Nature is capable of constructing itself! This is the main result of modern science. How can nature do that? By sequentially synthesizing increasing complexity through creative events. The energy released in the original explosion of the big-bang drives this universal creative process. In sequential creative events, novelties emerge from the unification of elements that were unified previously. This is to say that the creative process always brings forth the new through the integration of the old. The process is essentially probabilistic; novelty in nature always emerges by chance out of a large or small cohort of also possible events. In other words, from “matter” to mind, the creative process brings forth everything. As long as energy is available for syntheses locally (where syntheses can happen), complexity will increase. However, because the process is essentially historical (probabilistic), it cannot have a predetermined goal.
Art: Synthesis is not only the creative principle in nature; it is also the creative principle in art. Human creativity, therefore, is a continuation of the creativity of nature. To illustrate this understanding, the book provides two examples, one from the history of music, from Gregorian chants to J.S. Bach. The second example is from the life history of Vassily Kandinsky. Both examples should clarify the understanding that in the history of nature and in the history of art, complexity increases historically. Therefore, both processes cannot be goal-oriented, yet both bring forth increasing complexity. The complexity increases through the integration of elements, which were already unified before. Complexity may appear to be simple because its elements bring forth unity. True unity is always simple and complex; its essence is simplex.
At times, there are no more elements available to bring forth novelty. This because they are all tied-up in an old style of construction. This may lead to deconstruction of the old. A chaotic phase may liberate the tied-up elements, making them available again for new forms of expressions (or organisms in biological evolution). In the authors view, Vassily Kandinsky’s art is an example of such a paradigm change.
Christianity: “God is love” is the fundamental dogma of Christianity. From this foundation it follows that creation must be the gift of the loving God. The question is: What is this gift? The answer is quite clear; already the first chapter of the Bible states that creation is created though the Word of God. From the New Testament Christianity knows that this Word of God is Christ. He is the Son of God that is God. Since God speaks his Word out into that which is not God, creation becomes. Therefore, the Word of God leaves God and becomes the creative center of nature. This is of course a paradox. It says that the Word of God that is God becomes that, which is not God. God almighty has the power to become that which is essentially not God. God proves that in the paradox of incarnation. In the Christmas event God becomes a human being, that which certainly is not God. In the authors view, God’s logic of incarnation is also demonstrated in the Eucharist. Here God, the body and blood of Christ, become that, which are not God but bread and wine. God reveals his logic of incarnation not only in the Christmas event and in the Eucharist, but also in creation. Here, the Word of God that is God becomes that which also is essentially not God but creation. God’s gift of his Word to creation becomes its the creative center. Because it belongs to creation, nature is capable of becoming itself.
If God is love, and he is, it has to be that way. This because without freedom to become oneself, there cannot be any loving relationship. In conclusion: The main result of modern science, that nature is capable of becoming itself, makes only explicit what is already implied in the basic revelation of Christianity namely that God is love.
You can read this item using any of the following Kobo apps and devices: