Column

Atheism

Creed

29 September 2023

6 min read

Confessions of an atheist philosopher. Part 6: making the leap

In her series’ final article, philosopher Stefani Ruper offers a new vision we all need.

Stefani Ruper

Stefani Ruper is a philosopher specialising in the ethics of belief and Associate Member of Christ Church College, Oxford. She received her PhD from the Theology & Religion faculty at the University of Oxford in 2020.

A skydiver in a space pressure shoot leaps from a capsule above the earth.

Felix Baumgartner leap set the record for freefall parachuting.

Red Bull Stratos.

Faith is irrational. Faith is against evidence. Faith is a threat to progress. Faith will bring about the downfall of civilization.

I used to think this, and I wasn’t alone.

In 2004 Sam Harris wrote that faith

“allows otherwise normal human beings to reap the fruits of madness and consider them holy.”

This quote appears in his book The End of Faith, which was on the New York Times bestseller list for 33 weeks.

Fellow pop atheist AC Grayling says that faith

“directly controverts canons of intellectual integrity…’Faith’ is not a respectable or admirable thing; having been so long paraded as a virtue and worthy of respect, the truth is otherwise… it is irresponsible, lazy, and too often dangerous.”

The real danger

When I was about 20, I realised that I had dismissed faith as irrational without ever engaging it. I had prided myself on open-mindedness while at the same time refusing to hear what people of faith had to say. This struck me as deeply hypocritical, so I went to seminary. I asked religious people about faith. I studied what theologians and philosophers said about it. I did this for about twelve years.

In this time, I confirmed my earlier belief that there are extreme examples of irrationality and close-mindedness in religion. Of course there are! But there are extreme examples of irrationality and close-mindedness in secularism, too. The danger isn’t “faith.” The danger is what I used to do: over-simplifying and reducing one another to easy targets so we can tear each other down.

Faith, I now know, looks very different to many people. Some forms of it are healthier than others. Some are toxic.

But after more than twelve years of study, I’ve come to believe a specific way of defining or practicing faith is not just acceptable for our society but crucial. I consider it the answer to many of our shared needs--especially for more love, generosity, justice, resilience, progress, and hope.

It's this:

a choice.

Faith is a choice.

Our society is unique among all societies that have ever existed. It is the first society where we must choose: to trust and believe just a little bit, or to distrust and believe nothing at all.

This is what “don’t believe” looks like:

Distrust. Stick to the “bare facts” of physical reality and science. Live as though there is no possibility of any dimensions existing beyond material reality as we understand it today.

There is no Creator, no ultimate love, no ultimate home. There is only the here and now. When you die, nothing happens.

I subscribed to this option for thirty years because I thought it necessary to be loyal to the truth. I thought that being a good person meant resisting the temptations of faith. I felt proud of myself for bravely accepting the emptiness of the world. But it was poor consolation.

Another reason I followed this option was because I—like most people in our culture—had a deeply rooted habit of suspicion and distrust. Authorities of all kinds have so routinely deceived and disappointed us that most of us live habitually expecting to be attacked, hurt, let down, duped, used, manipulated, and misled. We must always expect there’s a trick behind any promise. Every offering has a catch. We subconsciously live by the slogan “it’s too good to be true.”

This predisposes us to experiencing a specific kind of harm: when we anticipate being hurt, we often hurt ourselves first so that we get to be in control of the pain. For the first thirty years of my spiritual journey, part of my resistance to God was that I was so afraid of finding out He didn’t exist I never let myself take seriously the possibility that He might.

Here’s what “believe” looks like:

Trust. Take a look at your options and say “yes,” to the better one, the one rich in possibility and hope and light.

Embrace the possibility that there are dimensions of reality beyond our imagining that we cannot see or touch. Embrace the possibility that your story may be a part of some larger story. Embrace the possibility that what you do matters ultimately, and is a part of the great unfolding of a narrative beyond your comprehension.

