On Sat, 21 Feb 2015 11:00:03 -0700, Bob Casanova <nos...@buzz.off>
No, you have to anthropomorphize the designer, because the only
designers we know about are humans.
Take out all of the human-like aspects from a designer and you have
*nothing at all* -- a non-concept.
Now, probably you *do* want to do battle against a "non-concept,"
because a lot of talk.origins regulars say it all the time -- "Design
too nebulous -- Design an undefined concept -- Design can't be
scientific because we can't test a non-concept against the data" is
their mantra.
But if you want to claim the ID proponents are wielding a non-concept
against you in what would presumably be a tactic of ninja-like
shrewdness associated with maintaining the validity of their religion
in the eyes of the public, that's *your choice* to live in a fantasy
world where the ID proponents have this property, rather than the real
world, where they're just a bunch of simpletons with a solidly defined
concept of "Design" that's grotesquely incompatible with the data,
meaning that they're sitting ducks for the evolutionists to shoot
down.
>about whom we have *no* information is a mistake.
>You also make it a requirement that the purported designer
>not be deceptive; another nice-to-have but certainly not
>something we can assume, especially as a test for design.
>Yes, we should and do assume that *nature* is not deceptive,
The *correct definition of nature* is "everything there is." Whether
there's a Designer (with magical powers of an omnipotent sort or not)
in nature or not doesn't affect this.
So assuming that there is no Evil Designer up there tricking our
brains into thinking this, that, or the other, is just a part of being
a sane human being.
>but we're not talking about nature, we're talking about a
>purported intelligent designer, and if you truly believe
>that such a designer can be assumed to be open and honest I
>have some beachfront property in Florida which might
>interest you.
The fact that there are some dishonest people doesn't imply that we
should assume without evidence that other people are dishonest.
Going around wondering if a Designer "might be dishonest and willing
to deceive us" is no different from wondering if your wife "might be
dishonest and secretly planning to conspire with the CIA to run a
prostitution ring against you."
If you want to accuse someone of being dishonest, you should have
evidence for it, and some motivation for them to do it.
Neither of these conditions is met in any sane idea about a Designer
(and part of being a responsible debater is giving your opponent
credit that he's sane, even if it does imply horrible *incompetence*
on his part, which is a different matter).
>And FWIW, I'm not a scientist; I'm a retired engineer. I
>dealt with design all my career, and *I* can't provide a
>definition of design which would satisfy my criteria.
I'm not going to comment on the "abstract thinking" capabilities of
engineers vs. scientists.
But you say you need help defining what you've done all your life.
Here you go:
Something is designed if all of its parts are arranged specifically so
that some function is achieved.
For example, if you're designing a car engine, the pistons have to be
connected to the crankshaft; you can't arrange them any old way you
like.
You have to put them specifically in the exact right place relative to
the crankshaft or the crankshaft won't turn --
not on the axis of the crankshaft; not lying next to it; not loosely
attached to it --
but firmly attached, perpendicular to the crankshaft when the gasoline
ignition force is greatest, so that when the pistons push down at that
time, they'll exert a good torque on the crankshaft so that it turns.
And not to the side of the crankshaft, either -- the pistons have to
come down vertically, so that they connect with it and don't pump
uselessly up-and-down on either side of it.
So that's a situation where you have to *specifically arrange things*
so that functionality will result.
So, in the case of a car engine, a designer sat down and said, "Well,
I want these pistons to turn this crankshaft."
Then, after he *thought these thoughts* (we have to make sure you
don't have problems with the "ambiguity associated with design"), or
"said these things to himself outloud," or "wrote them down on a piece
of paper," he moved his hands around and put the pistons into the
correct places (where "correct" means "the places that will make the
pistons turn the crankshaft" -- for example, *not* connected to the
radiator hose, because it can't go there if you want the car to
function).
At one point in the design process, the designer of the engine may
have noticed a piston was pointing at an oblique angle at the time of
maximum gasoline ignition force. Then he thought with his thoughts
and said with his mouth, "Hmmm...you know, if that piston hits the
crankshaft at that time at an angle other than 90 degrees at mid-turn
in this sense, it won't turn it correctly -- the torque won't be
right."
So then he *decides,* using the properties of the human mind (which
allows us to have this decision-making ability) to move his hand and
put the piston at a 90-degree-angle relative to the crankshaft at that
point in its ignition cycle.
Then the piston falls over.
That's something that could happen to a piston, if the car engine
designer wasn't there to put it back up.
So the engine designer says, "Well, it's fallen over. If I weren't
here, a piston in that position would never turn a crankshaft -- but
since I'm here, and I'm motivated to make that crankshaft turn so that
the axle will turn so that that the wheels will turn so that the car
will run because I want travel at high speeds because I'm a designer
and designers have motivations and those are my motivations -- I'll
put the piston back up again."
And so the engineer designer lifts the piston up in space and
*chooses,* using his ability to choose, as a conscious and intelligent
designer, to put the piston at a 90-degree angle relative to the
crankshaft.
That is, he thinks in his brain:
"I won't put the crankshaft at 33 degrees -- that won't work!
I won't put the piston at 42 degrees -- that wont work!"
I won't put the piston at 2 degrees -- that sure as hell won't work,
because I want that piston pushing *down* on the crankshaft when the
gas ignites, not to the side.
