Resurrecting the Imagination James K.A. Smith

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you are very kind thank you so much I loved Brigham Young University I it is such a warm space of incredible welcome for me and I count dear friends here and I'm so honored to be back and particularly to be giving this lecture I'm grateful to the Wheatley family and what you have built in the Wheatley institution I think your encapsulation of its mission is exactly perfect it's so timely I'm grateful to the Madson family for making this possible and to Emily for this invitation Paul for your hospitality thank you so much it's really been a treat I also had fantastic conversation would be why you students had lunch today who were brilliant so I could gush forever but you didn't come to hear that yeah Jim Faulkner is this not will take keep a comment Kymco it is a great honor for me to give a lecture named for Truman Madison's legacy and the ripple effects of his work eternal man and I do so in the spirit I think of his own legacy of conversation across streams and traditions I'll just put my cards on the table I come to you as a Christian in the reformed tradition who has a deep appreciation for latter-day saint thinkers who I see as allies in bearing witness against the reductionistic tendencies of secularism and naturalism we share a resistance to such diminished views of human nature because we share the conviction that human beings are so much more than the material while nonetheless being nothing less than embodied that that the eternal in man is carried in hallowed mater it's also why we share an emphasis on resurrection as the hope and end of the human being as Madison himself once put it as the teachings inform us the great principle of happiness consists in having a body only when resurrected is one fully capacitated to receive a fullness of joy this centrality of resurrection is a testament to the fullness of being human so tonight in the spirit of Truman Madison's work I want to extend as it were the importance of resurrection to consider how and why art is an arena a portal for our society to remember and recall the fires burning in us that have been lit by an eternal God in the lecture I just cited Manson remarked here's how he put it what we see hear smell taste and touch on earth only for shadows the expansion of sense8 awareness in the world to come hence the criticality of Christ's resurrection and through him our own I want to read that one more time because it's really good and slightly dense and I don't want you to miss it what we see hear smell taste and touch on earth only for shadows the expansion of sense 8 awareness in the world to come hence the criticality of Christ's resurrection and through him our own now I understand that only that he says that in comparison to what is to come what we see and hear and smell and taste and touch is only a foreshadow but let's also see the import of that from the other side there is the very real possibility that what we see and hear and taste and touch and smell can be a foreshadow of what is to come and if so then our affirmation of embodiment and resurrection should give us reason I want to suggest tonight for a reconsideration of the significance of the arts those modes of creates that we see here touch yes even taste and smell the culinary arts as we describe it those can be their own foreshadows sense eight pointers beyond the sensing in other words to allude to another of Truman Madison's works I want to add the arts to the catalogue of phenomena where we should be on the lookout for what he caught what he said as the highest in us in his essay collection by that name and Emily pointed me to this Madison said that his undergirding theme was the conviction that the power of God is in places we consistently neglect in the spiritual sense of our divine origins in flashes of spiritual memories in the Masters call to expand an intensified living in the sacramental approach to daily life in soul probing responses to tests like unto Abraham's in the lucid and time-tested pronouncements of our own conscience in the privileges of intimate prayer in the environs of the link between heaven and earth the temple so in that same spirit on the lookout for the highest in us we might find witnesses to the eternal in man in painting and poetry sculpture and fiction music and movies indeed I think it's telling that in recounting his own sense of calling there's a wonderful short film about Truman Madison's legacy that you could find on YouTube and in recalling his own sense of calling Truman Madsen actually appealed to his encounter with the arts the indelible mark left on his soul by a movie that none of us had heard of called the random harvest but it was in other words it was a film a movie that sparked a call in the spirit of such encounters I want to invite us tonight to the resurrection of the imagination and see how and why the arts stretch beyond the flattened materialism of our secular age the great English novelist Julian Barnes is something of a reluctant agnostic he admits as much in the very first line of his 2008 memoir nothing to be frightened of in which he simply says I don't believe in God but I miss him I don't believe in God but I miss him he's not believing he tells us is that once personal and environmental it's an amalgam of his own adolescent conclusions and the cultural assumptions of a secular post Christian society in which unbelief is taken to be the default especially for cultural elites like him I find Barnes not believing less interesting than his honesty about the absence of faith in his life the absence of God in his life the almost nostalgic longing for a faith he's never had this absence is most present he tells us in