① Compare And Contrast Socrates And Jesus

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Compare And Contrast Socrates And Jesus

Coinciding with the upsurge in Catholic painting, there emerged a Compare And Contrast Socrates And Jesus in Jennifer Varnes Arguments In Court Cases Holland, fuelled by a new, highly materialistic type of customer - the Compare And Contrast Socrates And Jesus middle-class merchant, or professional - who wanted themes in dracula Compare And Contrast Socrates And Jesus paintings that made him and his family look good. Compare And Contrast Socrates And Jesus Peter, stop. And Compare And Contrast Socrates And Jesus it suggests that if Christianity had not douglas mcgregor theory x, some other tradition that Compare And Contrast Socrates And Jesus these adaptations is Compare And Contrast Socrates And Jesus to have evolved sooner or later—possibly, like Christianity, from an apocalyptic Jewish cult. What would you do if your son was at Compare And Contrast Socrates And Jesus, crying all alone on the bedroom floor, Cause he's hungry Compare And Contrast Socrates And Jesus the only way to feed him is to sleep Compare And Contrast Socrates And Jesus a man for a little bit of money? Under these three heads Compare And Contrast Socrates And Jesus come all possible Compare And Contrast Socrates And Jesus for Christian truth.

Socrates \u0026 Jesus Compared: Priestlys Introduction

In fine art , a portrait can be a sculpture , a painting , a form of photography or any other representation of a person, in which the face is the main theme. Traditional easel-type portraits usually depict the sitter head-and-shoulders, half-length, or full-body. There are several varieties of portraits, including: the traditional portrait of an individual, a group portrait, or a self portrait. In most cases, the picture is specially composed in order to portray the character and unique attributes of the subject.

Among Western Art's great exponents of portraiture are the Old Masters of the Renaissance such as the Florentines Leonardo da Vinci , Michelangelo , and Bronzino , the Tuscan Raphael , and the Venetian Titian Later exponents included the immortal Dutchman Rembrandt and the Baroque painter Anthony Van Dyck , the Spanish court painter Velazquez , and the Englishman Thomas Gainsborough The largest collection of portraiture can be seen in the National Portrait Gallery London , which has some , examples. Close-up of one of the Daughters of Edward Darley Boit. By John Singer Sargent. A beautiful impressionist portrait. The History of Portraiture.

Portrait painting can be considered as public or private art. In ancient Mediterranean civilizations, like those of Egypt, Greece and Rome, and Byzantium, portraiture was mainly a public art form, or a type of funerary art for Gods, Emperors, Kings, and Popes. Portraits were executed as sculpture in bronze, marble or other stone, or as panel paintings or mural frescoes. Although private artworks - typically for royal families - were commissioned during the Sumerian, Egyptian, and Greek era, most ancient portraiture was public art, designed to decorate public areas and reflect the morals and religious values of the day.

Twiggy Photographic portrait by Cecil Beaton Examples of portraiture from early Egypt include: the sculpture, Menkaure and His Queen c. Greek sculpted portraits included: the marble bust, Socrates c. Portraits were also painted on panels, although almost none of these have survived. A famous exception is the series of Fayum Mummy Portraits c. Roman Art was based on practical political necessity. Portrait busts of all Emperors, from Julius Caesar to Constantine, were sculpted in marble or bronze.

These statues and busts were displayed in public throughout the empire, to celebrate Roman power. A huge arts industry grew up in the capital, attracting sculptors, painters and artizans from all over Italy and Greece, simply to cope with this demand for imperial portraits. There are, for instance, more than surviving busts of Emperor Augustus. Roman portraits continued the tradition of public art. With the coming of the Dark Ages after the sack of Rome c. Portraiture as well as other types of paintings were created mainly for the insides of churches and monasteries, typically in the form of fresco murals or encaustic panel paintings , or used to illustrate illuminated gospel manuscripts, like the Garima Gospels from Ethiopia and the Book of Kells c. The sole major patron of the arts for most of the Medieval era was the Church.

