truths. Yet the truths that really matter to us seem to lie beyond rational confirmation, often leading us into vicious argumentative circles rather than offering clear and persuasive proof. Bertrand Russell made this point in his famous defence of philosophy: “To teach how to live without certainty, and yet without being paralyzed by hesitation, is perhaps the chief thing that philosophy, in our age, can still do for those who study it.” 

Albert Einstein was fond of using mental experiments to open up some fundamental scientific questions, finding that they combined imaginative reflection with rational analysis. Here is a useful mental experiment. Suppose we limit ourselves to a mental and imaginative world in which we only accept what can be proved to be true. What sort of world would that be? It would, obviously, be a world from which Christianity was absent. Yet, perhaps less obviously, it would be a world from which all beliefs – moral, political, social and religious – are excluded. It would be a world without moral values, which remain obstinately resistant to rational or scientific verification. My suggestion is that this mental experiment indicates that this world would be existentially, morally and personally uninhabitable. 

The human quest for wisdom, goodness and meaning takes us beyond the cold certainties of logic.

The opening words of the Creeds need to be seen in this context. The human quest for wisdom, goodness and meaning takes us beyond the cold certainties of logic into a world in which we believe or trust certain things to be true, life-changing and live-giving – but cannot prove them to be true. The Latin word credo – traditionally translated into English as “I believe” – is better rendered as “I trust,” invoking the world of relationships rather than mere beliefs. 

The Creeds set out a vision of reality – a vision that cannot be proved to be true, but which was found to be true by a community of people, who have passed down in the Creeds their collective witness to what they discovered. As C. S. Lewis remarked, “the one really adequate instrument for learning about God is the Christian community.” This vision is affirmed to be trustworthy – not merely something that is transformative and liberating, but something that can be lived, not merely thought.  

Getting the bigger picture 

Faith is thus not a half-hearted hope that there might be a God. For Christians, it is a broad recognition that we live in a world in which certainty is not possible, save in closed mental domains that have little relevance to the serious business of living well and authentically. It is about “getting” what things are all about in an epiphanic moment of putting everything together and seeing a bigger picture within which we realize we belong and can flourish. There are other big pictures, of course – but all of them lie beyond proof. In choosing any of these, we are making an informed judgement that goes beyond the available evidence. We may believe (and have good reasons to believe) that it is the best big picture; yet we cannot show that it is true. What we do know, however, is that others have grasped this vision in the past, and transmitted this way of thinking and living to us. 

‘Decentring’ 

The Creeds are thus not a demand to believe, but a description of what has been found, an affirmation of its capacity to satisfy and sustain, and an invitation to explore, discover and inhabit this new world. The Creeds provoke us into looking beyond the world of familiar banalities, and being prepared to be receptive to strange truths, which others have found to be life-changing. The vision of reality that we find articulated in the Creeds might be described as “decentring” – a term used by Iris Murdoch to describe the process of breaking free from our worrying obsession to make everything focus on us. As Plato suggested in his famous analogy of the Cave, there is a greater world that lies beyond us which, once grasped, makes us see things in a very different way. For Christians, faith is about the discernment of this vision of reality, and deciding to act as if it were true, in the firm belief that it can be trusted – and living meaningfully and authentically as a result. 

Article
Art
Belief
Culture
4 min read

How the curious react to creativity in a cathedral

The moved, confused and impressed.

Stuart is communications director for the Diocese of Liverpool.

An art structure of a circular peak sits on the chequered floor of a cathedral.
Monadic Singularity, Anish Kapoor, Liverpool Cathedral.
Rob Battersby.

In the summer of 2024 thousands of visitors came to Liverpool Cathedral and encountered the challenging artwork of celebrated international artist Anish Kapoor. In his first exhibition in Liverpool for over 44 years these works were displayed as part of our centenary celebrations.  

They caused a stir. Some were moved, some were confused, many were impressed but there were not many who entered our building that did not have an opinion.  As a surprise to us we did not get many questioning why we allowed these pieces into the sacred presence of a cathedral church disrupting the places where worship occurs. Most recognised that this carefully curated exhibition used its artwork to speak to both the building and the pieces themselves. 