the face of art here's what he says missing God is focused for me by missing the underlying sense of purpose and belief when confronted with art confronted by beauty that captivates and whether it's in a baktun tada or a Bernini sculpture Barnes is hounded by this question he says what if it were true what if it were true he says imagine hearing the Mozart Requiem in a great Cathedral or for that matter pulling fishermen's masts in a cliff top Chapel damp from salt and spray and taking the text as gospel imagine reading giotto's holy strip cartoon in the chapel at Padua as nonfiction imagine looking on a Donatello as the actual face of the suffering Christ or the weeping Magdalene now Julian Barnes in the 21st century can't imagine his way back into the belief of those lights expression or singing in the 17th century in particular barns anachronistically I would suggest imposes a binary imagination on those who worshiped with such art he imagines that the Christian reflecting on Giada's frescoes during the mass saw them as true instead of beautiful the Christian he says quote would presumably have come in more concerned would have been concerned more with truth than aesthetics but in fact the Christian can't imagine that dichotomy as if the believer has to take El Greco's resurrection to be true instead of beautiful as if one had to choose between truth and beauty choose between epistemology and aesthetics choose between God and the world what if Christianity offered to the world a way to refuse such dichotomies and offered a more expansive imagination what if Christianity is like a hidden well of imagination that late modern culture has forgotten and left untapped this is the angle from which I want to take up the project of resurrecting the imagination Christian faith I want to argue has something to give has something to offer the world as we witness to the exhaustion of late modern paradigms and we see more and more cracks in the secular the resources of this neglected Christian tradition more and more start to look like gifts this religious incarnation of is a kind of archaic avant-garde who's offering seem fresh in a world where they've been forgotten in our secular age the conceptual resources of Christianity might be alien in the best sense of the world they are almost extraterrestrial they're spooky their peculiar their haunting possibilities that feel like they've arrived from another planet perhaps our post Christian societies in the West have reached a point where the peculiarities of Christian belief in incarnation and resurrection can actually be entertained as novel and received afresh as an invitation for another way to be human this is why I am Misha Lee missional II hopeful rather than despairing and defensive about the cultural moment in which we find ourselves you see the Christian affirmation of our ensouled embodiment the eternal in man as as we might say refuses Barnes dichotomy between truth and beauty one of the reasons why Christianity has generated art that haunts Julian Barnes is because the beating heart of Christian hope is the otherwise unimaginable truth of a God man of a trance piercing of the frontier between imminence and transcendence between broken humanity and holy divinity with the incarnate revelation of Jesus comes a revolution of the imagination the possibility of paradoxically holding together the incommensurate and here I have to make a plug for the exhibit at the Museum of Art on rend the heavens which is exactly an exhibit that's just exploring that intersection of divine human imminence and transcendence so thank you Emily for taking me that assessment so this evening I want to explore too I feel like I had a long preface here but the pictures are coming so just stay with me for second this evening I want to explore two aspects of Christianity's aesthetic heritage as an expression of the heart of Christianity's resurrection hope and see it as an enduring gift to offer our secular age so there are two impulses I'm going to say the first is what I'm going to call the Incarnation Olymp of Christian faith which Hallows matter as the conduit of grace and revelation underwriting the church's long patronage of the Arts to begin with but also in a way that affirms the goodness of finitude sanctifying the everyday aspects of being human and then secondly I want to talk about what I'm gonna call Christianity pathetic impulse as an expression of eschatological hope generating an art of lament that is rooted in the hope of the world being otherwise at the very heart of Christian faith is a kind of aesthetic revolution it's a new possibility for seeing and sensing the world so we need to appreciate how the Christian imagination as I'm going to call it differs from the flattened possibilities of late modernity where images are only that images are only images that is they are surfaces of pixels that wash over us that we scroll past entertained but untouched this is everything I want to say about the possibility of what artistic images I can can do is the exact opposite of Instagram okay the Society of the spectacle is what Jean Baudrillard called it he's a society for which images are he said simulacra without originals it's like everything is a copy of a copy of a copy of a copy a presenting surface with nothing more no depth no back nothing beyond and no ability to penetrate the depths of our souls instead images are now think of how we spend our time images are consumed as fuel for distraction they are blips of performance there are flashes that exist only for a present without memory or future ephemeral clusters of light without the power to illuminate snapchat is basically the paradigm of late modern images the banal materialism of modernity evacuates the material