This Element analyzes the various forms that design arguments for the existence of God can take, but the main focus is on two such arguments. The first concerns the complex adaptive features that organisms have. Creationists who advance this argument contend that evolution by natural selection cannot be the right explanation. The second design argument - the argument from fine-tuning - begins with the fact that life could not exist in our universe if the constants (...) found in the laws of physics had values that differed more than a little from their actual values. Since probability is the main analytical tool used, the book provides a primer on probability theory. (shrink)

The design argument is one of three main arguments for the existence of God; the others are the ontological argument and the cosmological argument. Unlike the ontological argument, the design argument and the cosmological argument are a posteriori. And whereas the cosmological argument could focus on any present event to get the ball rolling (arguing that it must trace back to a first cause, namely God), design theorists are usually more (...) selective. (shrink)

This article criticises Alvin Plantinga’s claim that ‘basic’ design beliefs, which arise without a conscious inference, have more positive epistemic status than non-basic ones and that we cannot evaluate the probabilities involved in inferential, inductive design arguments.

Contemporary philosophers have largely neglected Richard Taylor’s design argument. Given that the initial responses to the argument were largely negative, one might be tempted to conclude that the argument is simply philosophically inadequate. This paper rejects that conclusion by showing how Taylor’s argument has been misunderstood by his critics. In defending Taylor, it is shown that the two types of objections levied against him fail to even blemish his design argument, let alone refute (...) it. Consideration is also given to the argument’s historical lineage, along with a proposal for future considerations of the connection between epistemological realism and design. (shrink)

In the broadest sense, natural theology is the effort to gain knowledge of God from non-revealed sources – that is, from sources other than scripture and religious experience – but there is also a much narrower sense of natural theology: the construction of arguments for the existence of God from empirical evidence. This narrower sense is most strongly associated with the argument for God's existence from the appearance that the natural world has been constructed for a purpose. This (...) class='Hi'>argument is referred to as ‘the Design Argument’. This chapter addresses a generic theological question confounding the Design Argument. Why would God design or create anything at all, much less a world like this one? Let us call this question ‘Why design?’. It is shown that answering WD entangles proponents of the Design Argument in age-old debates about divine freedom, divine moral perfection, and divine rationality. Despite the pretensions of some of its proponents, the Design Argument is not and never has been ‘strictly scientific’. (shrink)

Most of the contemporary literature regarding teleology or design in nature assumes that we human beings make some sort of tacit inference when we form "design beliefs" person is causally relevant to the occurrence of some event). It is often held that this inference occurs so quickly that we are unaware of the inferential process. Attempts to reconstruct this inference have met with varying degrees of success, but none of them seem to match the strength with which ordinary (...) design beliefs are held. This dissertation therefore offers a challenge to this "inferential model" of design belief formation by arguing that in many ordinary cases we do not infer to design beliefs at all. Rather, human design beliefs often form spontaneously and properly whenever certain conditions are met, and receive some measure of positive epistemic status just in virtue of their proper and spontaneous formation. This alternative model is called a "Reidian" model because it is analogous to Thomas Reid's account of sense perception. The Reidian model offers the dialectical advantage of shifting the burden of proof from the one arguing for design to the one who claims to have a suitable "defeater" belief. It also better matches our introspective judgments about design beliefs and resolves some puzzling problems that have been noted in recent literature on design inferences. ;The Reidian model can also generate some reasonably persuasive design arguments from the deliverances of the natural sciences , but it does not sanction the inclusion of design hypotheses within the content of the natural sciences. It is also argued that none of the "defeater" propositions one might consider carries enough epistemic "weight" to defeat design beliefs that form according to the model. The resulting Reidian design arguments also have the advantage that they do not require the rejection of the Darwinian paradigm. However, it is also noted that the Reidian model presents several occasions for dialectical impasse between disputants about design in nature. (shrink)

