Occasional thoughts of an Anglican Episcopal priest

Category: Science (Page 5 of 5)

Abundance Is Wonderful – From the Daily Office – May 22, 2012

Paul wrote to the Ephesians:

Now to him who by the power at work within us is able to accomplish abundantly far more than all we can ask or imagine, to him be glory in the church and in Christ Jesus to all generations, for ever and ever. Amen.

(From the Daily Office Lectionary – Ephesians 3:20-21 – May 22, 2012)

Although this is not the end of the the Letter to the Church in Ephesus, it sure sounds like it ought to be! Maybe that’s why the Book of Common Prayer uses it as one of the possible endings to the Daily Offices of Morning Prayer and Evening Prayer. The others are 2 Corinthians 13:14 and Romans 15:13; the first reminds us of God’s grace, love, and fellowship; the second, of hope, joy, and peace. This one reminds us of God’s abundance. God can do “abundantly far more” than we can conceive. The Prayer Book version is practically hyperbolic: “Glory to God whose power, working in us, can do infinitely more that we can ask or imagine.” (BCP 1979, p. 126) ~ This is a profoundly countercultural message! In a world controlled by bankers, insurers, and oil companies, we have been sold a story of scarcity that competes with and, in the popular secular imagination, has prevailed over the gospel of abundance. Yes, some resources (such as fossil fuels) are limited, so they have to properly used and preserved. But alternatives are not – science and agriculture have proven that there are many sources of fuel which are renewable. Because human culture has taken the irreplaceable resources (coal, oil, metals) as the paradigm for all economies, rather than sustainable and renewable resources (crops, herds, rapid-growth woods) we buy into the scarcity model even though these alternatives demonstrating God’s provident abundance are all around us. ~ What can we do to change this? How can the church of Christ, which has the gospel of plenty to preach, foster a paradigm shift from a distrustful economy of scarcity to generous economy of abundance? It seems to me that we don’t even try. Once a year, most church congregations beg their members for annual pledges and then budget on the scarcity model, denying even our most fundamental teaching of reliance on God. I wonder what would happen if we truly believed and truly lived the abundance Scripture assures us is there. I really do wonder . . . because abundance is wonderful!

Willful Stupidity – From the Daily Office – May 14, 2012

St. Paul wrote:

[God] has rescued us from the power of darkness and transferred us into the kingdom of his beloved Son, in whom we have redemption, the forgiveness of sins.

(From the Daily Office Lectionary – Colossians 1:13-14 – May 14, 2012)

I was reminded just this morning in something else I read that there is no positive attribute “darkness”. Darkness actually is nothing; it is simply the absence of light. We cannot and do not measure darkness; we measure light and when there is no light, that’s nothing. The only purported measurement of darkness I know of is the Bortle Dark-Sky Scale, but in truth the Bortle Scale is a nine-level numeric ranking of night sky’s brightness. There is no negative side of the scale. Once one reaches the bottom of the scale where there is total absence of light, there is no greater (or perhaps one should say, lesser) degree of darkness. There are degrees of light, but not of darkness. ~ So how is that modern scientific people who know this can make sense of a phrase like “the power of darkness”? If darkness is simply the absence of light, then darkness is nothing . . . literally “no-thing”. And no-thing can have no power. I can imagine someone saying, “If darkness is no-thing, and no-thing has no power, then God’s rescue is meaningless.” Of course, I don’t believe that, but I can certainly imagine someone in today’s world working through that line of thought. ~ I think one of the failings of our age is the loss of a poetic or metaphorical understanding of reality. I know that Paul is using “darkness” as a synonym or a metaphor for evil, but the trouble is that our spiritual or religious language is so often at odds with the physical reality we know around us, and in a world which has lost an appreciation for the poetic that is a problem. The English satirist Malcom Muggeridge said, “There is no such thing as darkness; only a failure to see.” Shakespeare wrote, “There is no darkness but ignorance.” Perhaps in our time, we need to understand Paul to be saying that God rescues us from our own callowness and incomprehension. Perhaps in our time, the human problem is not so much sinfulness as it is willful stupidity! ~ American author and neurosurgeon Ben Carson once wrote, “God has given us more than fourteen billion cells and connections in our brain. Why would God give us such a complex organ system unless he expects us to use it?” I believe St. Paul would have agreed. Failure to use those brain cells in every possible way, both in science and in matters of faith, is giving into “the power of darkness” from which God has rescued us.