of significance and instead reduces it to a neo gnostic veil that is assessing leary woven by the next post the next pick the next performance do you know to me now there's what I'm saying is on the one hand we say that our culture is materialistic but interestingly because they only reduce to the flattened world of the material the material becomes nothing the material flies through our fingers the material has no significance which is why you just have to keep scrolling to the next page reload reload reload reload in contrast in the 8th century Saint John of Damascus articulated the revolutionary revelation that the Incarnation was it was in fact a realization of the goodness of matter announced with creation itself the Incarnation demotic John said was that tipping point in history where there could no longer be any doubt about God's hollowing of the material because God Himself became material now I should pause here and here's an oral footnote which is to say listen internal to the latter-day Saint tradition you have resources to go even deeper in this direction and thinking about the embodiment of God I'm coming to you as a Christian from from the Western Catholic tradition the everything I'm saying about the Incarnation here is almost ramped up for a tradition where God is embodied eternally what happens in the Incarnation the sculptor became the clay when I revere images st. John says quote I do not worship matter I worship the creator of matter who became matter for my sake who will to take his abode in matter who worked out my salvation through matter God's body is God he says because it is joined to his person by a union which shall never pass away because of this I salute all remaining matter with reverence and I picture st. John of Damascus to do this I salute all remaining matter with reverence because God has filled it with His grace and power why has Christianity generated such enduring art because every painting every poem every fresco and film is a salute to all remaining matter which has been hallowed by the Incarnation but more than that under writing Christian investment in the arts is the conviction that the encounter with a work of art is also about more than a matter that the material can be an enchanted portal to the immaterial that an encounter with worked over matter can activate the soul can remind us we have souls what is mesmerizing and haunting about a Bach cantata is the miraculous way that these indentation of airwaves on membranes inside our heads can nonetheless transport us onto a plane of contemplation that feels just barely tethered to the earth our souls walking a tightrope of elation and longing that feels infinite the mystery of God's embodiment is what underwrites the mystery of sacramentality and something like that conviction that the grace of God is revealed to us in bread and wine and water is also underneath the Christian investment in the aesthetic that the grace of God can be revealed to us in sounds and words and images the visible is not a barrier to the invisible it's a portal song can be an antechamber to our silence before the mystery of God's mercy the craft of speech in poetry and fiction can be stepping stones by which the word is yet again in fleshed for us this for example is why Vincent van Gogh continues to captivate us van Gogh's sacramental vision as we might call it is well captured in Julian Schnabel's marvelous film at eternity 's Gate I don't know how many of you have seen this but I have an evangelist for this movie at eternity skate as a painter himself Schnabel the director treats the film screen like a moving canvas at once transporting the audience into what it feels like to see as van Gogh sees while also de mirroring from trying to do what only Van Gogh's paintings can do with their media almost sculptural tactility by dramatizing what we know from Van Gogh's letters Schnabel gives us a fiction that is true unveiling revealing which is the same impulse that infused Vincent's art this is narrated in a stark moving scene it went by the way once you see this movie Vincent van Gogh will always be Willem Dafoe for you for the rest of your life it's incredible in a stark moving scene in which Willem Dafoe positively becomes the painter what I said and all of the dialogue from the film is lifted from Van Gogh's own letters what I see no one else sees and sometimes it frightens me I think I'm losing my mind but then I say to myself I'll show what I see to my human brothers who can't see him it's a privilege I can give them hope in consolation pressed as to why he devotes himself to such work van Gogh's answer is a matter of conviction of calling vocation because my vision is closer to the reality of the world I can make people feel what it's like to be alive interestingly the Tate Britain the great gallery in London recently hosted a massive retrospective exhibit on Van Gogh and the painter and writer Julian Bell there are a lot of bells in England it turns out Julian Bell who has no religious affiliation or interest whatsoever wrote a marvelous review of this exhibit in the London Review of Books and he concluded it this way van Gogh has gained his unique status exactly because he combines the keenest observational practices with an evangelical cast of mind a missionary intent to which his agonizing life story bears witness this makes him the channel through which the piety that we associate with the past age have actually reached and flourished loosed from its Christian and romantic moorings the thought that the created world might speak to us as creatures in need of consolation continues to communicate thanks in those part-2 Vincent van Gogh van Gogh is like a missionary to the future who continues to speak to a hungry age this