Explainer
Creed
Football
Providence
Sport
Trust
7 min read

Thrill and trust in an unpredictable world

When Saturday comes, Graham Tomlin is enthralled by sport's unpredictability. Yet in an uncontrollable world, he finds a need for trust.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Two footballers run in step as one tries to tackle the other
Spain and England: finalists in the 2023 Women's World Cup.
FIFA

Sport was once something you did for fun. Now it has become one of the world's great industries. 'Sportswashing' is a thing now - nations buy up clubs, franchises or invest in sporting ventures from LIV golf to football clubs to Formula One, to make their regimes look good. 

But why is it that sport engages us so? Why do we bite our nails as the ninetieth minute draws near, we are only 1-0 up and the opposition threatens to score an equaliser any minute? Surely it is because this is one area of life where the outcome remains stubbornly out of our control.  

You can never quite predict the result of any match. And the best games always exist on that knife edge. This summer, after five Ashes Tests, with five days for each Test, 3 sessions a day, so 75 sessions of cricket in total, when the players went into the very last session with the result of the whole series still in the balance, it was the best of sporting enjoyment, precisely because no-one could predict what would happen. 

And the exceptions to that statement prove the rule. When the result is almost certain - if Manchester City were to play Forest Green Rovers for example - then it takes the fun out of it. In fact, much of the disillusionment that creeps into modern sport comes when money appears to skew the unpredictability of it all. When clubs are backed with the resources of an entire Gulf State in an attempt to control the outcome of a league by the use of something not intrinsic to sport itself, then something seems wrong. 

A couple of years ago, the German sociologist Hartmut Rosa wrote an intriguing book called The Uncontrollability of Life. Modern life, he argued, is marked by a drive to master and control as much of the world as possible. We manage the economy to try to ensure constant growth; we corral all the information we can, so it sits in our pockets available at any moment; we minimise risk by actuarial calculations; we develop algorithms that deliver exactly the content that the consumer wants. When we see a mountain, we want to climb it; when we get on the scales we want to lose weight; when we have a headache want to get rid of it. Life has become an endless to-do list. We try to control life from birth through to death, through contraception and abortion, managing our children’s education to ensure success in life, even trying to control death by ‘assisted dying’ that enables us to choose the time and manner of our own demise. 

We try to manage and control everything, but life, and joy, remain elusive and tantalisingly out of our control. 

And yet, he argues, it is the very unpredictability and uncontrollability of life that makes it interesting. It’s when we are surprised – by a sudden fall of snow, or by the smell of freshly cut grass, or a joke that makes us laugh – that we feel the delight and joy of life. If we were able to make it snow whenever we chose – as when a machine pumps out fake snow in a ski resort going through a warm spell – there is no great enchantment in that. If we knew the result of every football match before it started, there would be little point in playing at all. 

We try to manage and control everything, but life, and joy, remain elusive and tantalisingly out of our control. You can pay for tickets to a concert but never quite know whether the music will stir your soul or leave you cold. You can pay for a holiday but can’t ensure it doesn’t rain, that there isn’t a ten-mile traffic jam on the way, or that the neighbours in the next apartment aren’t noisy. 

Yet it is exactly the moments that we don’t control that make life worth living – chancing on an unexpectedly stunning sunset, meeting a friend by surprise, falling in love, hearing a new song that touches your heart. And the point is you can’t control these things. If you could, they would lose the magic.  

And that, Rosa says, is the problem and tension at the heart of modern life. On the one hand we try to control everything, to make the world safer, more fair, more predictable. And that’s not a bad thing. We want to make the world more just, to eliminate random accidents or stupid mistakes. Yet the more we control, the more we evacuate the world of what makes it enchanting and enthralling.  

Yet it’s more than just unpredictability. We need, he suggests, to feel that the world out there responds to us, ‘calls us’, talks back to us in some way - so that we feel what he calls ‘resonance’ with it. We need to establish a relationship with the world, or events that happen to us, that lies somewhere between us controlling everything, or us being totally at the whim of what is out of our control. 

Wisdom, it seems, comes from getting the boundary right between the controllable and the uncontrollable. 

