Bill Dembski asked me to post my comments in a recent discussion elsewhere, regarding intelligent design (ID) as we currently understand it.
Phil Johnson, the lawyer who put ID on the map, is currently seeking more input from the arts community (he calls it Wedge II).
I agree that the ID debate will develop along more useful lines when more people from the arts participate.
Artsies (those who are not crazy) understand some aspects of intelligent original design better than most people.
An original design must be evaluated under actual, not hypothetical conditions.
Fundamental fact: All actual features of any given design exclude all other possible features.
Choices must be made. There is no perfect design, only optimum design.
Thus any rubberneck can point to a feature and say that it doesn’t do everything conceivable. But “everything conceivable” is never the goal of a design.
That is why, years ago, while researching the issues around ID, I quickly blew off the “God woun’t’a dun it dat way” approach of the churchgoing scientists who wring their hands over the menace of ID.
Coming as I do from an English language and literature background, I am familiar with the idea of creating a “world” out of whole cloth.
One always works within constraints. Even Shakespeare, the greatest of English-language dramatists, worked within constraints.
For example, Hamlet has defects as a play – but it is easy to stage.
King Lear is a more sublime play than Hamlet – but it is difficult to stage.
Julius Caesar is great for high school drama classes because of the large number of small parts and easily detachable scenes, plus an emotional range that is not too embarrassing or incomprehensible for teenage boys.
Now watch for some egghead to come along and say “A REAL dramatist wouldn’t have made those errors.”
Errors? What errors?
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