Review
Books
Culture
Epistimology
Psychology
8 min read

The provocateur philosopher who wants to wean us off the junk food of popular science

David Bentley Hart serves up meat on mind and matter.

Isaac is a PhD candidate in Theology at Durham University and preparing for priesthood in the Church of England.

Two angels converse.
Cupid and Psyche by François Pascal.
Simon Gérard via Wikimedia Commons.

It will be immediately obvious to the reader of David Bentley Hart’s new book that the structure is quite different to most other titles on the philosophy of mind.  

Hart admits that in its original form it was in fact far longer than its substantial 500 plus pages, but, in a perhaps inspired move, it has undertaken a metamorphosis from the ponderous-tome genre of philosophical discourse to one much older: the dialogue. 

Instead of other such works which draw on an enormous and panoramic amount of literature presented in regular academic style with copious footnotes, Hart has opted for intelligibility in the mode of a dialogue between characters, historically most notably deployed by Plato. For this reason, it works well as an audiobook, as well as printed text. The downside to this format is that Hart has opted for a somewhat unfortunate weighting of three-on-one. Whilst this format makes the twist and turn of the at times obstruse argumentation more accessible, the impression can feel somewhat unbalanced. Hephaistos, one of those in dialogue, sometimes cuts a lonely and sympathetic figure, and his opponents sometimes are slightly too self-satisfied. This is not overwhelmingly so, but it is worth remembering that all voices are Hart’s.  

His choice of dialogicians is telling - four Greek divinities. Psyche (soul), the mortal woman made divine by love. Eros (love), the divine lover of Psyche, Hermes, Psychopomp (that is, the guide of souls in the afterlife). And the stolid Hephaistos, god of craft and manufacture, the main antagonist as the advocate of all things materialist and physicalist. Three characters signal Hart’s intent to guide the reader into a new realm beyond the mundane; the fourth is the mouthpiece of this mundanity. Together in a garden, prompted by a plucked rose, they discuss some the deepest questions of mind, matter, and life.  

The title, All Things Are Full of Gods, is a quotation attributed to the pre-Socratic philosopher Thales. Like Thales, Hart wants to argue that not only is the divine a reality but is in fact the ground of all things. The six days of dialogue cover the full gauntlet of metaphysical debate over the nature of reality.   

On day one, ‘Mind, Life, and Pictures of Reality’ the gods set up the groundwork of the reductionist materialist physicalism (RMP) perspective and the older pictures of classical philosophies. 

Day two, ‘Mind and Matter’, draws the battlelines between the qualitative difference between mind and matter. 

Day three, ‘Brain and Mind’, engages with arguments concerning how mind and matter relate. 

On day four, ‘Machine and Soul’, the place of mind in the body is deepened in the debates on computationalism and functionalism and a useful unpacking of the limitations of panpsychism, which is currently seeing a revival in philosophical circles. 

Day five, ‘Soul and Nature’, sees the dialogue broadened to nature itself, reconsidering the mechanical paradigm which presently dominates. 

Concluding, day six, ‘Nature and Supernature’, is where Hart delivers his final case, having thoroughly prepared the ground, arguing that mind characterises all of reality and that this is ultimately the only truly rational account of being.  

In an important ‘Coda: The Age of the Machine’ Hart addresses the problem of evil, something largely absent from the rest of the work. Hart has a good track record on this topic: The Doors of the Sea, written in light of the Boxing Day Tsunami, is essential reading for Christians and others who see the paradox between an all-loving, all-powerful God and the presence of suffering and evil. Readers will have to decide for themselves; it is not a topic on which one may enforce an opinion either way. The discussion concludes on the sixth day, “. . . and on the seventh day they rest.” (483) 

Whilst All Things is dialogic, it also appears to be something else: catechesis. Hart is a catechist. Theologian and philosopher also; linguist certainly; provocateur undoubtedly. But the intention of this book is to catechise the reader, to induct them into the mystery of mind and reality. This might be a somewhat dusty word to some, implying the rote learning of religious dogma. Others will be barely aware of such a word. In Christianity, catechesis is the process of instruction, usually conducted through question and answer.  

Hart is an Eastern Orthodox Christian, though in many ways an unorthodox one. His commitment to a form of perennialism, his belief that many of the major religious philosophies of the world (Vedic, Greek, Jewish, Christian, Islamic) share important and compatible insights into the nature of reality and God as the primordial ground of all things, is evident through the pages of All Things. This is unsurprising as he states that of all his writings All Things is the natural successor to The Experience of God: Being, Consciousness, Bliss (a deliberate allusion to the Vedic concepts of sit, chat, ananda) in which he sought to argue the rational coherence of a theism shared by a number of the great religions over and against the irrationality of modern physicalist materialism. It is worth reading and would certainly give the reader of All Things a primer for the extended discussion.  

