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Belief
Creed
2 min read

Why we believe: finding meaning in uncertain times

Believing is not only intellectually defensible but existentially necessary.

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

Pages from books are pinned across wall.
Patrick Tomasso on Unsplash.

Alister McGrath’s new book: Why We Believe: Finding Meaning in Uncertain Times will be published by Oneworld, in January 2025. He gives us a sneak preview of the theme of the book here – look out for it when it comes out.  

 

Who can we trust? What can we trust? These are among the most difficult and cognitively demanding tasks that we face in everyday life. We look for friends who are smart, honest and dependable – just as we seek beliefs that are trustworthy and enable us to flourish. My argument in this book is that belief is natural, reasonable and has the potential for good. To deny it, to suggest that faith is only for those not willing to deal in facts, is simply to diminish us as human beings. 

It is perhaps the greatest paradox that we face as human beings: we only seem to be able to prove shallow truths, but not the great truths of meaning, goodness and significance that lie at the heart of our existence and give order and meaning to our lives.  

During my period as Professor of Science and Religion at Oxford University, I was able to reflect extensively on the scientific study of beliefs, which calls into question the cultural oversimplifications of recent polemics – such as those of the now-defunct ‘New Atheism,’ with its litany of unacknowledged beliefs. For some epistemic Puritans, we ought only to believe what we can prove. Logic and mathematics thus provide us with the norms that we should apply to everything in life. I share their admiration for these glittering peaks of human knowledge production. Yet these are singularities, areas of knowledge in which a degree of certainty is possible which distinguishes them from other domains of human understanding, rather than being representative of them. 

The ideas I have been exploring in these past years and that you’ll find in this book are not new; in fact, they have a distinguished history in the long tradition of philosophical reflection and religious faith, which are deeply attuned to the problem of uncertainty.  

My position is this: believing is not only intellectually defensible but existentially necessary. It’s time to move on from movements and individuals who offer facile solutions in the face of life’s endless ambiguities, and face up to the critical importance of beliefs in shaping and sustaining meaningful human existence. Believing is a human stance to be embraced, not a liability that is to be eradicated. 

In the end, we are all believers, whether we like it or not, whether we are religious or secular, in that our lives and knowledge are grounded and shaped by assumptions and beliefs that lie beyond comprehensive empirical verification or rational proof. Living in this vast space of ambiguity and uncertainty is an art, a skill that we have to learn.  

Happily, as this book will show, it can be done. 

 

Why We Believe will be published on 25 January 2025, By OneWorld.  

Article
Belief
Creed
4 min read

We’ve been seeking that festival feeling for millennia

Why else do we endure discomfort, queues, and sleep deprivation?

Jamie is Associate Minister at Holy Trinity Clapham, London.

A singer on a stage holds out his arms to conduct the crowd.
Chris Martin enchanting Glastonbury.
Raph_PH, CC BY 2.0, via Wikimedia Commons.

Why do we go to festivals? It was something I contemplated at 4am while trying to stop a marquee from setting sail into the air during a quintessentially English late July storm. Thankfully we pinned it down, but sometimes it seems we can't get a handle on something until it's been taken away from us. Lockdown allowed us to indulge in some soul-searching about our appetite for summer festivals.  A Department of Digital, Culture, Media and Sport select committee survey of 36,000 people showed that what people most missed about festivals during the pandemic was 'the atmosphere'. The atmosphere, much like that airborne marquee, is something difficult to put your finger on, but whatever it is, you do want to soak it up.  

So, what contributes to that ‘atmosphere’? Harry van Vliet from the Amsterdam University of Applied Sciences compared over 20 studies into motivations for festival-going. He distilled them into: escape, family togetherness, socialisation, and novelty. Other researchers, such as Rippen and Bos, cite realising significance, giving meaning and giving shape, and deploying, developing and maintaining competencies. As abstract and ethereal as our motivations are, at festivals we want to ram the tent peg into the ground, staking the opportunity to escape or to imagine the future. Why else would you endure discomfort, questionable cuisine and sanitation, queues and sleep deprivation? We endure little inconveniences because we have bigger thirsts. 

Then there's the gap between what people hope to get out of a festival and what the organisers are aiming for. Spare a thought for those who booked onto the FYRE Festival, which promised ‘a new type of music festival that would ignite the energy and power of its guests’. Instead, they ignited fury, lawsuits, and six years in prison for the founder. The driver here was greed. If festivals are an immersive experience, what the festivalgoers unsuspectingly immersed themselves in was the sad fruit of that particular rotten orchard. Instead of the gourmet meals and luxury villas, the staff ate sandwiches in styrofoam boxes and guests who’d spent up to $100,000 to attend fought over a limited number of mattresses and tents. One legal document from a guest claimed guests were lured into ‘a complete disaster, mass chaos and post-apocalyptic nightmare’. 

The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

We know if we’ve immersed ourselves in something more hopeful. I’ve spoken to several people who’ve been to Taylor Swift gigs, all still ‘buzzing’. Cities and countries keep reporting the bounce, the economic uplift they’ve all experienced from a Swift visitation. Deep down, at concerts and festivals alike we all probably know that we’re not there to ignite the energy and power of us as the guests, but to spectate the energy of the maestro at work. They are the ones who plumb the depths of creative introspection for us. They are the ones who concoct, via musical alchemy and a large support team, something reaching transcendence. If we can immerse ourselves in that, then, however fleetingly, all the inconvenience will have been worth it. 

Festivals, therefore, are a pick-n-mix of artistry that we can come up close to. And therefore, the thought goes, their creative genius. Which is almost as elusive as the atmosphere of an immersive festival itself. Elizabeth Gilbert, the author of Eat, Pray, Love, says it was a mistake when we placed the human at the centre of the universe, and the pressure that comes from having to be a creative genius. In her 2009 TED Talk she spoke about Socrates believing he had a daemon that spoke to him, and the Romans believed that they had a ‘sort of disembodied creative spirit’ called a genius. The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

But what if the founder of the FYRE Festival was actually right? What if the guests themselves at festivals have energy and power, and not just Chris Martin? Millenia ago, this idea was once also floated at the festival of tabernacles, or Sukkot, where the Israelites made a pilgrimage to the Temple in Jerusalem and would camp in tents for seven days. 

The gospel writer John says that Jesus spoke to whatever it was people had pitched up tents by the temple for: 

‘On the last and greatest day of the festival, Jesus stood and said in a loud voice, ‘Let anyone who is thirsty come to me and drink. Whoever believes in me, as Scripture has said, rivers of living water will flow from within them.’ 

John goes on to explain that ‘By this he meant the Spirit, whom those who believed in him were later to receive. Up to that time the Spirit had not been given, since Jesus had not yet been glorified.’ 

Where the Holy Spirit had previously been given to specific people, for specific times and purposes, including creativity, here the Holy Spirit was promised to anyone who would believe in him. And as well as their own fulfilment, the divine creative energy would flow through them to others. 

More than a mere atmosphere or nebulous spirit, Jesus claims to be one with the creative energy who hovered over the waters at the start of the Bible, the dwelling place at the end of the Bible where God will be with his people, and drove a stake, or a cross, into the ground to enable this to happen. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’