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which seems out of place in today’s more sophisticated world, informed by science and philosophy rather than outdated worldviews inherited from a credulous past.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. 

Column
Awe and wonder
Creed
Film & TV
Re-enchanting
4 min read

The great pie mystery

Some unusual graffiti give insight into reality’s mysteries.
A green bridge spans a motorway, on its side is graffiti that reads 'PIES'
The view on the M6.
drgillybean, Creative Commons.

Do you have a favourite piece of graffiti? I used to.  

If you're travelling on the M6 around Cheshire, at some point you’ll come to one of those green motorway bridges. And on the side of it, overlooking the tarmac, you'll see in massive writing the word “PIES”.  

When I was a kid, I used to be fascinated by this. It raises so many questions. Who wrote the graffiti? How did they do it? Was this person in favour of pies or against them? Was it about all pies or just some pies? What had happened in this person's life to make them have such strong opinions about pastry?  

And it was just me. For nearly 30 years, people were left nonplussed about the graffiti as more and more instances of it began to crop up across the North-West of England. 

And then, in 2016, the mystery was solved. Apparently, it wasn't really to do with pies at all. It was all the result of a Liverpool band called The Pies trying to promote their music. After getting stuck on the motorway one day, they decided to write the name of their band on the side of the motorway bridge because, well, what else are you going to do when you’re broken down?  

It's fair to say, I was a little bit gutted to learn about the origins of the graffiti. 

What was once an intriguing mystery that kept me up at night and haunted my every thought (okay, perhaps a slight exaggeration) was revealed to be something so … boring. With hindsight, I wish I'd never learnt the truth about what happened. I thought wanted to know the origins of the pastry-based vandalism but, as they say, ignorance sometimes is bliss.  

You see, we sometimes need a little bit of mystery in life.  

Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness. 

This is evident in lots of different ways, but perhaps most apparent when it comes to entertainment and art. TV series Lost, for example, was a huge hit when it first came out. Why did the plane crash? What is the island? What is the smoke monster? Viewers were hooked and demanded answers.  

But then answers came and everyone was upset. As Lost went through series after series, and explained more and more about what was happening, the audience slowly became more and more disenchanted with the program. The finale – where the programme’s biggest mysteries were finally revealed – was almost universally panned. 

The same to be said of the recent HBO hit Westworld. Its first series was by far and away its best. But season two and three trailed off significantly as there was simply no mystery left in the programme after its spectacular first series. I wonder if this is precisely why the works of the late David Lynch were as compelling as they were? The still-incredible Twin Peaks holds up so well precisely because it categorically refuses to explain itself. 

Elsewhere there is a growing tendency in video games, for example, for the narrative of the story to be hidden away, shrouded in mystery and atmosphere. Think of From Software games like Dark Souls and Elden Ring, massively successful in part because they are so mysterious. In both instances, it’s entirely possible to complete the game and have no clue whatsoever that there was even a story in the game, let alone to understand it. The player becomes captured by the mysteries of the worlds they find themselves in, and it’s these mysteries, rather than any answers, than compel them forwards. 

The reason why programmes like Lost and Westworld begin to lose their allure as they explain more and more about their world is that this jars with the reality of the world around us. Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness.  

Peel back the world around us, however, and reality goes all the way down. And this is precisely what we would expect from a world created by a God, who is infinitely Infinite. Reality is not paper thin; goes all the way down. It is mysterious, unfathomable, and resists easy answers. 

And so, when we get disappointing explanations about a plane crash in a TV programme, or the origins of our favourite graffiti, it rightly leaves us feeling unsatisfied. Because we are made to be at home in a world that is deeply real. We are made to be at home in a world where the reality has unfathomable, unimaginable depth to it. A world that cannot simply be explained away. 

And this is why mystery is so important in our life. In the post-Enlightenment culture in which we find ourselves, a culture that demands every question be answered and every Scooby-Doo villain be unmasked, the notion of boundless mystery might seem somewhat disquieting. 

But we are made for mystery. And this is why the best works of art trade more on the mysteries they introduce, rather than the answers that might be behind them. And this is why mystery can be found all around us. Even in a pie.

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