In an article in Philosophy R. G. Swinburne set out to argue that none of Hume's formal objections to the design argument ‘have any validity against a carefully articulated version of the argument’ . This, he maintained, is largely because Hume's criticisms ‘are bad criticisms of the argument in any form’ . The ensuing controversy between Swinburne and Olding 1 has focused upon the acceptable/unacceptable aspects of the dualism presupposed in Swinburne's defence of the design (...) argument; upon whether any simplification is achieved by reducing scientific explanation to agent explanation; and upon the problems which arise from taking a man's acting upon his body as the analogy for understanding a disembodied agent acting upon matter. In this article I shall refer to the Swinburne-Olding controversy when appropriate but my main concern is to return to Swinburne's original article and argue, seriatim , that Hume's individual criticisms of the design argument are for the most part a great deal more powerful than Swinburne allowed. I shall contend that cumulatively they destroy the design argument as any sort of rational foundation for theistic belief. But first I shall indicate briefly the character of the argument together with one or two of the distinctions and refinements in terms of which it has been found helpful to carry on the discussion in recent years. (shrink)

The history of design arguments stretches back to before Aquinas, who claimed that things which lack intelligence nevertheless act for an end to achieve the best result. Although science has advanced to discredit this claim, it remains true that many biological systems display remarkable adaptations of means to ends. Versions of design arguments have persisted over the centuries and have culminated in theories that propose an intelligent designer of the universe. This volume is the only comprehensive survey of (...) 2,000 years of debate, drawing on both historical and modern literature to identify, clarify and assess critically the many forms of design argument for the existence of God. It provides a neutral, informative account of the topic from antiquity to Darwin, and includes concise primers on probability and cosmology. It will be of great value to upper-level undergraduates and graduates in philosophy of religion, theology, and philosophy of science. (shrink)

This article discusses a particular example of the intelligent design argument, which is one of the theistic arguments put forward to prove the existence of God. The intelligent design argument, in contrast to evolutionary theory, is central to the debate between religion and science. In this context, the problem that the article deals with is the validity and persuasiveness of William A. Dembski's design argument based on spatial regularities. Both historical and contemporary versions of (...) design arguments mainly focus on spatial regularities. However, with the widespread acceptance of evolutionary theory in scientific and philosophical circles, design arguments based on spatial regularities have been severely criticized. The article aims to examine a contemporary example of design arguments based on spatial regularities, and to determine whether it maintains its strength against the objections originating from the theory of evolution. Literature review, one of the qualitative data collection methods, was used in the study, and the data were philosophically evaluated in terms of consistency and defensibility. This subject, which has a very comprehensive place in the debates in the context of philosophy of religion, science and religion, is limited to Dembski's proof and objections to him. As a result of this study, it will be argued that Dembski's design argument based on spatial regularities is not convincing enough in the face of criticisms originating from the theory of evolution. (shrink)

If you have taken a college biology class, or just watched Animal Planet, you may have been struck by the startling complexity of living organisms. From the grandest mammal to the lowliest cell, life displays intricacy and structure that would put a high-paid team of engineers to shame. How could such fantastically organized, complex structures arise blindly out of unintelligent matter? Speaking of matter, why is it the way it is? Though unimaginably vast, our universe has precise features, as does (...) the matter in it. A glance at the inside back cover of a college physics textbook shows that there are extremely precise numbers describing the fundamental properties of matter. These include numbers for the speed of light in a vacuum, for the masses of fundamental particles like the electron, proton, and neutron, and for the strengths of forces like gravity and electromagnetism that act on those particles. These numbers seem utterly arbitrary. For all we know, they could have been completely different. Yet they turn out to be exactly what a universe needs in order for complex life to emerge in it. Likewise, the cosmology section of an astronomy course will teach you that there are very precise values for the temperature of the universe, for how much matter there is per cubic centimeter in the universe, for the rate at which the universe is expanding, and so on. How did those numbers get to be what they are? Were they just magically pulled out of a cosmic hat at the Big Bang? (shrink)