Do this with lightness. Have a bold vision, but let a part of that boldness be its ability to change and grow. Trust the community of spiritual seekers all around the world. Hold all your opinions as hypotheses, and seek to refine them in community with others as different from you as possible.

Open yourself to the possibility that you might be able to experience the love of God and walk into greater peace, joy, resilience, and generosity than previously.

Responsible faith

Harris and Grayling say faith is belief against evidence.

However: faith can be deeply evidentiary. Done right, faith never contradicts evidence or quality reasoning. Indeed, to me, faith means being loyal to every scrap of evidence, including any that God may provide us, and constantly revising my views of everything.

There are two kinds of evidence for transcendent beliefs: intellectual evidence, which includes historical, archaeological, and philosophical reasons to believe (or not to believe), and experiential evidence, which comes from believing in God and seeing what happens.

For each of us, experiential evidence is personal, but we can, and should, always talk about our experiences with others. We should get feedback, compare, and learn from one another. I consider my experiences to be data points for God, but I’m open to being incorrect.

Faith of the sort I’m advocating doesn’t mean putting your head in the sand. It means walking simultaneously with trust and with your eyes wide open. It means embracing your own limitations and learning to delight in being proved wrong or revising your perspective.

The obligation to have faith

Many people come to faith in God through a major religious experience. They have a sudden shift. They go from skeptic to Believer with a capital “B” seemingly overnight.

That is not how it’s worked for me. I decided to see if I could believe. When I first set out to cultivate faith, I didn’t believe anything at all.

Why did I do it?

I had one very specific reason: it would make the world a better place.

I already knew that belief in God was reasonable, and that God might exist. I already knew that I could get evidence for God if I dared to believe a little bit first.

But what convinced me to finally try believing was an argument William James makes in his essay Is Life Worth Living? He says:

if there is something you can believe in that is reasonable, and that will make you either a happier or better person, or both,

then you are not just licensed, but obliged to believe it.

Not just licensed, but obliged. Believing in God was not just reasonable but would also make me more of all the things I always wanted to be: more joyful, more peaceful, more generous, more resilient.

Thus, I was facing a dual realization:

God might be real, and

Trying to see if I could believe—that is, intentionally opening myself to God’s potential presence in my life—would be an act both of exploring truth as well as making me a better person.

Put like this, the next step for me was obvious:

Do it.

Choose faith. Choose trust. Take a chance on God, and see what happens.

That was eleven months ago now, and I can honestly say it was the best thing I’ve ever done. My belief is far from certain, but it doesn’t have to be—indeed, in some ways it shouldn’t be.

I just keep saying yes to trust, and my heart is lighter and more free than I ever imagined possible.

Taking a chance on God

The secular poet Mary Oliver once famously asked us:

“What will you do with your one wild and precious life?”

What will I do? What will you do?

If faith means taking a chance on God and seeing what happens – and in doing so stepping into lives of greater peace, joy, resilience, and generosity, together –

What are any of us waiting for?

Column

Books

Culture

Music

Space

20 March 2025

6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.

Jonathan Rowlands

Jonathan is a theology lecturer and Liverpool FC fan.

A small white space capsule orbits around the earth.

A SpaceX Dragon capsule orbits above Earth.

NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.

Nine. Months.

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably.

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human. I imagine Suni and Butch have had quite a bit of time to do just that in recent months.

And the overview effect is currently having a bit of a moment in wider culture, too.

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point.

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?)

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed.

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC:

“And there in an ordinary street

A car isn't where it would normally be

The driver in tears, about his payment arrears

Still, nobody hears whеn a sun disappears in a galaxy afar.”

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.

All this makes a recent interview with Wilson all the more odd.

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.”

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:

“The clouds have no history

And the sea feels no sorrow

The oxygen recycled

And the atoms are just borrowed,”

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –

“There's no reason for anything

Just a beautiful infinity

No design and no onе at the wheel.”

Cheery stuff.

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.”

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again.

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves.

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