Examples of works from this period include: encaustic panel portraits and icons from Saint Catherine's Monastery, Mount Sinai, such as, Throned Madonna with Child c. During the Romanesque and Gothic periods to the fourteenth century c. The Byzantine style of portrait painting which dominated throughout the period , was not compatible with true-life pictures. Instead, painters adhered to an hieratic style of art, in which the spiritual and human characteristics of a figure were to be inferred from symbolic motifs. This non-naturalistic approach went largely unchallenged until the arrival of Giotto whose Scrovegni Arena Chapel frescoes were the first pictures to feature realistic, ordinary-looking people, with solid three-dimensional shapes.

This new style soon made itself felt in portrait art proper : first, among oil painting experts of the Netherlandish Renaissance c. By , portraiture had become a major painting-genre. The Influence of the Italian Renaissance c. Renaissance art introduced several new ideas into painting. These included technical concepts, such as linear perspective, light and shade chiaroscuro and sfumato and 3-D modelling, as well as narrative concepts, such as humanism. These ideas provided portrait artists with greater resources, which soon led to a noticeable rise in the quality of Renaissance portraits.

Meantime, the Church maintained its hold over fine art patronage, commissioning works for cathedrals, churches, chapels, monasteries and convents. Indeed the Vatican almost went bankrupt during the 16th century as successive Popes spent fortunes decorating Rome. It goes without saying therefore, that most portraits during this time were of members of the Holy Family, Martyrs or Apostles. The influence of the Renaissance on portraiture endured for centuries, as artists continued to emulate the style of Leonardo, Raphael, Titian and Michelangelo. See also Venetian Portrait Painting Two important developments occurred during the Mannerist c. During the 16th century, a clear hierarchy of paintings was established by the main arts academies - based on a picture's perceived 'inspirational' qualities.

Five genres were ranked, as follows: 1 Historical , religious or mythological pictures containing a 'narrative' or 'message' were seen as the worthiest genre, followed by 2 portraits , then 3 genre-paintings , that is pictures of everyday scenes, 4 landscapes and finally 5 still life paintings. Because of this, many portrait artists tried to enhance the standing of both their painting and their subject by giving their portraits an historical, religious, or mythological setting.

In addition, during the midth century, following the European-wide schism between the Catholic Church in Rome and the Protestant movement - caused by Luther's Reformation c. This campaign, known as the Counter-Reformation , used art as a propaganda weapon, and so commissioned a huge number of religious paintings and sculptures - many executed on a monumental scale - including some iconic portraits. See also: Baroque Portraits. For 17th century painters who specialized in portraits of kings, see for example Hyacinthe Rigaud , noted for his portraits of Louis XIV.

Coinciding with the upsurge in Catholic painting, there emerged a mini-Renaissance in protestant Holland, fuelled by a new, highly materialistic type of customer - the rich middle-class merchant, or professional - who wanted to buy paintings that made him and his family look good. They had to be small enough to hang on the wall of his house, and detailed enough to appear true-to-life.

Thus the inimitable style of Dutch Realism painting was born. The greatest Dutch Realist artists included wonderful portraitists like Frans Hals , Jan Vermeer and of course, Rembrandt. Note: Portraiture in Russia developed later that in the rest of Europe. It wasn't until the era of Petrine art under Peter the Great that academic-style portrait paintings began to appear. Expansion of Portraiture: Yesterday's Photography c. Portraiture greatly expanded as a genre during the 18th and 19th centuries.

This was due to several factors, including: the universal use of oils and canvas; the increase in commerce which in turn created a large group of wealthy middle-class businessmen and landowners; and the use of portraiture as a way of making a permanent visual record of individuals and families. In any event, there was a significant growth in portrait art during this period, which was only halted with the introduction of the camera in the 20th century.

Probably the two finest female portrait painters of the eighteenth century, were the Swiss artist Angelica Kauffmann , who was active in London and Rome, and Elisabeth Vigee-Lebrun , court painter to Queen Marie-Antoinette. For 19th century paintings, see: Nineteenth century portraits. A specialist genre of romantic portraiture which became highly popular in nineteenth century England, is exemplified by the paintings of Sir Edwin Landseer , whose sentimental portraits of dogs expressed some of the underlying virtues of the Victorian era. The twentieth century showed little interest in the classical hierarchy of genres, and became absorbed with new ways of representing reality in an era of world wars and moral uncertainty.