is an extension of what I'm calling this incarnation of conviction that the material can be at once fully physical and yet more that an artifact I see can also plumb the depths of the invisible and can do so at both height and depth that is it can slice into the invisible corners of my own soul and the invisible Heights of a cosmic creator a canvas stone string can become luminous because they traffic in the mysterious such art is a liberation from the claustrophobia of our unimaginative materialism in late modernity so the Incarnation of God generates I'm suggesting an aesthetic imagination for which the material can be trans paid pierced by the immaterial matter becomes a window to God and the soul we might think of this as what I'm calling the transcendent impulse it gets us Beyond it gets us further but this transparent this transcendent even transgressive impulse is accompanied by an attention to imminence that manifests a sanctification of the ordinary by the hollowing of the everyday this affirmation of the goodness of finitude that translates into a holy attention to our embodiment this perhaps is the note of the Christian tradition that was sounded especially by the Protestant Reformation my people which is why so many examples of this come to us from the lowlands of the Netherlands and Belgium where the sensibility of the Protestant Reformation took hold in a particular way in Dutch landscape and seascape painting creation itself is worthy of contemplation in the work of Vermeer and Rembrandt the artists attention illuminates the workaday world of domestic like when Jesus takes the announcement of his resurrection on the testimony of women who were all too often ignored these painters see the labouring women who have remained invisible milkmaids and mothers and their tables laden with the fruit of the harvest and the spoils of the hunt again we hear an echo of this from Truman Madison because we affirm the eternal in man that does not he says entail a withdrawal from the world but rather a deepened participation one must attempt exhorted to hallow life in the midst of the profane that's exactly what these painters and artists are doing by hollowing the everyday they remind us that the everyday is charged with eternal significance in our own age of market-driven discontentment an age of materialism in which everything that is solid melts into thin air this Christian artistic legacy of hollowing the ordinary speaks to a hunger to find joy in the quotidian and receive the quiet delights on offer right in front of us it should remind us that Christianity is the most fulsome humanism because it refuses the incessant restlessness of materialism by actually affirming the material in a way that we might be content see the terrible thing about Leymah slightly sermonic footnote for a second the thing about late modern materialism as accumulation and consumption is that it actually is never satisfied with the material it's the act of acquiring and consuming and disposing so you don't actually value the material you just value the act of acquisition whereas what I'm talking about is a posture towards our finite created everyday world in which you actually receive the the material the domestic with gratitude so you could be content you don't have to keep chasing this life-affirming impulse generates an ongoing tradition of art that hollows the everyday which is so often invisible to us precisely because it's constantly in front of us Jim Faulkner and I are both students of a German philosopher named Martin Heidegger who one of his favorite phrases was the sumach stone zum ice-t's that is what is what is first and foremost what is right in front of me is actually often what I don't see because I look past it I miss it and what these artists are doing are almost inviting us to pause and see what's right in front of us one could see works as diverse as Rodin's burghers of Calais if you've ever been in that sculpture atrium at the Metropolitan in New York look for that or one of my more favorite more recent quarrels twenty-first-century masterpiece film roma is I think an extension of exactly this aesthetic impulse indeed we see this too in that film eternity zat eternity x' gate when Schnabel takes us not to the enchanted hills drenched in light but to the intimacy of a hospital bed where his brother Te'o climbs into bed with his tormented brother and holds him in an embrace and a long enduring shot itself intimates a love that never ends here is the beauty of family in the face of heartbreak I want to turn to the second what I'm calling generative aspect of Christian faith that finds expression through the Arts at the heart of the Christian story is a confession about time and history that the creator of the cosmos has erupted in time in history just as the Incarnation according to John of Damascus transforms how we relate to matter so to the mystery of the in flesh to God is a recalibration of the way we inhabit time that doesn't mean by the way that the Christian imagination is only nostalgic which i think is a great temptation for religious art is to just become nostalgic it's not just a backward-looking debt to something that has happened to the contrary the Christian and have its time as the fullness of Kairos not just the tick-tock of Chronos there is a timeliness of God's presence to the world that is ever ancient and ever new the long bright shadow that is cast by the resurrection intersects with the light that reaches us from the kingdom that is to come the Spirit is present to every age but never reduced to the spirit of the age and that spirit is a gift of the Ascension of the son and the same spirit groans for the renewal of all things and that revelation of the world to come this unveiling