Glass Mug Collecting: Medallion Pattern by Atterbury

Five Medallion mugs, three large (black, clear, amber), one medium (white), one small (clear)

Set of five Atterbury & Co. Medallion mugs

This is my set of five mugs in this pattern, Medallion by Atterbury & Co. Other names for this pattern are Ceres, Cameo, Profile & Sprig, Goddess of Liberty, and Beaded Medallion

According to Mordock & Adams, Pattern Glass Mugs, page 8 (The Glass Press, Inc.: Marieta, OH, 1995):

Atterbury & Co. manufactured this mug and this pattern about 1870. The large mug’s mold has been remade at least once. One variation is called Washington & Lafayette (compare the hairline and the base of the bust). Ceres mugs were made in clear, amber, blue, opaque turquoise, opaque black, opaque raspberry, dark amethyst, opalescent, blue opalescent, blue alabaster and pink alabaster. Over 20 different items were made in this pattern.

I have all three sizes: 2″ x 2″; 2-1/2″ x 2-1/2″; and 3-1/8″ x 3-1/4″ (The first dimension is diameter; the second, height.)

Amber Medallion mug (3-1/8" x 3-1/4"); Ceres variant

Amber Medallion mug (3-1/8" x 3-1/4"); Ceres variant

Opaque black Medallion mug (3-1/8" x 3-1/4"); Washington & Lafayette variant

Opaque black Medallion mug (3-1/8" x 3-1/4"); Washington & Lafayette variant

Clear Medallion mug (3-1/8" x 3-1/4"); Washington & Lafayette variant

Clear Medallion mug (3-1/8" x 3-1/4"); Washington & Lafayette variant

Milk white Medallion mug (2-1/2" x 2-1/2"); Ceres variant

Milk white Medallion mug (2-1/2" x 2-1/2"); Ceres variant

Clear Medallion mug (2" x 2"); Ceres variant

Clear Medallion mug (2" x 2"); Ceres variant

The Glass Lovers Glass Database offers this information about the manufacturer:

‘James S. and Thomas B. Atterbury joined brother-in-law James Hale to form Hale and Atterbury in 1860 in Pittsburgh, Pennsylvania. The grandsons of Sarah Atterbury Bakewell (sister of Benjamin Bakewell and founder of Bakewell’s Glass Company), opened their White House Factory at Carson and McKee streets in Pittsburgh’s South Side. Hale was the firm’s glassblower. He was replaced two years later by James Reddick who left Atterbury in 1864. The company’s name thus was changed from Hale, Atterbury and Co., to Atterbury, Reddick and Co., then Atterbury and Co. before finally bearing the name Atterbury Glass Co. in 1893. Thomas Atterbury served as the company’s president throughout its history.

Thomas Atterbury was the principal inventor in the firm.’ (1) ‘The Atterbury Company was looked upon as the finest producer of milk glass. All their early pieces were marked with a patent date and the animals all had glass eyes that were glued in. Many of the animal’s dishes had lacy edge bases. Extra detail was given to all their molds to create realistic looking animals. The most popular animals included a hen, cat, fox, duck and fish. Atterbury also made many non-animal dishes that collectors are on the search for, such as the hand dish, maple sugar bowls, whiskey bottles and other table pieces. All their pieces are highly sought after by collectors.’ (4)

Atterbury and Co. also made a variety of items: canning jars and lids, bar bottles, covered dishes, salt and pepper shakers and other tableware, and lamps. Its covered dishes made out of opal or milk glass often featured animal designs – rabbits, ducks, chicks, bulls and boars heads.(1)

It’s most famous designs are its covered dishes, in which the covers were shaped like animals. ‘Rabbit’ appeared in 1886. ‘Duck’ in 1887 and the ‘Boar’s Head’ in 1888. The glass menagerie also included dish covers called ‘Chick and Eggs’, ‘Entwined Fish’ and ‘Hand holding a Bird’.(2)