But how is it exactly catechesis? Hart wants to wean the reader off the junk food of popular science with its tendency to not take questions about its philosophical basis very seriously, especially in how its epistemology, ‘what it knows’, produces its ontology, ‘what exists’. This deficiency, as Hart is keen to point out, means that often ontology secretly precedes epistemology. For instance, most scientist will take central place of mathematics within their discipline for granted, without acknowledging that mathematics is itself is groundless: it is epistemologically irreducible as it is not empirical, but is ontologically essential to the scientific method. Hart argues that it is in it’s very groundlessness and givenness to intelligibility, i.e. that the world can be understood at all, that means the world in fact shows itself to have rational mind-like structure, capable of being known. Many advocates for RMP will simply shrug and say that we’ve simply evolved to see structure which isn’t inherently there; Hart is here to pick a philosophical bone with them. His intention as catechist is that, even if one does not become a Christian at the end of this book, one can no longer remain in the comfortable and familiar philosophical milk of the dominant RMP paradigm but be stirred to hunger for the meat of reality. Although not an explicitly Christian book, there are certain hints. A number of Christian theologians recur, especially towards the end: Karl Rahner, Bernard Lonergan, Meister Eckhart. That the dialogue is set over six days “. . . and on the seventh day they rest” (483) ought not to be lost on the reader. 

His position in a nutshell is that all is mind or spirit (this linking of terms that are separate in English derives from their indistinction in the German Geist, used extensively in German Idealism, in which a lot of this debate has its origins in modernity). This is not a denial of matter (as in some forms of idealism), but that matter is a material manifestation or substrate of the principle of mind behind all reality: God. In many ways All Things is the extension of his previous book, The Experience of God: Being, Consciousness, Bliss, which he acknowledges in the ‘Introduction’. His position is argued in response to the currently most dominant intellectual paradigm, RMP: the idea that reality consists only of that which is matter or can be observed as a consistent mechanical attribute of matter (such as gravity).  

Hart’s argument rests on a number of fallacies in this paradigm; the most important of these and the one which recurs most frequently throughout the dialogue between the gods is the ‘pleonastic’ fallacy:  

No matter how many purely objective quantitative steps the supposedly mechanistic material order may have taken in the direction of mind, none of them seems as if it could have constituted that sudden qualitative transition from pure exteriority into an unprecedented inwardness.  

In short, quantitative accumulation cannot produce qualitative transformation. Mind is not another form of exterior reality, like the physical world; thought takes up no space and is of an entirely different, interior order. This is Hart’s principle complaint against both RMP and historical forms of dualism such as that of Descartes. The six ‘days’ of dialogue is essentially an account of the various arguments presented by the RMP paradigm to demonstrate that this fallacy is not in fact true. The most important of these concerns the trend in various sciences to speak of ‘emergence’: the appearing of qualities or realities such as mind which, whilst dependent upon a physical foundation for their existence, cannot be understood or explained by examination of their physical foundation; they cannot be reduced (explained) by the substrate. Hart draws the distinction between water’s property to extinguish fire, despite it being made up of the highly combustible elements hydrogen and oxygen, and the emergence of mind as a different order of reality from physical combination: 

Physical properties derived from other physical properties—no great problem there. So long as this is all that’s meant by “emergence,” then the concept is as inoffensive as it is obvious. But there’s a point at which vague talk of emergence is just another way of talking about something that you might otherwise justly call magic.

This is because water’s watery-ness is also a physical phenomenon, the product of the combination of these particular elements in this particular configuration. But this is still and exterior reality; mind on the other hand is not a property like the watery-ness of water because mind is an interior phenomenon, one which is entirely inaccessible except for the mind who is the mind in first-person perspective. To then argue that pure exterior accumulation quantitative of reality can produce this interiority is, to Hart, not only nonsensical but irrational. Part of his argument thus also turns upon the principle of Occam’s Razor: “if you have two competing ideas to explain the same phenomenon, you should prefer the simpler one,” as Chris Simms describes it. With some of the arguments from RMP approaching this almost ‘magical’ solution, Hart is at pains to argue that indeed the simplest explanation for the mind-like structure of reality is that it is indeed Mind. 

 I believe this to be a crucial book in the ongoing dialogue between philosophers and theologians on the one hand and the sciences on the other. The project of pointing out the philosophical problems with the dominant paradigm is a difficult when the other side rarely wishes to listen; Hart, however, is a voice that cannot be ignored. 

 

All Things Are Full of Gods: The Mysteries of Mind and Life, By David Bentley Hart, Yale University Press. 

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Article
Art
Culture
5 min read

Emily Young: the sculptor listening as the still stones speak

Unlocking the stillness, from underwater sculpture to St Paul's Cathedral

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A sculptor works on a carved face emerging from a stone larger than her
Young creating.
Emilyyoung.com

As a painter, Emily Young says she worked relatively quickly in her distinctive surreal style featuring penguins and figures with penguin heads. When she came to sculpture in the 1980s, what she most appreciated was the resistance she felt as she worked, meaning that she ‘had to slow down’ and ‘be super careful’. Right from her first works as a sculptor, the stone was speaking to her, teaching her the value of stillness.     