Some features within the physical universe appear to be so well-ordered that they have been regarded as evidence of the existence of a supernatural being who has designed them. This history of the so-called design argument is millennia-long, and various formulations of the argument have been presented. In this paper, I explore one contemporary version of the design argument proposed by the Intelligent Design movement, and analyze its advantages and disadvantages in comparison to one (...) of the most famous classical versions of the argument. (shrink)

Sober has reconstructed the biological design argument in the framework of likelihoodism, purporting to demonstrate that it is defective for intrinsic reasons. We argue that Sober’s restriction on the introduction of auxiliary hypotheses is too restrictive, as it commits him to rejecting types of everyday reasoning that are clearly valid. Our account shows that the design argument fails, not because it is intrinsically untestable but because it clashes with the empirical evidence and fails to satisfy certain (...) theoretical desiderata (in particular, unification). Likewise, Sober’s critique of the arguments from imperfections and from evil against design is off the mark. (shrink)

Unter ›Design-Argumenten‹ fasst man Argumente zusammen, die von der Existenz bestimmter struktureller Merkmale M der natürlichen, also nicht auf menschliches Handeln zurückgehenden Welt auf die Existenz eines nicht-menschlichen intelligenten Urhebers dieser Merkmale schließen. Da die strukturellen Merkmale M in der Regel eine bestimmte Zweckmäßigkeit und damit den Anschein einer Anpassung an bestimmte Ziele einschließen, wie man ihn von menschlichen Artefakten kennt, die für einen bestimmten Zweck gemacht sind, nennt man diese Merkmale auch › Design‹ und den erschlossenen Urheber (...) einen ›Designer‹. (shrink)

The design argument for the existence of God is often criticized for resting on anthropocentrism. Some critics maintain that anthropocentrism explains the origin of the design argument. Such critics commit the genetic fallacy. Others say anthropocentrism explains the appeal of the belief that human beings are ends especially worthy of creation. They fail to appreciate that the design argument need not be framed in terms of the fitness of the universe for humanity. Lastly, some (...) say the design argument requires a picture of value according to which it was true, prior to the coming-into-being of the universe, that our sort of universe is worthy of creation. Such a picture, they say, is mistaken, though our attraction to it can be explained in terms of anthropocentrism. This is a serious criticism. To respond to it, proponents of the design argument must either defend an objectivist conception of value or, if not, provide some independent reason for thinking an intelligent designer is likely to create our sort of universe. (shrink)

This paper examines probabilistic versions of the fine-tuning argument for design (FTA), with an emphasis on the interpretation of the probability statements involved in such arguments. Three categories of probability are considered: physical, epistemic, and logical. Of the three possibilities, I argue that only logical probability could possibly support a cogent probabilistic FTA. However, within that framework, the premises of the argument require a level of justification that has not been met, and, it is reasonable to believe, (...) will not be met anytime soon. (shrink)

Design arguments make a case for the existence of God based on examples of apparent design or purposiveness in the natural world. Current versions of the argument proceed, not in terms of analogies between the universe and human artifacts, but as inductive arguments to the best explanation of the data. Theism is offered as the simplest hypothesis that can explain facts such as the mathematical elegance and intelligibility of the laws of the nature. The design (...) class='Hi'>argument has recently received new life from discoveries regarding the fine-tuning required for any universe capable of sustaining life. (shrink)

This chapter contains sections titled: Traditional Analogical Arguments Arguments to the Best Explanation Arguments from the Sciences Probability and World Hypotheses Is the Designer God? Works cited.