After a series of Expressionist portraits , advances in photography, film and video, made classical portraiture seem anachronistic and of little value. Instead, 20th century portrait artists simply used the genre as another means of promoting their style of art. Jesus, too, showed this determination. Baptism in water was His outward sign and seal to the Old Testament: that He had not come to destroy but to fulfil the Law; not to supersede the prophecies, but to claim them. It was to show that in Him the righteousness and purification which the Law intended was to be a reality, and through Him to be the law of His kingdom.

Thus it pointed to all the evidence which the Old Testament could possibly afford Him; and, through the Old Testament, it pointed to the dispensation of the Father. That He was the true sacrifice was proved by the perfection of His life, by the signs and wonders with which He had attracted and convinced His followers, by the fulfilment of prophecy, by the marvels of His teaching, by the amazing events which had happened at the different crises of His life, by His resurrection and ascension, and by the confession of all who knew Him well that He was the Word made flesh, full of grace and truth, and with the glory as of the only-begotten of the Father.

Not by water only. And it is the Spirit that beareth witness. He had made new men of His disciples on the Day of Pentecost, had laid far and wide the foundations of the new kingdom, and was daily demonstrating Himself in the renewed life in all parts of the world. Because the Spirit is truth. It is a repetition of 1John for the purpose of emphasis. The fact that the three that bear witness are in the masculine gender bears out the interpretation given of 1John ; that they imply the Holy Spirit, the author of the Law, and the author of Redemption.

It also explains how 1John crept in as a gloss. And these three agree in one. Deuteronomy ; Deuteronomy ; Matthew ; 2Corinthians ; Hebrews The witness of God is greater. John considers the threefold witness from God to convey a certainty which no human evidence could claim. For this is the witness of God which he hath testified of his Son. If any should doubt whether the carpenter, Jesus of Nazareth, was in reality God, St. John would refer them to the righteousness and predictions of the Law and the prophets all fulfilled, to the life and death of Christ which spoke for themselves, and to manifest inauguration of the reign of the Spirit.

Under these three heads would come all possible evidence for Christian truth. The three separate messages have each produced their proper result in him, and he can no more doubt them than he can doubt himself. The water has assured him that he is no longer under the Law, but under grace, and has taught him the necessity of the new birth unto righteousness John ; Titus The blood has shown him that he cannot face God unless his sins are forgiven; and it has enabled him to feel that they are forgiven, that he is being daily cleansed, and that he has in himself the beginnings of eternal life 1John ; 1John ; John And the Spirit, which has had part in both these, is daily making him grow in grace Galatians ; Ephesians He that believeth not God hath made him a liar.

John regards the evidence as so certain, that he to whom it is brought and who rejects it seems as if he was boldly asserting that what God had said was false. The sceptical reply that the message did not really come from God at all it is not St. What Faith contains 1John The Christian creed is here reduced to a very small compass: the gift of eternal life and the dependence of that life upon His Son. Eternal life does not here mean the mere continuance of life after death, whether for good or evil; it is the expression used throughout St. Its opposite is not annihilation, but the second death: existence in exclusion from God. He that hath not the Son of God hath not life. Benson Commentary 1 John And the scope and sum of the whole first paragraph appears from the conclusion of it, 1 John Whosoever believeth — Namely, with a living faith, a faith of the divine operation; that Jesus of Nazareth is the Christ — The true Messiah, the Son of God, so as to be ready to confess this, even when the confession of it might expose him to imprisonment and martyrdom; is born of God — Is a child of God, not only by adoption, but by regeneration; he is renewed, in a measure at least, after the divine image, and made a partaker of the divine nature.

See on John And every one that loveth him that begat — That is, God, who begat him again by the influence of his word and Spirit, 1 Peter ; Titus ; loveth him also that is begotten of him — Hath a natural affection to all the children of his heavenly Father, whom he views as his brethren and sisters in Christ, and as joint heirs with him of the heavenly inheritance. By this we know — This is a plain proof; that we love the children of God — Namely, as his children, in that we love God, and keep his commandments — In the first place, and then love his children for his sake.

But not to mention that this construction is forced, it represents the apostle as giving a mark by which we know when we love God; whereas his intention is to show how we may know that we love the children of God in a right manner. Now this was necessary to be showed, since men may love the children of God because they are their relations, or because they are engaged in the same pursuits with themselves, or because they are mutually united by some common bond of friendship. But love, proceeding from these considerations, is not the love of the children of God which he requireth.

