Design and the Intelligent Design Movement

Over the past decade or so, several scientists, authors, and speakers have joined forces to promote their observations that indicate life originated with a designer. Cells are just too complicated, they say, to have arisen by chance. Spontaneous generation, disproven centuries ago, remains the naturalist’s only option for the origin of biological life. Yet the odds against even a simple single-celled organism arising by chance are astronomical. The molecules have to line up all at once to form proteins, which have to line up quickly into the cells. DNA is a complex code for building life: made up of simple proteins, the series communicates a baffling level of information. Intelligent Design usually rests their case for an original designer at this point, picking back up after life has begun to debate Darwinism’s explanation for the variety of life we witness on earth.

But they could take the matter farther. Even if the remotest of far-fetched chances (this is before mutation or natural selection or heredity can have any impact on the process) came true and all the chemicals and molecules lined up, the language DNA writes still had to come from somewhere. It has no meaning without an Author. That age-old question, “Why?” asked by every two year old since humanity began, remains: both inside science and in the realm of philosophy.

According to the theory of evolution, mutations and natural selection account for increasing complexity and increasing variety among living creatures. (Evolutionists have precious little to explain the acquisition of new information in the DNA; all observable speciation, mutation, and variation consists of loss of information, reduced parameters for variety in future generations.) Evolutionists usually posit that all life arose from a single simple organism (which found sufficient nourishment, reproduced, and gave us the definition of life as we know it). Intelligent Design scientists point out that among the known species, there are many examples of features too complex, too perfectly adapted to be attributed to chance. The advent of each of these mechanisms would have been almost as miraculous as the first life, according to the mathematics. Take vision, wings, migration instinct, sex. Some creatures demonstrate irreducible complexity: all the new parts have to be present and perfect immediately to be functional. In some cases, the slightest difference means death for the creature in whom the feature was derived, and we know that dead creatures don’t pass their genes to future generations.

Complexity, information, and observed natural processes and their limitations are the data. Statistical probabilities are the analyses. Impossible is a logical conclusion. But life exists whether we can explain it or not. So some, purely on scientific grounds, conclude that there may be a designer. If we include this intelligence in the list of natural phenomenon; in other words, accept it as an observable* part of our world, humans can keep studying this marvelous, orderly world, drawing conclusions allowing for design and occasional if not constant intervention by a creative and powerful force.

*Scientists observe evidence for design in other fields (outside of ‘natural science’) all the time. Forensic science, for example, searches for clues that will tell an investigator whether a crime was committed. We not only judge whether there was intelligence, but degrees of intelligence using science. Consider archaeology. We may find a rustic clay pot, or a ziggurat aligned with constellations. Both represent intelligence, but of varying degrees.

Nor does it take a scientist to observe evidence for design. You are walking on the beach. Lying in the sand is a watch. With its gears and correspondence to what you call and measure as time, you conclude that the watch was designed, intelligently. Here most people explain our conclusions using a contrast with something “obviously” not designed, like the sand on the beach. The casual observer can see nothing about the form of the sand that stands out, that indicates someone intentionally smoothed it out and drew in ripples. In fact, we can even explain the tiny size of the particles, their smoothness, and the ripples by natural, consistent, observable events.

Here’s where I differ. Just as we have no explanation (using forces exclusive of a designer) for life, so science cannot explain the origin or structure of these tiny rocks. Under a microscope these crystals and substances reveal a mastery of molecular architecture. Each different rock is functional and unique from other kinds of rock. We’re taught that everything is composed of atoms, those busy bits whirling and attracting and repulsing with a reliability that we need every moment. What keeps the atoms together? What gives them weight? Why are there so many different substances? Even if “naturalists” are right, and the universe began with a big bang, what exploded, why and how? Where did the “what” come from, or the energy for the explosion? Why are there laws, and why are they repeatable? Taking our illustration of the sand, how did it get in the sea to be beaten into fragments, smoothed along a beach, and shaped by the waves breaking on the shore? Why do waves break, and how?

I argue that there is no such thing as naturalism without a designer, because every bit of nature is inexplicable without a designer. The laws of the universe represent order and harmony and intelligence. A cell may be more complex than a grain of sand, but only as the ziggurat is to a clay pot. Both are designed. And everything “natural” is so elegantly structured that its aesthetic far outweighs the clumsy pot made by man.

To God be all glory,
Lisa of Longbourn

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