In my response to the comments of Charley Hardwick, Ann Pederson, and Greg Peterson, I continue the narrative, confessional mode of my writing in Dancing with the Sacred. First, I sketch some methodological decisions underlying my naturalistic, evolutionary, practical theology. I then respond to the encouraging suggestions of my commentators by further developing my ideas about naturalism, mystery, creativity as God, the place of ecological responsibility in my thinking, sin, and eschatology. I offer suggestions as to how I might widen (...) the practical applications of my theology beyond environmental and medical ethics to other areas of moral responsibility in relation to the creative process. I do all this with much appreciation for the care and careful critical reflection that my commentators have devoted to my thinking. (shrink)

This essay is an appreciative engagement with Karl Peters's Dancing with the Sacred (2002). Peters achieves a naturalistic theology of great power. Two themes are covered here. The first is how Peters gives ontological footing for a naturalistic conception of God conceived as the process of creativity in nature. Peters achieves this by conceiving creativity in terms of Darwinian random variation and natural selection combined with the notion of nonequilibrium thermodynamics. He gives ontological reference for a conception of God similar (...) to Henry Nelson Wieman's idea of creative transformation. The second theme is how Peters succeeds in translating this nonpersonal conception of God into a powerful view of naturalistic religion that can shape a religious form of life. The key is that Peters's God can be understood as present in experience. Peters provides naturalistic interpretations of grace and the cruciform structure of creativity; the latter addresses the problem of evil in a nuanced fashion. I conclude with three critical comments about Peters's environmental ethics, his use of the notion of mystery, and his failure to have a robust conception of human fault or sin. (shrink)