By what mark, then, can we know that our love to the children of God is of the right sort? Why, saith the apostle, by this we may know that we love the children of God in a right manner, when we love God, and, from that excellent principle, keep his commandments, especially his commandment to love his children, because they bear his image. True Christian love, therefore, is that which proceeds from love to God, from a regard to his will, and which leadeth us to obey all his commandments? For this is the love of God — The only sure proof of it; that we keep his commandments — That we conscientiously and carefully shun whatever we know he hath forbidden, and that we do whatever he has enjoined; and his commandments are not grievous — To any that are born of God; for, as they are all most equitable, reasonable, and gracious in themselves, and all calculated to promote our happiness in time and in eternity, so fervent love to him whose commandments they are, and to his children, whom we desire to edify by a holy example, will make them pleasant and delightful to us.

And this is the victory that overcometh the world — The grand means of overcoming it; even our faith — The faith which is the evidence of things not seen, and the subsistence, or anticipation, of things hoped for; a full persuasion especially, 1st, That Christ is the Son of God, 1 John , and consequently that all his doctrines, precepts, promises, and threatenings, are indisputably true, and infinitely important; 2d, That there is another life after this awaiting us, wherein we shall be either happy or miserable beyond conception, and for ever; 3d, That Christ has overcome the world for us, John , and hath obtained grace for us to enable us to overcome it; and that we have an interest by faith in all he hath done, suffered, or procured for us.

Hebrews But now that Christ hath come, and made the gospel revelation in person and by his apostles, the faith of the children of God, by which they overcome the world, hath for its object all the doctrines and promises contained in that revelation, and particularly the great doctrine which is the foundation of all the rest, namely, that Jesus is the Son of God, and Saviour of the world, as the apostle observes in the following verse. The same Holy Spirit that taught the love, will have taught obedience also; and that man cannot truly love the children of God, who, by habit, commits sin or neglects known duty.

As God's commands are holy, just, and good rules of liberty and happiness, so those who are born of God and love him, do not count them grievous, but lament that they cannot serve him more perfectly. Self-denial is required, but true Christians have a principle which carries them above all hinderances. Though the conflict often is sharp, and the regenerate may be cast down, yet he will rise up and renew his combat with resolution. But all, except believers in Christ, are enslaved in some respect or other, to the customs, opinions, or interests of the world. He presented a teleological argument in his Summa Theologica. In the work, Aquinas presented five ways in which he attempted to prove the existence of God: the quinque viae. These arguments feature only a posteriori arguments, rather than literal reading of holy texts.

The fifth way is taken from the governance of the world. We see that things which lack knowledge, such as natural bodies, act for an end, and this is evident from their acting always, or nearly always, in the same way, so as to obtain the best result. Hence it is plain that they achieve their end, not fortuitously, but designedly. Now whatever lacks knowledge cannot move towards an end, unless it be directed by some being endowed with knowledge and intelligence; as the arrow is directed by the archer. Therefore, some intelligent being exists by whom all natural things are directed to their end; and this being we call God. Aquinas notes that the existence of final causes , by which a cause is directed toward an effect, can only be explained by an appeal to intelligence.

However, as natural bodies aside from humans do not possess intelligence, there must, he reasons, exist a being that directs final causes at every moment. That being is what we call God. Isaac Newton affirmed his belief in the truth of the argument when, in , he wrote these words in an appendix to the second edition of his Principia :. This most elegant system of the sun, planets, and comets could not have arisen without the design and dominion of an intelligent and powerful being.

This view, that "God is known from his works", was supported and popularized by Newton's friends Richard Bentley , Samuel Clarke and William Whiston in the Boyle lectures , which Newton supervised. The German philosopher Gottfried Leibniz disagreed with Newton's view of design in the teleological argument. In the Leibniz—Clarke correspondence , Samuel Clarke argued Newton's case that God constantly intervenes in the world to keep His design adjusted, while Leibniz thought that the universe was created in such a way that God would not need to intervene at all. As quoted by Ayval Leshem, Leibniz wrote:. According to [Newton's] doctrine, God Almighty wants [i.