this apocalypse is a vision of a world brought to rights of how things ought to be of a Shalom the prophets tell us that is now elusive but then will be everlasting so what biblical scholar Richard Malcolm says about the book of Revelation the apocalypse might equally be true of art nourished by this Christian orientation in time I'm gonna do something you're never supposed to do with a PowerPoint which is I'm gonna put a lot of text up on but it's so I'm not just reading this great quote at you okay students in communication don't do this at home one of the functions of Revelation he means the book of Revelation was to purge and refurbish the Christian imagination it tackles people's imaginative response to the world which is at least as deep and influential as their intellectual convictions it recognizes the way a dominant culture with its images and ideals constructs the world for us so that we perceive and respond to the world in its terms moreover it unmasks this dominant construction of the world as an ideology of the powerful which serves to maintain their power in its place revelation offers a different way of perceiving the world which leads people to resist and to challenge the effects of the dominant ideology moreover since this different way of perceiving the world is fundamentally Oh and to open it to transcendent it resists any absolute izing power or structures or ideals within this world this is what in Christian tradition we call eschatology the hope of kingdom come so what does our eschatological vision have to offer a secular age what does Christianity offer to the contemporary imagination nothing less I want to suggest then the ability to name evil and hope otherwise I don't think our culture on its own terms can really legitimately do either of those things named evil or hope otherwise the first moment is crucial Christian Hope refuses both Pollyannish optimism and despairing kneel ISM the great critic Terry Eagleton once said optimists are as bereft of hope as Neil lists why because they have no need of it our still persistent cultural built-in penchant to name evil to call things evil I want to suggest actually lives off of borrowed capital the naturalistic modernism of our age doesn't really offer the intellectual or imaginative resources to either decry evil or generate hope naturalism can really only avert to the way things are the pseudo sovereignty of randomness and genetic predestination which precludes the possibility of lament all that is available to the naturalistic imagination is a description of the way things are and if things just are then one could never protest that something is askew a miss out of joint evil is the name that's reserved that we reserved for which that which should not be that's the shorthand what does he what do we mean when we say something is evil that should not be but in that sense actually evil is not legitimately a word in The Naturalist lexicon because the way things are are just the way they are how could you say they could be otherwise in contrast the Christian faith has the intellectual an imaginative resources to say that's not the way it's supposed to be thus Christianity can name evil as an imminent and eruption in the cosmos one that God himself takes on and overcomes which is precisely why Christian hope can also imagine a world without evil not by denying its existence but because we hope in its overcoming based on the firstfruits of the resurrection of Christ already a sign that death will die that is the difference between Christian hope and naive optimism this I would wager speaks to deep-seated human hungers the hope that the world could be otherwise that in Justices will be rectified that oppression will cease that pain would be known Nevermore it is hard to imagine a gracious God speaking to a more human and humane desire than the promise at the end of the book of Revelation where God Himself promises that he will wipe away every tear from their eyes there will be no more death or mourning or crying or pain for the old order of things has passed away the king who sits on the throne in this kingdom still bears scars on his hands and yet announces behold I make all things new there is nothing more scandalous in Christian eschatology and yet nothing speaks more directly to a hurt hurting fearful world so this eschatological orientation that fuels art that is suspended between the already and the not yet this unique imaginative capacity of the arts speaks to this in a feasible human hunger for restoration even while honoring the heartbreak of our present pilgrimage a Christian eschatology nourishes a distinct imagination that refuses to be constrained by the catalogue of the currently available and instead imagine a world to come breaking into the present so I want to say that art infused with this eschatological imagination at once laments and hopes in its lament it honors our experience of brokenness the heartbreak it of the now and in its hope it gives voice to our longings so it neither wallows and romanticized tragedy nor escapes to sentimental naivete such eschatological art is like an embodied form of the Lord's Prayer uncanny 'no synaptic krypter of this kind of art that paints beauty with ashes that can walk the soul through the valley of the shadow of death on the way to a feast in the wilderness such art stops a short in its uncanny even paradoxical ability to embody hurt and hope so let me consider with you just a few examples of what will be not for the utter the way works that I think and you could multiply these but these might be suggestive examples consider for example hope you can sit by the way I'm so pleased with the projection here it's great this is called the tomb of Madame longans it was created in 1751 by