Along with his brother James, Thomas created one of the finest kerosene lamp producing companies of the late 1800’s. They received over 100 patents for glass and lamp design and production. Their lamp patterns were numerous and varied: Chieftain, Prism, Tulip, Icicle, Loop, Fine Rib, Wave are only a few examples. When financial problems hit in the late 1880’s Atterbury and Co. joined with several others to form a new single company called the United States Glass Company.(3) “Atterbury remained an independent factory until 1903.”(1)

Ref: (1) The Lampworks
Ref: (2) The Grove Encyclopedia of Decorative Arts, Gordon Campbell, Editor
Ref: (3) royslamps.com
Ref: (4) Article by Go Antique’s Debbie Coe

Glass Mug Collecting: Introductory Post

I decided that I would start chronicling my hobby of glass collecting on this blog. (These posts will be intermingled with sermons and whatever other random thoughts I may have….) So, to be specific, I collect early American pattern glass mugs.

Five Medallion mugs, three large (black, clear, amber), one medium (white), one small (clear)

Set of five Atterbury & Co. Medallion mugs

Since this is a first post, let me dissect those terms.

Early

“Early” refers to the first era of pressed glass production in America, from about 1830 up to 1910 (roughly, some of my mugs are from later years). Glassware historians divide this into three periods: the Lacy Period, 1830-40; the Flint Period, 1840 to about 1860; and the Non-Flint Period, 1860-1910. What primarily distinguishes the periods are the stabilizers used in the glass and production methods used in the making of the glassware, and the retail price and availability of the products. In the earliest periods of human history, glass was something only for the wealthy; this continued to be true until the late 19th Century.

Clear Goblet in Bryce's Derby or "Pleat & Panel" Pattern

Clear Goblet in Bryce's Derby or "Pleat & Panel" Pattern

Although a glass is a substance that is non-crystalline, it is almost completely undeformable and thus brittle. Glass tableware is made of silica (silicon oxide); such glass, without the addition of other elements, is extremely brittle. Therefore stabilizers are used to give the finished product particular characteristics. Calcium carbonate can be added as a stabilizer that will make the resulting glass insoluble in water. Lead oxide added as a stabilizer gives the glass extreme transparency, brightness, and a high refractive index (the measure of glass’s ability to bend light); it also makes glass easier to cut. The glassware known as “lead crystal” uses lead oxide (up to 33%) as the stabilizer. Zinc oxide can be added to glass to make it more resistant to changes in temperature as well as to increase its refractive index. Aluminum oxide can also be added as a stabilizer to increase the physical strength of the glass.

The earliest American glass makers added flint or lead to stabilize glassware. However, the military need for lead during the American civil war lead to the search for alternatives. In 1862, William Leighton, Jr., devised a formula using soda lime. This produced a less brilliant, less resonant, but also much less expensive type of glass. Together with advances in molding techniques brought on by the industrial revolution, and by the advent of natural gas to fire furnaces in the 1880s, the changed formula reduced the price of glassware and made mass manufacturing and mass marketing possible. Glassware became available to the larger market of the growing American middle class.

American

Well… that ought to be self-explanatory. On the other hand, I should acknowledge that not all of my mugs are American! I have a couple that are definitely English and one that is definitely German, and a couple I’m not at all sure about. Also, “American” glass includes products of some Canadian manufacturers. (So perhaps it should be “North American”?)

Pattern

Amber Mother Goose lunch set (1930s era copy)

Amber Mother Goose lunch set (1930s era copy)

What is the difference between “molded” glass, “pressed” glass, and “pattern” glass? Not much. Nearly all pattern glass is pressed, but not vice-versa. All pressed glass is molded, but not vice-versa.