He had not it seems, sufficient foresight to make it a perpetual motion [52]. Leibniz considered the argument from design to have "only moral certainty" unless it was supported by his own idea of pre-established harmony expounded in his Monadology. In Leibniz's form, the argument states that the harmony of all the monads can only have arisen from a common cause. That they should all exactly synchronize, can only be explained by a Creator who pre-determined their synchronism. The 17th-century Dutch writers Lessius and Grotius argued that the intricate structure of the world, like that of a house, was unlikely to have arisen by chance. Therefore, in order for objects to remain in existence, God must exist omnipresently. David Hume, in the midth century, referred to the teleological argument in his A Treatise of Human Nature.

Here, he appears to give his support to the argument from design. John Wright notes that "Indeed, he claims that the whole thrust of his analysis of causality in the Treatise supports the Design argument", and that, according to Hume, "we are obliged 'to infer an infinitely perfect Architect. However, later he was more critical of the argument in his An Enquiry Concerning Human Understanding. This was presented as a dialogue between Hume and "a friend who loves sceptical paradoxes", where the friend gives a version of the argument by saying of its proponents, they "paint in the most magnificent colours the order, beauty, and wise arrangement of the universe; and then ask if such a glorious display of intelligence could come from a random coming together of atoms, or if chance could produce something that the greatest genius can never sufficiently admire".

Hume also presented arguments both for and against the teleological argument in his Dialogues Concerning Natural Religion. The character Cleanthes, summarizing the teleological argument, likens the universe to a man-made machine, and concludes by the principle of similar effects and similar causes that it must have a designing intelligence:. Look round the world: contemplate the whole and every part of it: You will find it to be nothing but one great-machine, subdivided into an infinite number of lesser machines, which again admit of subdivisions to a degree beyond what human senses and faculties can trace and explain.

All these various machines, and even their most minute parts, are adjusted to each other with an accuracy, which ravishes into admiration all men who have ever contemplated them. The curious adapting of means to ends, throughout all nature, resembles exactly, though it much exceeds, the productions of human contrivance; of human design, thought, wisdom, and intelligence. Since therefore the effects resemble each other, we are led to infer, by all the rules of analogy, that the causes also resemble; and that the Author of Nature is somewhat similar to the mind of man; though possessed of much larger faculties, proportioned to the grandeur of the work which he has executed. By this argument a posteriori, and by this argument alone, do we prove at once the existence of a Deity, and his similarity to human mind and intelligence.

On the other hand, Hume's sceptic, Philo, is not satisfied with the argument from design. He attempts a number of refutations, including one that arguably foreshadows Darwin's theory, and makes the point that if God resembles a human designer, then assuming divine characteristics such as omnipotence and omniscience is not justified. He goes on to joke that far from being the perfect creation of a perfect designer, this universe may be "only the first rude essay of some infant deity Starting in with his Artificial Clockmaker , William Derham published a stream of teleological books.

Physico-Theology , for example, was explicitly subtitled "A demonstration of the being and attributes of God from his works of creation". A natural theologian , Derham listed scientific observations of the many variations in nature, and proposed that these proved "the unreasonableness of infidelity". At the end of the section on Gravity for instance, he writes: "What else can be concluded, but that all was made with manifest Design, and that all the whole Structure is the Work of some intelligent Being; some Artist, of Power and Skill equivalent to such a Work? For who but an intelligent Being, what less than an omnipotent and infinitely wise God could contrive, and make such a fine Body, such a Medium, so susceptible of every Impression, that the Sense of Hearing hath occasion for, to empower all Animals to express their Sense and Meaning to others.

Derham concludes: "For it is a Sign a Man is a wilful, perverse Atheist, that will impute so glorious a Work, as the Creation is, to any Thing, yea, a mere Nothing as Chance is rather than to God. The power, and yet the limitations, of this kind of reasoning is illustrated in microcosm by the history of La Fontaine's fable of The Acorn and the Pumpkin , which first appeared in France in The light-hearted anecdote of how a doubting peasant is finally convinced of the wisdom behind creation arguably undermines this approach.

The watchmaker analogy , framing the teleological argument with reference to a timepiece, dates at least back to the Stoics, who were reported by Cicero in his De Natura Deorum II. L'univers m'embarrasse, et je ne puis songer Que cette horloge existe, et n'ait point d'horloger. The Universe troubles me, and much less can I think That this clock exists and should have no clockmaker. William Paley presented his version of the watchmaker analogy at the start of his Natural Theology Yet why should not this answer serve for the watch as well as for [a] stone [that happened to be lying on the ground]?