The cosmological and teleological argument both start with some contingent feature of the actual world and argue that the best or only explanation of that feature is that it was produced by an intelligent and powerful supernatural being. The cosmological argument starts with a general feature, such as the existence of contingent being or the presence of motion and uses some version of the Principle of Sufficient Reason to conclude that this feature must have an explanation. The debate (...) then focuses on two points: first, whether the PSR in question is true, and second, whether the explanation must involve God or at least some God-like being. The teleological argument begins with a general feature of the cosmos judged to have value, such as the existence of intelligent life or the presence of order in the universe, and argues, usually inductively but sometimes deductively, that this feature is to be explained by the agency of a powerful supernatural being. Here, the debate tends to focus on whether there are alternate naturalistic explanations, such as Darwinian evolution. (shrink)

Recent work by Eliot Sober regarding the logical structure of the design argument challenges widely held views on how the history of this argument should be understood. This novel “likelihood interpretation” denies that the design argument is an analogical argument. Instead, Sober suggests that all references to artifacts serve an exclusively heuristic function, and do not play an evidential role in the design argument. In contrast, I contend that philosophical considerations as well (...) as historical analysis of the works of David Hume and William Paley establish that the design argument should be understood as a sophisticated analogical argument, albeit one susceptible to Philo’s most refined skeptical arguments. (shrink)

The argument from design stands as one of the most intuitively compelling arguments for the existence of a divine Creator. Yet, for many scientists and philosophers, Hume's critique and Darwin's theory of natural selection have definitely undermined the idea that we can draw any analogy from design in artifacts to design in nature. Here, we examine empirical studies from developmental and experimental psychology to investigate the cognitive basis of the design argument. From this it (...) becomes clear that humans spontaneously discern purpose in nature. When constructed theologically and philosophically correctly, the design argument is not presented as conclusive evidence for God's existence but rather as an abductive, probabilistic argument. We examine the cognitive basis of probabilistic judgments in relationship to natural theology. Placing emphasis on how people assess improbable events, we clarify the intuitive appeal of Paley's watch analogy. We conclude that the reason why some scientists find the design argument compelling and others do not lies not in any intrinsic differences in assessing design in nature but rather in the prior probability they place on complexity being produced by chance events or by a Creator. This difference provides atheists and theists with a rational basis for disagreement. (shrink)

Suppose you take a tour of the Louvre, that great museum in Paris housing one of the finest art collections in the world. As you walk through the museum, you come across a painting by someone named Leonardo da Vinci -- the Mona Lisa. Suppose this is your first exposure to da Vinci -- you hadn't heard of him or seen the Mona Lisa before. What could you conclude? Certainly you could conclude that da Vinci was a consummate painter. Nevertheless, (...) just from the Mona Lisa you couldn't conclude that da Vinci was also a consummate engineer, musician, scientist, and inventor, whose ideas were centuries ahead of their time. (shrink)

In his essay, "Fine-Tuning and Multiple Universes", Roger White examines the extent to which a multiple-universe hypothesis lessens the ’surprisingness’ that our universe should be life-sustaining. White offers two main conclusions. His first conclusion -- that the existence of our world is not itself evidence for the existence of multiple universes -- is sound. However, his second conclusion is that, on the hypothesis that multiple universes exist, the further hypothesis of an intelligent designer does not lesson the surprisingness that our (...) universe should be life-permitting. This second conclusion, which would undercut most design arguments, is shown to rest on a mistake. (shrink)

One of the most commonly-raised objections to the design argument is the so-called “who designed the designer?” objection, which charges that any designer invoked to explain complexity in the universe will feature complexity of its own, and thus require explanation in terms of design. There are two distinct versions of this objection in the contemporary literature, with it being couched in terms of: (1) Complexity of designer: a designer exhibits complexity, which calls for explanation in terms of (...) design; (2) Complexity of ideas: a designer’s ideas exhibit complexity, which calls for explanation in terms of design. To each of these versions of the objection there corresponds various responses from proponents of design. These proponents adopt a very particular strategy when crafting their responses: they argue that the objection can be neutralised simply by appealing to one or more of God’s attributes. In this paper I argue that this strategy is inapt, and unable to yield a successful response to either version of the objection. I also argue that a more promising way of tackling the objections is to identify their own peculiar weaknesses, for once these are exposed the objections cease to be a credible threat to the design hypothesis. (shrink)