Some molded glass is blown into the the mold; pressed glass is, obviously, pressed into the mold. Nearly all pattern glass is pressed glass with this characteristic: that several different items (or “forms” as collectors call them) share the design pressed into the glass. Darryl Reilly and Bill Jenks in their book Early American Pattern Glass: Collector’s Identification & Price Guide (2nd Ed.: Krause Publications, Iola, WI: 2002) define “pattern glass” as “only those designs produced in forms large enough to constitute a basic 4-piece table setting.” (Page 7) Others defined “pattern glass” as pressed glass tableware, and some related novelty glass items, made only during the Victorian period (1850-1910), only in America, and in “sets” such that all of the pieces in the set matched in design, without setting a minimum on the number of forms. And some make no distinction at all between “pressed” glass and “pattern” glass.

How many patterns are there? One expert has suggested that there may have been up to 5,000 patterns produced by American glassware manufacturers during the Victorian era! See Bob Batty, A Complete Guide to Pressed Glass, page 7 (Pelican Publishing Co.: Gretna, LA, 1998).

Three-handled spooner of unknown pattern

Three-handled spooner of unknown pattern

Glass

Here’s a technical definition: “Glass is often referred to as an amorphous solid. An amorphous solid has a definite shape without the geometric regularity of crystalline solids. Glass can be molded into any shape. If glass is shattered, the resulting pieces are irregularly shaped. A crystalline solid would exhibit regular geometrical shapes when shattered.” Good enough? Good enough – I think we all know what “glass” means.

Mugs

Clear Medallion mug (2" x 2"); Ceres variant

Clear Medallion mug (2" x 2"); Ceres variant

Mug: “A drinking container with a handle” is about the simplest definition one can give, but it begs the question. John B. Mordock and Walter L. Adams in the introduction to their book Pattern Glass Mugs (The Glass Press, Inc.: Marieta, OH, 1995) note that there are all sorts of particularly shaped mugs: lemonades, whiskey tasters, steins, and so forth. As they say, “It is difficult to determine what should be included as a mug. Items that are on the borderline are custard cups, cup and saucer sets, punch cups and some mustard containers.” Toothpick holders and children’s toys are on the borderline, as well. My definition: if it’s a handled drinking vessel, not obviously a tea cup or a punch cup, and I like it – it’s a mug!

So that’s what my collecting hobby is all about. In future posts, I’ll post pictures of my mugs and give as much detail about them as I can find. As I get more information on a piece, I’ll edit the posts. I hope those who read them and look at the pictures of my mugs will enjoy these little works of art as much as I do.

Chronos and Kairos and the Search for Answers

I left An Cheathrú Rua on Friday, August 12, 2011, and drove (by back roads, not on the motorway) to Beannchar na Sionna, Contae Uibh Fhaili (Banagher, County Offaly – the Irish name of the town, from the words beanna meaning “antlers” and carraig meaning “rock”, means “place of pointed rocks on the Shannon River” – the county name comes from that of an ancient Irish kingdom, the Uí Failghe). I will be renting a cottage there for a month beginning in a few days and wanted to stop at the cottage to drop some things off with the landlords before continuing to Contae Chill Mhantáin (County Wicklow) where I am visiting the following locations:

Glendalough, site of St. Kevin’s Monastery.
Wickow Town, port city and site of an historic gaol (“jail” to Americans)
Avoca, the town where the BBC series Ballykissangel was filmed

Leaving Banagher, I found myself driving through the city of Birr directly beside Castle Birr and decided, “What the heck? I have time. I’ll visit the demesne of Castle Birr.” Castle Birr is the historic home of the Earls of Rosse and is still occupied by the Parsons family today. Thus the castle itself is not open to the public, but the grounds are.

Castle Birr, Biir, Co. Uibh Fhaili, Éire

Castle Birr, Biir, Co. Uibh Fhaili, Éire

There has been a castle on the site since 1170. From the 14th to the 17th centuries the Ó Céarbhaill family of Eile (Anglicized: O’Carroll of Ely) ruled this part of Ireland. (Their northen neighbors were the Ó Conchubhair Failghe, from which the county gets its name.) The O’Carroll’s ruled from a castle called “The Black Tower” which no longer exists.

After the death of Sir Charles O’Carroll, Sir Laurence Parsons was granted Birr Castle and 1,277 acres of land in 1620. He engaged English masons in the construction of a new castle making use of the gatehouse of the old Black Tower as its foundation. Flankers were added to the gatehouse diagonally at either side, giving the castle the plan it still has today. Descendants embellished the castle in the 18th century and by 1840 it looked as it now does. It is a 100-room private home!