According to Alister McGrath , Paley argued that "The same complexity and utility evident in the design and functioning of a watch can also be discerned in the natural world. Each feature of a biological organism, like that of a watch, showed evidence of being designed in such a way as to adapt the organism to survival within its environment. Complexity and utility are observed; the conclusion that they were designed and constructed by God, Paley holds, is as natural as it is correct. Natural theology strongly influenced British science, with the expectation as expressed by Adam Sedgwick in that truths revealed by science could not conflict with the moral truths of religion.

As a theology student, Charles Darwin found Paley's arguments compelling. However, he later developed his theory of evolution in his book On the Origin of Species , which offers an alternate explanation of biological order. In his autobiography, Darwin wrote that "The old argument of design in nature, as given by Paley, which formerly seemed to me so conclusive, fails, now that the law of natural selection has been discovered".

Darwin owned he was "bewildered" on the subject, but was "inclined to look at everything as resulting from designed laws, with the details, whether good or bad, left to the working out of what we may call chance:" [80]. There seems to me too much misery in the world. Not believing this, I see no necessity in the belief that the eye was expressly designed. In and , F. Tennant published his Philosophical Theology , which was a "bold endeavour to combine scientific and theological thinking". Mellor, have objected to Tennant's particular use of probability theory and have challenged the relevance of any kind of probabilistic reasoning to theistic belief.

Richard Swinburne 's "contributions to philosophical theology have sought to apply more sophisticated versions of probability theory to the question of God's existence, a methodological improvement on Tennant's work but squarely in the same spirit". Swinburne acknowledges that his argument by itself may not give a reason to believe in the existence of God, but in combination with other arguments such as cosmological arguments and evidence from mystical experience , he thinks it can. While discussing Hume's arguments, Alvin Plantinga offered a probability version of the teleological argument in his book God and Other Minds : [85]. Every contingent object such that we know whether or not it was the product of intelligent design, was the product of intelligent design.

The universe is a contingent object. So probably the universe is designed. Following Plantinga, Georges Dicker produced a slightly different version in his book about Bishop Berkeley : [86]. The world All Objects exhibiting such order Probably the world is a result of intelligent design. Probably, God exists and created the world. It can of course be said that any form in which the universe might be is statistically enormously improbable as it is only one of a virtual infinity of possible forms. But its actual form is no more improbable, in this sense, than innumerable others. It is only the fact that humans are part of it that makes it seem so special, requiring a transcendent explanation. A modern variation of the teleological argument is built upon the concept of the fine-tuned universe : According to the website Biologos : [87].

Fine-tuning refers to the surprising precision of nature's physical constants, and the beginning state of the Universe. To explain the present state of the universe, even the best scientific theories require that the physical constants of nature and the beginning state of the Universe have extremely precise values. Also, the fine-tuning of the Universe is the apparent delicate balance of conditions necessary for human life. In this view, speculation about a vast range of possible conditions in which life cannot exist is used to explore the probability of conditions in which life can and does exist.

As intuitively tempting as it may be Schlesinger :. To understand Schlesinger's argument, consider your reaction to two different events. If John wins a 1-in-1,,, lottery game, you would not immediately be tempted to think that John or someone acting on his behalf cheated. If, however, John won three consecutive 1-in-1, lotteries, you would immediately be tempted to think that John or someone acting on his behalf cheated. Schlesinger believes that the intuitive reaction to these two scenarios is epistemically justified.

The structure of the latter event is such that it… justifies a belief that intelligent design is the cause… Despite the fact that the probability of winning three consecutive 1-in-1, games is exactly the same as the probability of winning one 1-in-1,,, game, the former event… warrants an inference of intelligent design. Himma considers Schlesinger's argument to be subject to the same vulnerabilities he noted in other versions of the design argument: [88].

While Schlesinger is undoubtedly correct in thinking that we are justified in suspecting design in the case [of winning] three consecutive lotteries, it is because—and only because—we know two related empirical facts about such events. First, we already know that there exist intelligent agents who have the right motivations and causal abilities to deliberately bring about such events.