Elliott Sober has recently argued that the cosmological design argument is unsound, since our observation of cosmic fine-tuning is subject to an observation selection effect (OSE). I argue that this view commits Sober to rejecting patently correct design inferences in more mundane scenarios. I show that Sober's view, that there are OSEs in those mundane cases, rests on a confusion about what information an agent ought to treat as background when evaluating likelihoods. Applying this analysis to the (...) design argument shows that our observation of fine-tuning is not rendered uninformative by an OSE. Design and the Anthropic Objection Previous responses to the Anthropic Objection Variations: experimental squads and survivor reunions Why there is no OSE in firing squad cases Application to the design argument. (shrink)

The design argument for God’s existence was critically assessed when in the growth of modern science the cognitive value of teleological categories was called into question. In recent discussions dealing with anthropic principles there has appeared a new version of the design argument, in which cosmic design is described without the use of teleological terms. The weak anthropic principle (WAP), a most critical version of all these principles, describes the fine-tuning of physical parameters necessary to (...) the genesis of carbon-based life. Consequently, a new version of the philosophical design argument can be developed on the basis of the weak anthropic principle.(edited). (shrink)

Recent developments in astrophysical cosmology have revived support for the design argument among a growing clique of astrophysicists. I show that the scientific/mathematical evidence cited in support of intelligent design of the universe is infected with a mathematical sharp practice: the concepts of two numbers being of the same order of magnitude, and of being within an order of each other, have been stretched from their proper meanings so as to doctor the numbers evidentially. This practice started (...) with A. S. Eddington and P. A. M. Dirac in the 1920s and 1930s, but it is still very much alive today. 1 Introduction 2 The birth of a sharp practice 3 High tide for the anthropic principle 4 How not to do things with numbers 5 The recalcitrant sloppiness of crud 6 How excited can excited carbon-12 be? 7 Is a pile of doubts a doubtful pile? 8 Conclusion. (shrink)

Newton and his contemporaries reinterpreted the traditional "design" argument for God's existence to argue from a universe, conceived along mechanistic lines, to the "Supreme Geometrician" who planned the design, started the machine, and continually compensates for its mechanical inadequacies. This position, Hurlbutt contends, was Hume's primary target in his Dialogues Concerning Natural Religion, a target which Hume effectively demolished. Hurlbutt attempts to amplify the significance of this thesis by summarizing various classical and medieval arguments for God's existence. (...) Hume, he feels, effectively refuted all of them by undercutting the rational arguments and showing that the mystical arguments rested on subjective needs and cultural conditioning. The present result of Hume's labors is that: "No modern theology is pursuing the path of natural theology or its prized argument—the design argument," a conclusion that Hurlbutt reaches by ignoring those theologians, e.g., many Thomists, who are pursuing the path of natural theology as well as the arguments that they actually employ.—E. M. M. (shrink)

We argue that there is a tension between two types of design arguments-the fine-tuning argument (FTA) and the biological design argument (BDA). The tension arises because the strength of each argument is inversely proportional to the value of a certain currently unknown probability. Since the value of that probability is currently unknown, we investigate the properties of the FTA and BDA on different hypothetical values of this probability. If our central claim is correct this suggests (...) three results: 1. It is not very plausible that a cumulative case for theism include both the FTA and the BDA (with one possible qualification); 2. Self-organization scenarios do not threaten theism but in fact provide the materials for a good FTA. 3. A plausible design argument of one sort or another (either FTA or BDA) will be available for a wide variety of values of the key probability. (shrink)