Castle Birr, Biir, Co. Uibh Fhaili, Éire

Castle Birr, Biir, Co. Uibh Fhaili, Éire

The third Earl of Rosse, William Parsons, had no interest in adding to the castle. Instead, his interest lay in astronomy, particularly the study of nebulae, and he took it upon himself to build the largest telescope yet constructed. In 1845 he built on the castle grounds the “Great Telescope”, also called “the Leviathan of Parsonstown”, a reflecting telescope with a 72 in aperture. It was the largest telescope in the world until the Hooker Telescope was built at Mt. Wilson Observatory in California in 1917.

Parsons did not use the telescope for nearly three years after its construction because he turned his attention to famine relief (these were the years of the Great Hunger). But in 1847 he began his work, cataloging and studying nebulae. He discovered 226 of the nebulae and other deep sky objects eventually listed in the New General Catalog compiled in the 1880s by J. L. E. Dreyer and published by the Royal Astronomical Society in 1888.

The Great Telescope, Birr Castle Demesne, Biir, Co. Uibh Fhaili, Éire

The Great Telescope, Birr Castle Demesne, Biir, Co. Uibh Fhaili, Éire

After his death in 1867, his descendants used the Leviathan for another forty or so years. However, it fell into disuse and was partially dismantled in 1908; in 1914, one of the mirrors with its mirror box was transferred to the Science Museum in London. The walls remained. The tube, second mirror box, and universal joint survived. Eventually, however, even these were removed for safety reasons.

In the 1990s, the Leviathan was restored. Since there were no surviving plans, the restorers worked from Parsons’ notes, descriptions written by visitors, drawings and photographs. The restored instrument is what one now sees on the demesne of Birr Castle.

The Great Telescope, Birr Castle Demesne, Biir, Co. Uibh Fhaili, Éire

The Great Telescope, Birr Castle Demesne, Biir, Co. Uibh Fhaili, Éire

The Leviathan and the work of the various members of the Parsons family in astronomy and other sciences are the reason there is a pretty good “history of science” museum on the castle grounds. As I read about George Johnstone Stoney, one of William Parsons’ assistants who went on the achieve his own sort of fame as a physicist and the originator of the term electron, I thought this post about Castle Birr would be a good place to throw in some thoughts I’ve been having about string theory and God.

While on this trip, I’ve been reading The Elegant Universe by Brian Greene (Vintage Books 2000). I mentioned in another post that, for some reason, my “recreational reading” these days seems to be in the area of quantum mechanics and string theory…. I think this is because I am fascinated by the echoes of spirituality, theology, and religion I find in the comments of the mathematicians and physicists who write in this area for the general public. For example, about halfway into this book, Greene writes:

Imagine a universe in which the laws of physics are as ephemeral as the tastes of fashion – changing from year to year, from week to week, or even from moment to moment. In such a world, assuming that the changes do not disrupt basic life processes, you would never experience a dull moment, to say the least. The simplest acts would be an adventure, since random variations would prevent you or anyone else from using past experience to predict anything about future outcomes.
Such a universe is a physicist’s nightmare. Physicists – and most everyone else as well – rely crucially upon the stability of the universe. The laws that are true today were true yesterday and will still be true tomorrow (even if we have not been clever enough to have figure them all out). (Pp 167-68)

That sounds an awful lot like something in Holy Scripture – this bit from the Letter to the Hebrews: ” Jesus Christ is the same yesterday and today and forever.” (Heb. 13:8, NRSV) Greene may have been intentionally echoing Hebrews, but I don’t think so. I think the scientific quest for “the theory of everything” springs from the same source as the religious quest for understanding, and that both science and religion seek the stability of that which is, always has been, and always will be true. Later in the book, Greene discusses the application of string theory to cosmology and the ways in which the two fields learn from each other:

[T]he study of cosmology does hold the promise of giving us our most complete understanding of the arena of the why – the birth of the universe – and this at least allows for a scientifically informed view of the frame within which the questions are asked. Sometime attaining the deepest familiarity is our best substitute for actually having the answer. (Pp. 364-65)