Second, we know from past experience with such events that they are usually explained by the deliberate agency of one or more of these agents. Without at least one of these two pieces of information, we are not obviously justified in seeing design in such cases… [T]he problem for the fine-tuning argument is that we lack both of the pieces that are needed to justify an inference of design. First, the very point of the argument is to establish the fact that there exists an intelligent agency that has the right causal abilities and motivations to bring the existence of a universe capable of sustaining life.

Second, and more obviously, we do not have any past experience with the genesis of worlds and are hence not in a position to know whether the existence of fine-tuned universes are usually explained by the deliberate agency of some intelligent agency. Because we lack this essential background information, we are not justified in inferring that there exists an intelligent Deity who deliberately created a universe capable of sustaining life. Antony Flew , who spent most of his life as an atheist, converted to deism late in life, and postulated "an intelligent being as involved in some way in the design of conditions that would allow life to arise and evolve". He said that his commitment to "go where the evidence leads" meant that he ended up accepting the existence of God.

Would you not say to yourself, "Some super-calculating intellect must have designed the properties of the carbon atom, otherwise the chance of my finding such an atom through the blind forces of nature would be utterly minuscule. A common sense interpretation of the facts suggests that a superintellect has monkeyed with physics, as well as with chemistry and biology, and that there are no blind forces worth speaking about in nature. The numbers one calculates from the facts seem to me so overwhelming as to put this conclusion almost beyond question. A version of the argument from design is central to both creation science and Intelligent design , [10] but unlike Paley's openness to deistic design through God-given laws, proponents seek scientific confirmation of repeated miraculous interventions in the history of life, and argue that their theistic science should be taught in science classrooms.

The teaching of evolution was effectively barred from United States public school curricula by the outcome of the Scopes Trial , but in the s the National Defense Education Act led to the Biological Sciences Curriculum Study reintroducing the teaching of evolution. In response, there was a resurgence of creationism , now presented as "creation science", based on biblical literalism but with Bible quotes optional. A survey found that virtually all literature promoting creation science presented the design argument, with John D.

Morris saying "any living thing gives such strong evidence for design by an intelligent designer that only a willful ignorance of the data II Peter could lead one to assign such intricacy to chance". Such publications introduced concepts central to intelligent design, including irreducible complexity a variant of the watchmaker analogy and specified complexity closely resembling a fine-tuning argument. Aguillard barred the teaching of "Creation Science" in public schools because it breached the separation of church and state , and a group of creationists rebranded Creation Science as "intelligent design" which was presented as a scientific theory rather than as a religious argument.

Scientists disagreed with the assertion that intelligent design is scientific, and its introduction into the science curriculum of a Pennsylvania school district led to the Kitzmiller v. Dover Area School District trial, which ruled that the "intelligent design" arguments are essentially religious in nature and not science. Haught , and ruled that "ID is not a new scientific argument , but is rather an old religious argument for the existence of God. He traced this argument back to at least Thomas Aquinas in the 13th century, who framed the argument as a syllogism: Wherever complex design exists, there must have been a designer; nature is complex; therefore nature must have had an intelligent designer.

Proponents of the intelligent design movement such as Cornelius G. Hunter, have asserted that the methodological naturalism upon which science is based is religious in nature. This ignores the distinction between science and religion, established in Ancient Greece, in which science can not use supernatural explanations. Intelligent design advocate and biochemist Michael Behe proposed a development of Paley's watch analogy in which he argued in favour of intelligent design. Unlike Paley, Behe only attempts to prove the existence of an intelligent designer, rather than the God of classical theism.

Behe uses the analogy of a mousetrap to propose irreducible complexity : he argues that if a mousetrap loses just one of its parts, it can no longer function as a mousetrap. He argues that irreducible complexity in an object guarantees the presence of intelligent design. Behe claims that there are instances of irreducible complexity in the natural world and that parts of the world must have been designed.

The specific examples Behe proposes have been shown to have simpler homologues which could act as precursors with different functions. His arguments have been rebutted, both in general and in specific cases by numerous scientific papers. William Lane Craig has proposed an nominalist argument influenced by the philosophy of mathematics. This argument revolves around the fact that, by using mathematical concepts, we can discover much about the natural world. For example, Craig writes, Peter Higgs , and any similar scientist, 'can sit down at his desk and, by pouring [ sic ] over mathematical equations, predict the existence of a fundamental particle which, thirty years later, after investing millions of dollars and thousands of man-hours, experimentalists are finally able to detect.