I won't put the piston at 27 degrees -- that won't work!
I won't put the piston at 75 degrees -- that won't work!"
(where "what works" is defined as "what maximizes the torque of the
piston on the crankshaft when the piston fires)
So out of *all the options* for the angle the piston could go at
relative to the crankshaft, the engine designer *selects* using his
intelligent power to choose (since "the capacity to choose" is a
property of designers), the angle 90 degrees, because, as I say, it
maximizes the amount of thrust and torque that piston is going to
deliver to the crankshaft.
So the design process involves *thinking about all the ways in which
something could happen* and selecting the *one way* (or narrow range
of ways) in which that something will cause what you *want to cause*
(notice that "wanting to cause something" is a property of designers,
so it's a part of the design process).
But I don't what your deal is with "ambiguous," so let's get extremely
explicit about the definition of design.
Unambiguously, something is designed if it results from a situation
where
a) someone wants something to happen -- where "want" is related to
some basic psychological drive (remember, we have to anthropomorphize,
since human designers are all we know of); some examples of "desires"
that lead to design are
1) someone likes orderliness, so he creates an orderly array of
objects (since "love of orderliness" is a known property of human
designers, and therefore of any designer worth conceiving)
2) someone wants to go fast (as we saw in the example of the car
engine designer)
3) someone wants to murder someone (since designers are known to have
aggressive urges) -- this might result in the a designer designing a
gun
4) someone wants to make a pretty sculpture or painting -- we've seen
humans doing this, so it seems logical that a non-human designer might
also have such motivations
5) someone wants something else to survive -- for example, a human
will create and care for a pet or a work animal for reasons of empathy
or because they want to use the work animal to assist them in some
*other* thing they want
-- those are all reasonable motivations for a designer
An *unreasonable* motivation for a designer is "they want to fool us
into thinking they didn't design what they designed"; that sort of
designer is simply a form of paranoia no different from postulating
that there might be a *non* designed "law of physics" that's hiding
the evidence that Elvis and Bigfoot live in your bedroom closest
and then given letter a), we also have the condition
b) someone selects from a range of choices (that could be otherwise
-- i.e., take on values other than the one selected specifically by
the designer) ) so that their desire, want, or goal, or however you
want to put it, will be satisfied or achieved, by the use of conscious
thought, foresight, and planning
So how does natural selection mimic the design process?
Well, it has the properties of one of the motivations that designers
are known to have, namely, "ensuring the survival of an organism."
And it also mimics part b) of the design process as well, by selecting
from a range of options that could easily be different (foiling the
goal in part a) -- except that instead of using foresight and planning
*******************************************************
William Morse alert -- which are aspects of "intelligence";
now, I had to explain what "design" was to Bob because he doesn't know
what the fuck he's been doing all of his life, but William, if I have
to explain to you what "intelligence" is, we're going to have a lot
more questions about what you've been doing all your life, than we
have about Bob, regarding how much time he spent surfing the Net and
watching TV while he was an engineer
********************************************************
to select from these options natural selection uses differential
reproductive success to make these selections.
For example, if natural selection were designing the car engine, it
wouldn't sit down and think with its brain (an aspect of intelligence,
again) or talk with its mouth and say,
"I think, using a property of intelligence, that the piston at this
point in the cycle should go at 90 degrees, and not 23, 43,22, 11, 54,
34, 77, 44, or 12 degrees,"
instead, there would be car engines "born" with their pistons at a
23-degree angle at the most important part of the gasoline ignition
cycle, that wouldn't survive as well as the ones with pistons at a 77
degree angle, so after awhile 77-degree angle pistons would dominate
in the population. And then one day a mutation would appear in the
car population that put the piston at 90-degree angle, and those cars
would outreproduce all the others, with their efficient downstroke
motions, if there were selection pressure for speed --
i.e., differential reproductive success.
So why do scientists prefer natural selection as an explanation for
the "appearance of design" over an actual real designer?
Well, they find it suspicious that, out of the many motivations that a
designer could have, we would have to theorize that he has *the exact
same one* that is natural selection metaphorically has.
That is, NS can *only* produce the "apparent motivation" of "will to
survive," so we think it's odd that a designer would have just
happened to stumble on the lone apparent motivation that NS is
associated with.
We also prefer natural selection because we have abundant evidence for
the process of natural selection in nature (independent of "the
appearance of design" -- this is an important part of solving
scientific puzzles: you can't invoke the thing you're trying to
explain as evidence for your explanation of the existence of the thing
you're trying to explain; that would be circular reasoning -- so you
want *independent evidence* for any idea that you think up as an
explanation).
Furthermore, we prefer natural selection because of its association
with common ancestry, which we have an enormous amount of evidence for
-- unlike designers, which are not associated with common ancestry.
And lastly, I'll add that "preferring" natural selection over a
designer is putting it mildly.
In reality, it's simply a scientific fact that living things"look
designed because they evolved from common ancestors through natural
selection and other evolutionary processes.
Since it's been documented paleontologically and with phylogenetic
analysis, it's as factual as the statement that the earth goes
around the sun, which has been documented by astronomical scientific
evidence.
So we don't have to bother with "design theory" any more than we have
to bother with "Angels pushing the planets Theory," because the
scientific facts are equally decisive in both cases:
There are no angels pushing the planets, and there was no Designer who
created life's diversity.