But we must ask ourselves the question what is the point? What does a vibrant worshipping community such as Liverpool Cathedral stand to gain? Our architecture is impressive, you can’t miss us in the city so why rock the boat by bringing in work from an artist of great renown and great controversy? 

 

The creativity comes through the careful curation of work that speaks to the human condition and ultimately our relationship with God.

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The answer surely lies in two places.  

Firstly, there’s the long tradition the church has in using art to tell Jesus’s story to the world. Visit any church and you will likely see a stained-glass window impressively depicting a biblical story like a medieval Banksy. Our worship services can be seen as theatre and performance with choreographed liturgical movements, stunning choral pieces or magnificent contemporary music. The communion prayer acts like a Shakespearian soliloquy retelling the dramatic story of Jesus’s death and resurrection. Art and theatre are intermeshed with the church. Liverpool Cathedral has a number of permanent and temporary art works including work from Elizabeth Frink and our iconic Tracey Emin neon light.  

Secondly, like most cathedrals in the modern age Liverpool Cathedral walks the precarious path between commerciality and spirituality. To be sustainable without regular governmental support we must raise substantial money far beyond the reach of the traditional giving of a congregation. We need to be creative, we need to do things, put on events, host exhibitions to reach beyond the bounds of a traditional church audience and connect with a wider public. 

Liverpool Cathedral has done this for a number of years, welcoming Luke Jerram’s Museum of the Moon before hosting his Gaia exhibition and then starting a long association with Peter Walker through Peace Doves, Identity and the very popular Light Before Christmas shows. These are not chosen simply to draw in the masses. That would be short-sighted, counterproductive and create the false narrative that cathedrals are more interested in money rather than the worship of God. 

In Liverpool our attempts to attract people to these exhibitions are predicated on the notion that whatever a visitor's motivation when they arrive they will encounter us and through us encounter God. Last year 31,000 people saw our Christmas Sound and Light show and as a result that led to greater numbers coming to our Christmas Eve services. People want to make the connection, we need to help them in that. 

If a cathedral is to use this work successfully it must help us and our visitors ask searching questions. Sure it is great fun to have a picture with one of these exhibits and most of what we do is deliberately Instagramable. However, the creativity comes through the careful curation of work that speaks to the human condition and ultimately our relationship with God. The museum of the moon and Gaia provoked many interesting conversations and debates about the relationship between science and faith alongside the age-old question of how creation came about.  

Peace Doves brought together a post covid community trying to come to terms, both individually and collectively, with the impact of the Lockdown years. In bringing together a piece of community art we were able to focus minds on loss, healing and hope. 

It isn’t direct, it isn’t overt but we are also not shy of the fact that we are a cathedral and we do God.

So, to Anish Kapoor. When he was Dean of our cathedral, Justin Welby, challenged us to think of the cathedral as a safe place to do risky things in the service of God. Many could say that hosting an exhibition by Anish Kapoor encapsulates that risk. Challenging, controversial and provocative his work attracts thought and creates a stir. The exhibition stands firmly in our tradition of using art to ask questions. The introduction to the exhibition booklet states that the exhibition encapsulates “the artist’s exploration of the physicality of the human body, the title – Monadic Singularity – reflects the interrelation of human existence and the universe” yet again showing a connection to God and our faith. 

It isn’t direct, it isn’t overt but we are also not shy of the fact that we are a cathedral and we do God. People came to the Kapoor exhibition for a multitude of reasons. We had fine art students able to contextualise, theorise and talk sagely about Anish Kapoor and the meaning behind his work, we had families with young children enjoying being able to run around and interact with the works, we had people completely bemused or making wild guesses as to what it all meant. That gives an opening to help us have the conversation about the God that means so much to us and how we interpret this art in the light of our faith. 

Cathedrals are places of creativity and need to remain that way. Cathedrals have the opportunity to bring many people through their doors every day. Art can do that and as we have seen since mediaeval times can help us and others understand God and their place in life.