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Is Darwinian evolution an established fact, or a dogma ready to be overtaken by the next scientific revolution? The intelligent design movement argues the latter. Why Intelligent Design Fails assembles a team of physicists, biologists, computer scientists, mathematicians, and archaeologists to ...

Is Darwinian evolution an established fact, or a dogma ready to be overtaken by the next scientific revolution? The intelligent design movement argues the latter. Why Intelligent Design Fails assembles a team of physicists, biologists, computer scientists, mathematicians, and archaeologists to examine intelligent design from a scientific perspective. They consistently find grandiose claims without merit. Contributors take intelligent design's two most famous claims--irreducible complexity and information-based arguments--and show that neither challenges Darwinian evolution. They also discuss thermodynamics and self-organization, the ways human design is actually identified in fields such as forensic archaeology, how research in machine intelligence indicates that intelligence itself is the product of chance and necessity, and cosmological fine-tuning arguments. Intelligent design turns out to be a scientific mistake, but also a useful contrast highlighting the amazing power of Darwinian thinking and the wonders of a complex world without design.

In the last fifteen years a controversial new theory of the origins of biological complexity and the nature of the universe has been fomenting bitter debates in education and science policy across North America, Europe, and Australia. Backed by intellectuals at respectable universities, Intelligent ...

In the last fifteen years a controversial new theory of the origins of biological complexity and the nature of the universe has been fomenting bitter debates in education and science policy across North America, Europe, and Australia. Backed by intellectuals at respectable universities, Intelligent Design theory (ID) proposes an alternative to accepted accounts of evolutionary theory: that life is so complex, and that the universe is so fine-tuned for the appearance of life, that the only plausible explanation is the existence of an intelligent designer. For many ID theorists, the designer is taken to be the god of Christianity. Niall Shanks has written the first accessible introduction to, and critique of, this controversial new intellectual movement. Shanks locates the growth of ID in the last two decades of the twentieth century in the growing influence of the American religious right. But as he shows, its roots go back beyond Aquinas to Ancient Greece. After looking at the historical roots of ID, Shanks takes a hard look at its intellectual underpinnings, discussing modern understandings of thermodynamics, and how self-organizing processes lead to complex physical, chemical, and biological systems. He considers cosmological arguments for ID rooted in so-called "anthropic coincidences" and also tackles new biochemical arguments for ID based on "irreducible biological complexity." Throughout he shows how arguments for ID lack cohesion, rest on errors and unfounded suppositions, and generally are grossly inferior to evolutionary explanations. While ID has been proposed as a scientific alternative to evolutionary biology, Shanks argues that ID is in fact "old creationist wine in new designer label bottles" and moreover is a serious threat to the scientific and democratic values that are our cultural and intellectual inheritance from the Enlightenment.

Modern is a word much used, but hard to pin down. In Inventing Modern, John H. Lienhard uses that word to capture the furious rush of newness in the first half of 20th-century America. An unexpected world emerges from under the more familiar Modern. Beyond the airplanes, radios, art deco ...

Modern is a word much used, but hard to pin down. In Inventing Modern, John H. Lienhard uses that word to capture the furious rush of newness in the first half of 20th-century America. An unexpected world emerges from under the more familiar Modern. Beyond the airplanes, radios, art deco, skyscrapers, Fritz Lang's Metropolis, Buck Rogers, the culture of the open road--Burma Shave, Kerouac, and White Castles--lie driving forces that set this account of Modern apart. One force, says Lienhard, was a new concept of boyhood--the risk-taking, hands-on savage inventor. Driven by an admiration of recklessness, America developed its technological empire with stunning speed. Bringing the airplane to fruition in so short a time, for example, were people such as Katherine Stinson, Lincoln Beachey, Amelia Earhart, and Charles Lindbergh. The rediscovery of mystery powerfully drove Modern as well. X-Rays, quantum mechanics, and relativity theory had followed electricity and radium. Here we read how, with reality seemingly altered, hope seemed limitless. Lienhard blends these forces with his childhood in the brave new world. The result is perceptive, engaging, and filled with surprise. Whether he talks about Alexander Calder (an engineer whose sculptures were exercises in materials science) or that wacky paean to flight, Flying Down to Rio, unexpected detail emerges from every tile of this large mosaic. Inventing Modern is a personal book that displays, rather than defines, an age that ended before most of us were born. It is an engineer's homage to a time before the bomb and our terrible loss of confidence--a time that might yet rise again out of its own postmodern ashes.