The stones with which she works still speak to her. The stone ‘tells me what it is willing to do’ and ‘lets me know exactly what it can and cannot do, and I work with that’. ‘The stone’, she says, ‘leads me through into this zone where we’re working together’. Ultimately, she says, ‘what I’m showing is that the relationship between a human and the planet can be very, very respectful, and very, very beautiful’. In this way, she uses the beauty, history, and energy of stone to connect people to the natural world. 

Her respect for the stones is, in part, because she moves ‘through layers of history in the stones’. Because of their age, stones bring ‘messages to us from a time before culture’; ‘nature has been making stones’ for millions of years meaning that ‘they are from deep time’. This is the ‘stillness of stone compared to me as a short-lived human being’. Her work, therefore, involves ‘throwing something out there that is more enduring than soft humans’. 

Her most recent exhibition was entitled ‘Comparative Stillness’. This title was chosen because the way the faces and the bodies she carves ‘always come out, there’s peacefulness there, there’s stillness’. ‘If you sit in this stillness of the stone’, she says, ‘you can find a great joy and a great peace’. She has asked herself, ‘What is it that I’m doing when I’m carving a human head out of stone?’ Her answer is that she is ‘finding an essential core of being alive that has in it, stillness’. ‘It’s the stillness that I’m after’, she says, and ‘out of that stillness come good actions.’ As a result, she says, ‘what I’m completely dedicated to now is to show that we do have access to that stillness and it could be our saving grace’. Everyone, she thinks, ‘should have quiet, kind symbols of internality around them’.  

Describing her symbols, she says that: her discs are translucent, holding light within while symbolising the wholeness of the universe; her heads are never of particular people and are embodied consciousnesses with a sweetness to their closed eyes; and her torsos show the beauty and vulnerability of the female form which holds the capacity to create life. 

The ‘quietness inherent in stone can also found in our consciousnesses’, which is why she speaks of her stone heads as ‘embodied consciousnesses’. She thinks that religion leads towards this same stillness and, therefore, thinks her art is doing a similar job to that which religion does, ‘trying to give value to people’s lives, what you can and can’t do’. Christ, she says, ‘is a particularly fine example of a teacher’. Her works ‘seem at home within the quietness of churches’ because ‘churches are places that have something of time, deep time’. She has made many sculptures for ecclesiastical settings, including St Paul’s Churchyard and Salisbury Cathedral, while exhibitions of her work have been held at St James Piccadilly and St Pancras New Church. 

When I met her, she was in London for the McDonald Agape Lecture in Theology and the Visual Arts 2025. ‘Theology and the Visual Arts: Firming Foundations; Firing Imaginations’ is a five-year project to strengthen the foundations of Theology and the Visual Arts as a discipline within academic Theology, and help to shape its future. The project’s work is showcased to a public audience through major public lectures in an internationally renowned arts venue. 

This year’s lecture put Young in dialogue with US painter, Genesis Tramaine, an expressionist devotional painter deeply inspired by biblical texts. Like Young, Tramaine also creates monumental heads, and both speak of being led as they create their works; Young, by the stories in the stones, and Tramaine, by the Holy Spirit following prayer, worship and study of scripture. By being led in their work, both essentially agreed that, as Tramaine put it, you can't be present when creating, instead you ‘have to trust yourself to the process, surrender, and play in the space’. Whether creating the heads of angels or of saints, both are depicting ‘messengers from heaven’. 

The good actions that have arisen out of stillness for Young include a project to re-diversify the Maremma seabed in Casa dei Pesci. The seabed in this area, as also in many other places, is being destroyed through illegal fishing by dredger trawlers which destroy the seagrass meadows that are the breeding grounds for marine life. A local fisherman Paolo Fanciulli decided to address the problem by asking artists, including Young, to sculpt huge blocks of Carrara marble as, once these lie on the seabed, they make it impossible for the dredger trawlers to operate in the area. 29 sculptures, including four Stone Guardians by Young, form the Talamone Underwater Museum, which has seen ‘the trawlers go away’ and ‘the seabed diversify’ once again.  

Young also creates large sculptures in the grounds of Convento di Santa Croce, the ruined monastery in Tuscany where she now lives. She says she has ‘been quiet’ and ‘become reclusive’ living there because the place itself is ‘really peaceful and quiet’ with a ‘handmade stillness to everything’. When the rains come, ‘bits of the steep hills fall away’ revealing ancient stones formed of volcanic materials, while caves which had fallen in on themselves have filled up with rainwater creating over time ‘a layered geology’. In this way in this area, ‘the earth is giving great stones to work with’.  

In this delightful, giving place of stillness, she can sit quietly, prayerfully. She notes ‘how difficult it is to find a place of stillness today because of the ‘cacophony of distraction’ we all experience. Her aim is to show the way we are ‘wasting the gift of life’ and to reveal ‘our one consciousness’ in the stillness of stone.   

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