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Kenneth R. Miller is a professor of biology at Brown University. His research work on cell membrane structure and function has been reported in such journals as Nature, Cell, and the Journal of Cell Biology. Miller is co-author of several widely used high school and college biology textbooks, and in 1999 he published Finding Darwin’s God: A Scientist’s Search for Common Ground Between God and Evolution (Cliff Street Books).

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Without defining “design,” Wells asserts that “many features of living things appear to be designed.” Then he contrasts natural selection (undirected) with design (directed), apparently attempting to return to the pre-Darwinian notion that a Designer is directly responsible for the fit of organisms to their environments. Darwin proposed a scientific rather than a religious explanation: the fit between organisms and environments is the result of natural selection. Like all scientific explanations, his relies on natural causation.

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Use of Web 2.0 tools in teaching & learning: Specifically, researching the use of social network sites for language learning by college ESL students.

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Evolution response to Michael J. Behe By Kenneth R. Miller

Figure 2. Romanesco broccoli or Roman cauliflower. The number of spirals on the head of Romanesco broccoli is a Fibonacci sequence. It is an example of the Fibonacci numbers in nature.

Intelligent Design position statement By William A. Dembski

Another grid very similar to the Fibonacci spiral is the √2 rectangle. It is easily identified in international standards for paper sizes (Figure 6) known and adopted worldwide. When a rectangle is divided in half, the same ratio of width-to-height as the original √2 rectangle is maintained.

Evolution response to William A. Dembski By Robert T. Pennock

Since the Renaissance, the golden ratio has attracted the attention of many experts from various fields – biologists, artists, architects, mathematicians, musicians, historians, psychologists, and even mystics. It has worked as a source of inspiration since its proportions are considered aesthetically pleasing. The golden ratio is intimately connected to another mathematical concept, the Fibonacci sequence. This expresses a logarithmic spiral (Figure 1) where a harmonious and logical grid is immediately identified by designers. This grid has been used for centuries. The golden ratio, often called the golden section, is one of the most mysterious numbers that exist in nature and it is considered the key to the secret of beauty of the known world (Figure 2). Due to its interesting properties, it has been used in the analysis of financial markets, in web design (Figure 3), in the construction of buildings (Figure 4) and even in the composition of the world’s most admired paintings (Figure 5).

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In the absence of evidence that natural selection and random variations can account for the apparently designed features of living things, the entire question of design must be reopened. Alongside Darwin’s argument against design, students should also be taught that design remains a possibility.

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William A. Dembski, who holds Ph.D.’s in mathematics and philosophy, is an associate research professor at Baylor University and a senior fellow with the Discovery Institute in Seattle. His books include The Design Inference: Eliminating Chance Through Small Probabilities (Cambridge University Press, 1998) and No Free Lunch: Why Specified Complexity Cannot Be Purchased Without Intelligence (Rowman and Littlefield, 2001).

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The authors who contributed to this Natural History report are:

Less scientific and despite being called the rule of thirds, in fact this is not a rule but an aid to composition. Earlier in the eighteenth century, this technique was used by painters, draftsmen, photographers, and graphic designers as a reference for the creation of balanced and harmonious compositions, facilitating the reading of the image. It is applied by dividing any image into nine squares drawing two imaginary horizontal and two vertical lines. The intersection of these four lines gives rise to four focal points that are important in the image (Figure 7). The human eye is naturally attracted to these points. Fitting the main objects of the composition in these points or using the lines as basis, it is possible to create balanced and attractive results. However, employing the opposite, one can create tension and stress.