German artists Johann Auguste null for the grave of a pastor's wife lost in childbirth on Holy Saturday that day suspended between death and resurrection the grave you will notice is embodied with emblazoned with skulls it's a memento mori a reminder of mortality and the image of lost child and mother together is heartbreaking but you see how the seeds of hope are picture for us in a different kind of rupture not the rupture of loss but restoration as they rise do you know what's happening here they are breaking through the they are climbing up to new life we are almost teased by this possibility and it Kindles in us a cry of Maranatha come quickly Lord Jesus hasten the day when we can meet this child whom you've known since the womb by the way you can see one instantiation of this piece at the Getty in los angeles or considered this public memorial to fallen workers in Hamilton Ontario near my hometown Hamilton is kind of the Pittsburgh of Canada it's Canada's Steel town we feel the danger in it this it's a memorial to fallen workers it's called we feel the danger that has consumed those who've built our bridges and the skyscrapers that we ascend in the safety of ensconced elevators confronting us here is the tactile body of those workers who plunge to their deaths consumed in the dams and the torrents they fought back these martyrs of industrial progress but I want you to note the shadow that is cast just who is hanging here does that shadow suggest another who hung on a tree mocked with a crown of thorns that we seem to see protruding from his head is that the same one who made a mockery of death by rising from the dead is that the shadow of hope cast over those lost workers it's not only death we hope will cease it is all the death-dealing way as we treat one another the systems of oppression and painful exclusion which are their own perverted forms of human imagining eschatological art laments rages against the injustice 'as of might it's no accident that the Bible's most evocative laments appear in the poetic books Psalms lamentations lament is its own slant of light consider for example this work which is called sugar and spice it's part of the tisha Huckabee suffrage project the print of a young african-american girl looks despondent her protest sign says enough and it rests on her shoulder as her own version of how long O Lord the print appears on a vintage cotton pickin sack and once you realize that an entire history of oppression and marginalization creeps up from your gut up your spine into your heart halting and a lump in your throat you don't need it to reach your mind you now know something you didn't know before and yet that gentle pastel pink skirt evokes a ballerinas tutu and the image births in us are longing to see this young girl dance to see her despondency turned to joy to trade the now necessary sign of protest for a banner of praise prophetic art inhabits this tension of lament and hope and it does not merely communicate a message it enacts what it embodies it performs this turning of mourning into dancing lament without hope is just anger hope without lament is a lie about the present art that is prophetic both laments and hopes as the poet Rick Rilke put it in his sonnets to Orpheus only where there's praise made lamentation and go I'm talking a little too long so I'm gonna finish with a poem there's some really good stuff here that you're missing but I want to hear from you I want to finish with a poem that I think embodies much of what I'm saying tonight I want to give you one context before I put it up here you'll be able to I'll read it and you'll be able to see it on the screen as well it's by poet named rod chellamma who is comes out of my own tradition of Christian poet taught for years at the University of Maryland the title of the poem is we used to grade God's sunsets from the Lost Valley Beach and the one contextual note I want to make is Lost Valley be is on the shore of Lake Michigan about 35 minutes from Calvin College and all these old professors who apparently used to be able to afford beachfront property had this little commune of cottages up there and so this is alluding to their experience of going out the sunsets over Lake Michigan in summer stunning but this is a playful and suggestive poem about that why we really watched we never said the play of spectral light but maybe also the coming dark and the need to trust that the fire dying down before us into Lake Michigan's cold waves would rise again behind us our arch and witty critiques covered our failures to say what we saw the madcap mockery of grading God as though he were a struggling student artists cut loose strip it down study Matisse and risk something something on seized scene C+ keep trying that sort of thing only hid our fear of his weather howling through the galaxies we humored a terrible truth that nature gives us hope only in flashes split seconds one at a time fired in a blaze of beauty picking apart those merely actual sunsets we stumbled into knowing the artists job to sort out than to cease and work an insight until it's transformed into permanence and God brushing in for us the business of clouds and sky really is a hawker of cliches a sentimental hack as a painter he means to be he leaves it to us to catch and revise to find the forms of how and who in this world we really are and would be to see how much promise there is on a hurtling planet slung from a thread of light and saved by nothing but grace thanks very much [Applause]
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Channel: The Wheatley Institution
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Length: 43min 46sec (2626 seconds)
Published: Thu Jun 11 2020
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