Firstly, he suggests, the idea that they are abstract entities brings about the question of their application. Secondly, he responds to the problem of whether they are merely useful fictions by suggesting that this asks why these fictions are so useful. Citing Eugene Wigner as an influence on his thought, he summarizes his argument as follows: [99] [] []. If God did not exist, the applicability of mathematics would be just a happy coincidence. The applicability of mathematics is not just a happy coincidence. Therefore, God exists. University of Chicago geneticist James A. Shapiro , writing in the Boston Review , states that advancements in genetics and molecular biology, and "the growing realization that cells have molecular computing networks which process information about internal operations and about the external environment to make decisions controlling growth, movement, and differentiation", have implications for the teleological argument.

Shapiro states that these " natural genetic engineering " systems, can produce radical reorganizations of the "genetic apparatus within a single cell generation". What significance does an emerging interface between biology and information science hold for thinking about evolution? It opens up the possibility of addressing scientifically rather than ideologically the central issue so hotly contested by fundamentalists on both sides of the Creationist-Darwinist debate: Is there any guiding intelligence at work in the origin of species displaying exquisite adaptations In his book, Evolution: A View from the 21st Century , Shapiro refers to this concept of "natural genetic engineering", which he says, has proved troublesome, because many scientists feel that it supports the intelligent design argument.

He suggests that "function-oriented capacities [can] be attributed to cells", even though this is "the kind of teleological thinking that scientists have been taught to avoid at all costs". The metaphysical theologian Norris Clarke shared an argument to his fellow professors at Fordham University that was popularised by Peter Kreeft in his 'Twenty Arguments for the Existence of God'. The argument states that as components are ordered universally in relation to one another, and are defined by these connections for example, every two hydrogen atoms are ordered to form a compound with one oxygen atom.

Therefore, none of the parts are self-sufficient, and cannot be explained individually. However, the whole cannot be explained either because it is composed of separate beings and is not a whole. From here, three conclusions can be found: firstly, as the system cannot in any way explain itself, it requires an efficient cause. Secondly, it must be an intelligent mind because the unity transcends every part, and thus must have been conceived as an idea, because, by definition, only an idea can hold together elements without destroying or fusing their distinctness. An idea cannot exist without a creator, so there must be an intelligent mind. Thirdly, the creative mind must be transcendent, because if it were not, it would rely upon the system of space and time, despite having created it.

Such an idea is absurd. As a conclusion, therefore, the universe relies upon a transcendent creative mind. The original development of the argument from design was in reaction to atomistic, explicitly non-teleological understandings of nature. Socrates, as reported by Plato and Xenophon, was reacting to such natural philosophers. While less has survived from the debates of the Hellenistic and Roman eras, it is clear from sources such as Cicero and Lucretius , that debate continued for generations, and several of the striking metaphors used still today, such as the unseen watchmaker, and the infinite monkey theorem , have their roots in this period. While the Stoics became the most well-known proponents of the argument from design, the atomistic counter arguments were refined most famously by the Epicureans.

On the one hand, they criticized the supposed evidence for intelligent design, and the logic of the Stoics. On the defensive side, they were faced with the challenge of explaining how un-directed chance can cause something which appears to be a rational order. Much of this defence revolved around arguments such as the infinite monkey metaphor. Democritus had already apparently used such arguments at the time of Socrates, saying that there will be infinite planets, and only some having an order like the planet we know. But the Epicureans refined this argument, by proposing that the actual number of types of atoms in nature is small, not infinite, making it less coincidental that after a long period of time, certain orderly outcomes will result. These were not the only positions held in classical times.

A more complex position also continued to be held by some schools, such as the Neoplatonists, who, like Plato and Aristotle, insisted that Nature did indeed have a rational order, but were concerned about how to describe the way in which this rational order is caused. According to Plotinus for example, Plato's metaphor of a craftsman should be seen only as a metaphor, and Plato should be understood as agreeing with Aristotle that the rational order in nature works through a form of causation unlike everyday causation.

In fact, according to this proposal each thing already has its own nature, fitting into a rational order, whereby the thing itself is "in need of, and directed towards, what is higher or better". Louis Loeb writes that David Hume , in his Enquiry , "insists that inductive inference cannot justify belief in extended objects".

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