Although Hume’s critique of the design argument is a powerful non-inductive meta-argument, the main line of critical reasoning is not analogical but rather a complex meta-argument. It consists of two parts, one interpretive, the other evaluative. The critical meta-argument advances twelve criticisms: that the design argument is weak because two of its three premises are justified by inadequate subarguments; because its main inference embodies four flaws; and because the conclusion is in itself problematic (...) for four reasons. Such complexity is quite manageable in a meta-argumentation approach. (shrink)

The Argument from Fine-Tuning, a relatively new version of the Design Argument, has given rise to an objection, based on what is known as the An­thropic Principle. It is alleged that the argument is fallacious in that it involves an observation selection effect—that given the existence of intelligent living observers, the observation that the universe is fine-tuned for the existence of intelligent life is not surprising. Many find this objection puzzling, or at least easily refutable. My (...) main contribution to the discussion is to offer an analysis of what is wrong (and what is right) in the objection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:305 HUME, HENRY MORE AND THE DESIGN ARGUMENT This paper is a contribution to research on the sources of Hume's statement of the design argument, whose analysis is the great subject of Dialogues Concerning Natural Religion. My surmise is that Hume's statement is probably his own. It is not a direct quotation from any source, but more 2 likely a fabrication drawn from several sources (...) which presents the strongest statement Hume could devise. My aim here is to demonstrate that one of Hume's sources is the works of Henry More (16141687 ). By a comparison of their language I mean to show the extent to which Hume drew on More for his formulation of the design argument. One of More's works, Divine Dialogues (1688), could have been Hume's modern example for treating the design 4 argument in a dialogue. It could have given Hume pointers for the organization, tone and characters of his own Dialogues. On a large view, the whole of Pialogues Concerning Natural Religion, with their artful match of position and counter-position, can be seen as a statement of the design argument. But on a close view, we can distinguish specific elements in Hume's statement; and for three of these elements we can show a close parallelism between Hume and More. The elements in Hume's statement to be considered here are.· (1)Cleanthes' introduction of the design argument in Part II, paragraph 5; (P 143) (2)"instances of design" offered by Cleanthes; (D 154, 185) and 306 (3) completing Hume's exposition of the design argument, Parts X and XI of the Dialogues, with their questions about the implications of human misery and the ill-workings of the world for the wisdom and benevolence of the universe maker (D 193-213). In addition to parallelisms between Hume and More at these points, there are a few straws in the wind that are worthy of mention. To pave the way for these comparisons, let me set out More's statements of the design argument. There are three of them. (1) More's first statement of the design argument occurs in An Antidote against Athéisme, (1652). The second of this work's three books is devoted to the design argument. Here is one of the earliest statements of the design argument in English; and it may be its first statement in an English work that is philosophical, rather than devotional or theological, and intended to convince solely on the basis of reasonable arguments. More sets out of the argument in three parts. First, there is the introductory remark: "...I would have my atheist walk with me awhile in the wide theater of this outward world, and diligently to attend to those many and most manifest marks and signs that I shall point to in this outward frame of things, that naturally signify unto us that there is a God" (AA 37-38). The 'walk' covers the next sixty pages, wherein More lists feature after feature of the world that he finds to instance divine design. At the end of this extensive catalogue, More then draws his conclusion: Wherefore the whole creation in general and every part thereof being so ordered as if the most exquisite reason and knowledge had contrived 307 them, it is natural to conclude that all this is the work of a wise God, as at first sight to acknowledge that those inscribed urns and coins digged out of the earth were not the products of unknowing nature, but the artifice of man (AA 97). (2)More's second statement of the design 7 argument is in The Immortality of the Soul (1659). More establishes to his satisfaction that matter is in motion, because "...when God created it, he D superadded an impress of Motion upon it...." That conclusion paves the way for the following paragraph: We have discovered out of the simple phenomenon of motion, the necessity of the existence of some incorporeal essence distinct from matter: but there is a further assurance of this truth, from the consideration of the order and admirable effect of this motion in the world. Suppose matter could move itself, would mere... (shrink)