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One
of the most important concepts that one must employ when
questioning Darwinist theory in the light of scientific
discoveries is without a doubt the criterion that Darwin
himself employed. In The Origin of Species, Darwin put forward
a number of concrete criteria suggesting how his theory might
be tested and, if found wanting, disproved. Many passages in
his book begin, “If my theory be true,” and in
these Darwin describes the discoveries his theory requires. As
we know, Darwinism explains the origin of life with two
unconscious natural mechanisms: natural selection and
mutations. According to Darwinist theory, these two mechanisms
led to the emergence of the complex structure of living cells,
as well as the anatomical systems of complex living things,
such as eyes, ears, wings, lungs, bat sonar and millions of
other complex system designs
However,
how is it that these systems, which possess incredibly
complicated structures, can be considered the products of two
unconscious natural effects? At this point, the concept
Darwinism applies is that of “reducibility.” It is
claimed that these systems can be reduced to very basic
states, and that they may have then developed by stages.
Given
the primitive level of science in the nineteenth century,
Darwin may have thought that living things possess a reducible
structure. But twentieth century discoveries have shown that
many systems and organs in living things cannot be reduced to
simplicity. This fact, known as “irreducible
complexity,” definitively destroys Darwinism.
An
interesting example of the irreducibly complex organs in
living things is the human ear.
As
known, the hearing process begins with vibrations in the air.
These vibrations are enhanced in the external ear.
Research has shown that that part of the external ear known as
the concha works as a kind of megaphone, and sound
waves are intensified in the external auditory canal. In this
way, the volume of sound waves increases by some 17 decibels.[1]
Sound
intensified in this way enters the external auditory canal.
This is the area from the external ear to the ear drum. One
interesting feature of the auditory canal, is the wax it
constantly secretes. This liquid contains an antiseptic
property which keeps bacteria and insects out. Furthermore,
the cells on the surface of the auditory canal are aligned in
a spiral form directed towards the outside, so that the wax
always flows towards the outside of the ear as it is secreted.
Sound
vibrations which pass down the auditory canal in this way
reach the ear drum. Thanks to the exquisite sensitivity of the
ear drum, you can easily hear somebody whispering from yards
away. Another extraordinary feature of the ear drum is that
after receiving a vibration it returns to its normal state.
Calculations have revealed that, after perceiving the tiniest
vibrations, the ear drum becomes motionless again within up to
four thousandths of a second. If it did not become motionless
again so quickly, every sound we hear would echo in our ears.
The
ear drum amplifies the vibrations which come to it, and
sends them on to the middle ear region. Here, there are
three bones in an extremely sensitive equilibrium with each
other known as the hammer, the anvil and the
stirrup and their function is to amplify the vibrations
that reach them from the ear drum.
But
the middle ear also possesses a kind of “buffer,”
to reduce exceedingly high levels of sound. This feature is
provided by two of the body’s smallest muscles, which
control the hammer, anvil and stirrup
bones. These muscles enable exceptionally loud noises to be
reduced before they reach the inner ear. Thanks to this
mechanism, we hear sounds that are loud enough to shock the
system at a reduced volume. These muscles are involuntary, and
come into operation automatically, in such a way that even if
we are asleep and there is a loud noise beside us, these
muscles immediately contract and reduce the intensity of the
vibration reaching the inner ear.
The
middle ear, which possesses such a flawless design, needs
to maintain an important equilibrium. The air pressure inside
the middle ear has to be the same as that beyond the ear
drum. But this balance has been thought of, and a
canal between the middle ear and the outside world
which allows an exchange of air has been built in. This canal
is the Eustachian tube, a hollow tube running from the
inner ear to the oral cavity.
The
vibrations are constantly passed forward, but so far there is
still nothing apart from a mechanical motion. In other words,
there is as yet no sound.
The
process whereby these mechanical motions begin to be turned
into sound begins in the area known as the inner ear.
In the inner ear is a spiral-shaped organ called cochlea
filled with a liquid.
The
last part of the middle ear is the stirrup bone, which
is linked to the cochlea by a membrane. The mechanical
vibrations in the middle ear are sent on to the liquid in the
inner ear by this connection.
The
vibrations which reach the liquid in the inner ear set up wave
effects in the liquid. The inner walls of the cochlea
are lined with small hair-like structures, called stereocilia,
which are affected by this wave effect. These tiny hairs move
strictly in accordance with the motion of the liquid. Every
different frequency in the outside world sets up different
effects in the hairs.
But
what is the meaning of this movement of the hairs? What can
the movement of the tiny hairs in the cochlea in the inner ear
have to do with listening to a concert of classical music,
recognizing a friend’s voice, hearing the sound of a car, or
distinguishing the millions of other kinds of sounds?
The
answer once more reveals the complexity of the design in the
ear. Each of the tiny hairs covering the inner walls of the
cochlea is actually a mechanism which lies on top of
20,000 different cells. When these hairs sense a vibration,
they move and push each other, just like dominos. This motion
opens channels in the membranes of the cells lying beneath the
hairs. And this allows the inflow of ions into the cells. When
the hairs move in the opposite direction, these channels close
again. Thus, this constant motion of the hairs causes constant
changes in the chemical balance within the underlying cells,
which in turn enables them to produce electrical signals.
These electrical signals are forwarded to the brain by nerves,
and the brain then processes them, turning them into sound.
This
is such a complicated process that science has so far been
unable to determine whether the frequency-distinguishing
system takes place in the inner ear or in the brain.
At
this point, there is an interesting fact we have to consider
concerning the motion of the tiny hairs on the cells of the
inner ear. Usually the motion of these tiny hairs is very
small. Research has shown that a hair motion of just half the
diameter of an atom can be enough to set off the reaction in
the cell. Experts who have studied the matter give a very
interesting example to describe this sensitivity of these
hairs: If we imagine a hair as being as tall as the Eiffel
Tower, the effect on the cell attached to it begins with a
motion equivalent to just 3 centimetres of the top of the
tower.[2]
Everything
we have examined so far has shown us that the ear possesses an
extraordinary design. On closer examination, it becomes
evident that this design is irreducibly complex, since, in
order for hearing to happen, it is necessary for all the
component parts of the auditory system to be present and in
complete working order. In order for you to hear, such
different elements as the ear drum, the hammer, anvil and
stirrup bones, the inner ear membrane, the cochlea, the liquid
inside the cochlea, the tiny hairs that transmit the
vibrations from the liquid to the underlying sensory cells,
the latter cells themselves, the nerve network running from
them to the brain, and the hearing centre in the brain must
all exist in complete working order. The system cannot develop
“by stages,” because the intermediate stages would
serve no purpose.
This
complex system is full of examples of unparalleled design that
the theory of evolution cannot explain. The origins of hearing
cannot be explained by the trust of evolutionists in "coincidences".
On the contrary, it is obvious that all of them have been
created and given to us by our Creator. While the human cannot
even understand the working mechanism of systems that enable
him to see, hear and think, the infinite wisdom and power of
Allah (swt) Who created all these from nothing is apparently
obvious.
In
Qur'an, Allah (swt) invites humans to ponder this and to be
thankful:
"Allah
brought you out of your mothers' wombs knowing nothing at all,
and gave you hearing, sight and hearts so that perhaps you
would show thanks."
(Surat an-Nahl: 78)
References
[1]
“Color Atlas of Human Anatomy” (1994), Harmony Books, New
York, p. 70.
[2]
“Color Atlas of Human Anatomy” (1996). Harmony Books, New
York. p.71.
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