I’m taken by that last thought, that “deep familiarity” is a substitute for “an answer”; I might even amend Greene’s thought to suggest that “deep familiarity” is the answer. Throughout the book Greene refers to spacetime as “the fabric” of the universe. For example, close to his conclusion he writes about the question of whether there was something “before” time, “before” space:

[D]escribing the spacetime fabric in [a] string-stitched form does lead us to contemplate the following question. An ordinary piece of fabric is the end product of someone having carefully woven together individual threads, the raw material of common textiles. Similarly, we can ask ourselves whether there is a raw precursor to the fabric of spacetime – a configuration of strings of the cosmic fabric in which they have not yet coalesced into the organized form that we recognize as spacetime. (P. 378)

The Hebrew Scriptures also speak of deep familiarity and use similar metaphors in describing God’s creative action, the metaphor of knitting and weaving. Jeremiah the prophet, for example, records his call to ministry quoting God as saying to him, “Before I formed you in the womb I knew you, and before you were born I consecrated you,” (Jer. 1:5) words that I recalled when I read Greene’s passage above about the “raw precursor” before the universe had “coalesced into the organized form that we recognize as spacetime.” In Psalm 139 themes one finds in Greene’s book, light and dark, weaving and pre-existence, are found together in a religious expression of the same yearning for deep familiarity:

If I say, “Surely the darkness will cover me, *
and the light around me turn to night,”
Darkness is not dark to you; the night is as bright as the day; *
darkness and light to you are both alike.
For you yourself created my inmost parts; *
you knit me together in my mother’s womb.
I will thank you because I am marvelously made; *
your works are wonderful, and I know it well.
My body was not hidden from you, *
while I was being made in secret and woven in the depths of the earth.
(Psalm 139:10-14 From the American Episcopal Book of Common Prayer Psalter)

In Greene’s discussion of that “raw precursor” before time and space, I was also reminded of the theological terns chronos and kairos, two different understandings of time which come into Christian theology through Greek philosophy. The first, chronos, is time on the move, time with a before and after, time in which we look to the future, experience the present, and remember the past. This is the time Greene writes about when he says, “[W]e, our friends, our belongings, and so forth all move through time … time [is] another dimension of the universe – the fourth dimension.” (p 49) Chronos is measurable, dimensional time.

The second Greek word for time is kairos, which considers time as qualitative rather than quantitative, as significant rather than dimensional; it speaks of time as a moment, time as occasion. Theologically, kairos refers to the “eternal now”, to God’s time, to time outside of time, to the eternal as distinguished from the everlasting. In kairos, there is no sequence, no before and after, no dimensionality, no length to it at all.

Not quite at the conclusion of this book, Greene says:

The astonishment at our ability to understand the universe at all is easily lost sight of in an age of rapid and impressive progress. However, maybe there is a limit to comprehensibility. Maybe we have to accept that after reaching the deepest possible level of understanding science can offer, there will nevertheless be aspects of the universe that remain unexplained. Maybe we will have to accept that certain features of the universe are the way they are because of happenstance, accident, or divine choice. (P. 385)

Reading those words and Greene’s conclusion two pages later, in which he encourages us all to keep striving for answers, to keep seeking to comprehend, I thought how often we have heard scientists, particularly physicists, compared to children playing with fire, and that reminded me of a Scriptural answer to Greene’s “maybe” … that there will be a time when our childish “maybes” will be resolved:

For now we see in a mirror, dimly, but then we will see face to face. Now I know only in part; then I will know fully, even as I have been fully known. And now faith, hope, and love abide, these three; and the greatest of these is love. (1 Cor. 13:12-13, NRSV)

The Leviathan of Parsonstown is a monument to that seeking spirit which informs both science and religion, that searching for comprehension that will be answered in the “eternal now” by that “raw precursor” Who was before time and space.

The Great Telescope, Birr Castle Demesne, Biir, Co. Uibh Fhaili, Éire

The Great Telescope, Birr Castle Demesne, Biir, Co. Uibh Fhaili, Éire

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