In at least two ways it can be sensible to ask about the responsibility of theology for something or other, not just the responsibility of individual theologians. They are rather like the ways in which we can ask about the responsibility of the engineering behind some dam, say, not just that of the individual engineers, for the safety of the dam. In one, we may ask about something in the abstract nature of engineering, its concepts or principles: Was it reliance on some daring new engineering concept that was responsible for the dam’s failure? In the other way, we may ask about the received practices of engineers generally, not just about the actual practice of the engineers involved on that occasion. Do they tend, for example, to double the theoretically necessary thickness of certain structural components, and is that practice responsible for their structures withstanding more than their due of wild weather and erratic maintenance? Or do they tend to pare things down to the point where only near-perfect workmanship and near-ideal materials can keep things safe?

There has been a resurgence of interest in a particular kind of contemporary music in recent years. This has been a surprise to many, especially the composers involved, because we live at the end of a century that has seen a retreat by the composing community from the larger music loving public. If one looks back to the early days of the century we see figures like Schonberg, establishing private societies for the performance of Contemporary music. A perception is beginning to emerge within the composing community that the priorities of composeIs have in some way separated from the priorities of the larger music-loving public. At the very time when a museum culture was beginning to be the main priority of classical music listeners, composers were going into a very exploratory mode. In the century of the holocaust and the loss of meaning generally, composers have gone into a kind of laboratory phase when the very nature of music was the stuff of their investigations. Composers like Boulez, Stockhausen, Berio and the young Turks of the post-war generation took music into a very abstract phase indeed by making explorations into the purely abstract nature of music but with an ideological and idealistic desire to turn their backs on the past. They wanted to start afresh from year zero, as it were, to write a music that was untainted by tradition, a music that would not have any resonance of a failed bourgeois culture.

The title of this talk presupposes some important definitions. The conference title, “The Responsibilities of Theology”, struck me firstly as rather odd, but also as strikingly familiar. Many is the time I have seen the heading “The Responsibilities of Business”. In this light, such terminology implies that there is some kind of corporate (in its original sense) identity under the heading “theology” or “business”, to which some kind of responsibility can be ascribed. Lots of ink has been spilt over whether one can say in any meaningful way that the business corporation “acts” and can therefore “have responsibilities”, and this title seems to invite the same kind of approach to the “enterprise of theology”.’ I’ve taken a particular line on these questions, which is apparent in the thesis below. To take a particular line in order to get somewhere is the kind of thing that a business person would do. Results are important to businesspeople-an important point for theology to take on boarcbut the drawback in this is that to focus on results also tends to narrow down the discussion. In order to “get somewhed’ I am going to do the same thing, which will inevitably leave some avenues of possible discussion left untouched.

The idea that theology might have something to say to science, especially if we see this as one of its responsibilities, might seem to us to be an odd question to ask. Ever since C.P. Snow proposed the idea of the ‘two cultures’, the impression of many, apart from those with a keen interest in interactions between science and religion, is that sciences are best left to their own devices. It seems obvious, at first sight, that it is primarily in the realms of history, language, literature, art and music that theology can find welcome dialogue partners. In popular culture, too, there is a residual memory that over-zealous religious fanatics in some way constricted science. The stories of conflict between Thomas Huxley and Bishop Wilberforce, Galtleo and the Holy See, have become inflated into mythologies of distrust and suspicion. The fact that the real historical accounts show many more nuances than this is important to establish, but is not really the point I am making here. Rather, I am suggesting that we have become so used to seeing the two areas of theology and science as separate, that we fail to notice in what ways the culture we live in is also one shaped by science, and that science itself is a profoundly cultural activity.

‘It seems that theology has no significant responsibility for spiritual development and pastoral care: at best, theology is a harmless distraction which entertains some Christians endowed with certain kinds of temperament; at worst, theology is a positive impediment to proper Christian formation and growth’. So a Thomist videtur quod non might begin, and the documentation would be easy to find. We might, for example, quote the famous adage, ‘by love he may be caught and held, but by thinking never”. We could reflect on how pastoral supervisors often try to get trainee ministers to respond to ‘what is really going on’, and not to think too quickly in terms of articulated theology. Again, many of us will know good priests who will tell us that seminary training in theology was something they survived. They began real learning on the job, on the basis of simple goodness and common sense. Theology is something of which they are in awe, or nervous, or suspicious; it remains remote from their awareness.