Perhaps in the infancy of the human race, we were totally at the mercy of climate, wild animals, infertile soil, struggling to survive against the odds. Now we are in danger of going to the other extreme of trying to manage everything, so the world becomes an inert, controlled, docile thing. Wisdom, it seems, comes from getting the boundary right between the controllable and the uncontrollable.  

It's a fascinating and persuasive analysis of modern life. But let me take his thought a little further. 

If we need the world to be responsive to us, for it to surprise us by ‘talking back’ as it were, it is hard to imagine such a thing happening if the world is simply an inert substance with nothing behind it. However much we may want a responsive relationship with the world, it is difficult to conceive of this on a purely materialist understanding of things.  

For all the new age talk of ‘mother earth’ or the ‘Gaia hypothesis’ which attributes some kind of will and intention to the earth, surely we can only have a relationship with the world if there is someone (not just something) there to have a relationship with, some mind, heart or intelligence behind it all. After all, even the Greeks thought Gaia was not just another word for planet earth, as modern ecological secularists have it, but a god who shaped the universe to her liking. If it’s true that we flourish best when there is a resonant, reciprocal relationship between us and the world outside, then does it not make more sense to believe there is someone, not just something out there, calling to us, responding to us?  

Even more, what if the world is a cold, heartless, meaningless place? What is there is no order or structure behind it? What if it is coldly indifferent to us and our plight? If we are to establish a relationship with what is out there, rather than being at the mercy of it, or seeking to control it, then we need to be able to trust that what we are reaching out to is at least friendly to us. Rosa’s optimistic outlook, beckoning us to resonance, a relationship of mutual discovery, able to be touched or moved by the world, seems to assume that what we will discover out there is fundamentally to be trusted rather than feared. 

Christians have always held that behind the appearance of things, there is someone out there to ‘talk back’ to us, with whom we can resonate, and that that ‘someone’ is fundamentally good, because, despite the confusion of the world, the mixed messages it sends us due to its brokenness, we have seen the clue to what lies behind the mystery in the face of Jesus Christ.   

Living in this unpredictable world, one where we cannot control everything (nor should we try to) means, as Rosa points out, learning to accept it, not getting frustrated when we can’t control everything; learning the ability to take the vagaries and vicissitudes of life as they come, without getting angry or annoyed. Yet we can only do that with a degree of confidence when we can trust that what is out of our control is ultimately under the hand of a God who has our best interests at heart.

I may not be able to predict the result when Bristol City play on Saturday afternoon. Much as I'd like to, I’m actually glad I can’t as it would hardly be worth watching. But it makes a difference when I can trust that behind the changes and chances of what happens to us (and this, thankfully, stretches far beyond football) there is a mind and a heart that knows me and cares what happens to me – and not just me, but my neighbour and the future of the entire universe. 

  

Review
Culture
Economics
Trust
1 min read

Money’s hidden meanings in a contactless age

The Bank of England Museum reveals the symbolism, morality and power woven into the history of money

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Gold bars stacked in the Bank of England vault.
The Bank of England vaults.
Bank of England.

Our era of contactless payments obscures the symbolism once lavished on money. But the rich history of meaning, morality and power, layered into everyday transactions, is uncovered at an exhibition at the Bank of England Museum 

Building the Bank celebrates 100 years of the current Bank of England building, on the site of Sir John Soane’s original structure, completed in 1827. Surveying a century makes past practices seem quaint: until 1973 the institution was guarded by the Bank Piquet military guard. A 1961 photo shows 12 Guardsmen with bearskin hats and bayonets, together with a drummer or piper, a sergeant and an officer, marching into the Threadneedle Streer entrance. Even now, when the wealth of most people in developed countries is contained in data warehouses, 400,000 gold bars are held in vaults deep beneath the Bank. 

Faiths have grappled with money’s impact for millennia. Christianity’s relationship with money is tinged with unease, as St Paul’s oft misquoted letter to Timothy illustrates: “For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.” Personally, the immobilising feeling of envy, particularly if it is towards friends, does feel exactly like being pierced with blinding toxicity. 

Contrastingly, in Hinduism pursuing wealth is one of four pillars of faith, called Artha. In Hinduism attempting to attain material wealth is part of attempting to attain salvation. 

Herbert Baker, architect of the Bank of England, embodies moral ambiguity around faith and money. Buried in Westminster Abbey, and architect of Church House next door, Baker established his reputation working for Cecil Rhodes, prime minister of the Cape Colony 1890- 96. Vicar’s son Rhodes is now seen as paving the way for apartheid in southern Africa, and imposing an economically exploitive, racist, and imperialist system on the region. Baker also worked with better- known Edwin Lutyens on government buildings in New Delhi from 1912, declaring of the British Raj’s new seat of power “it must not be Indian, nor English, nor Roman, but it must be Imperial”. 

After World War One, Soane’s bank was too small to house the increased staff numbers needed to service the ballooning national debt and financial complexity of the Roaring Twenties. Bordered by major roads at the heart of the City of London, the institution’s footprint could not expand, so Herbert created a design incorporating some of Soane’s classical aspects, but with floors at a greater depth and height than its processor.  

From grand gestures to tiny details, classical mythology is a key element of the Bank’s design. Sculptor Charles Wheeler modelled doorknobs showing the face of Mercury. Mercury is the patron deity of finance and communication. Tiles for an officials’ lunchroom show a caduceus, with two bright blue snakes, tails entwined, framing Mercury’s face. Caducei are the symbol of commerce, representing reciprocity and mutually beneficial transactions.  

Forty caryatids, the classical female form used in place of a pillar in Greek architecture, were salvaged from Soane’s building and reused. Some caryatids are in the area where old banknotes can be exchanged, besides the museum, now the only part of the Bank open to the public.  

Outside, on the dome at the northwest corner of the bank, a gilt bronze statue of Ariel, named after the spirit of the air in The Tempest, represents “the dynamic spirit of the Bank which carries Credit and Trust over the wide world.” 

The image of banks as depositories of trust and positive relationships took a pasting worldwide during the 2008 Credit Crisis and lean years that followed. But in 2015 former Archbishop of Canterbury, Justin Welby, argues that banking services are a key part of functioning communities, and banks should be able to put people before profit. “At the heart of both these expectations is the value of the person as sacred, and all other things as secondary to human dignity. It is a value rooted in many faiths and especially in our Judaeo-Christian tradition. Of course profits have to be made, but they need to be measured not only in terms of their absolute return on capital employed, but also in terms of the human cost of achieving that return. 

“Large institutions with adequate balance sheets working to maximise returns from those who can most afford it do not produce a sustainable society in the long term. Such an approach is narrow-minded and short-termist, because sustainable societies are essential to the large companies within them. It is also an immoral approach.” 

Mosaics created by Boris Anrep idealise the Bank’ of England’s sunnier intentions towards the wider community. Anrep also designed mosaics for Westminster Cathedral, Tate Britain and the National Gallery. For the Bank, a tiny coin from the reign of Henry VIII known as the George Noble, the first time St George and the dragon appeared on English coinage, was magnified into a roundel showing the galloping saint, visor up, lancing the prostate dragon at the base. The George Noble was one of 50 designs, based on advances in coinage, gracing the Bank’s corridors.  

At the main entrance, a mosaic showing a pillar, representing the Bank, is guarded by two lions, referencing the sculpture from Mycenae. The Bank’s global role, and place at the centre of the then British Empire is shown by the constellations of the Plough and Southern Cross, representing the southern and northern hemispheres. 

An image of the Empire Clock Baker made for the Bank, - now disassembled - shows an ornate dial, marked in 24 sections, with the sun representing India and an anchor symbolising the port cities of Singapore and Hong Kong. 

In 1946 the Bank of England was nationalised, formalising its role as a public institution, operating in a post war decolonialising world, totally different to the one its building had been designed for just 20 years before. 

Systems and symbols around money mutate with the times. Money’s intangibility in our time of app and tap payment, makes its power less distinct than in the days of gold sovereigns. But we fool ourselves if we say money is unimportant, because all of history says otherwise. 

  

 

Building the Bank, Bank of England Museum, until 2026