Ever heard of the Fibonacci sequence? It is a sequence of numbers where each one is the sum of the previous two numbers. The sequence runs 0, 1, 2, 3, 5, 8, 13, 21, 34, and so on. What’s fascinating about the Fibonacci sequence is that when you make squares the size of the numbers, it creates a beautiful spiral image.
The “Fibonacci spiral” is found everywhere. It is to be seen in plant leaves, pine cones, seashells, pineapples, ferns, daisies, artichokes, sunflowers and even galaxies. It’s in the arrangement of seeds on flowers. It’s in starfish. It’s in the cochlea of your inner ear, which is not simply a spiraled shape, it’s the actual Fibonacci spiral, with the exact number sequence. There is a mysterious intricate embedded order, intelligence and design in nature. What is behind this mind-boggling sophisticated artistry?
We are told that extraordinary claims require extraordinary evidence. Similarly, extraordinary design requires an extraordinary designer. You are free to believe that all of this magnificence is simply the result of unplanned fortuitous collisions of molecules—a belief that requires faith of an extraordinary caliber. Or you can accept a more sensible explanation—this artwork is the work of an Artist, the work of a wise and skilled Creator. But please don’t parrot the nonsense that theists are people of blind faith. Blind faith is exercised remarkably well by skeptics.
I am not an Atheist. I do not know if I can define myself as a Pantheist… We are in the position of a little child, entering a huge library whose walls are covered to the ceiling with books in many different tongues. The child knows that someone must have written those books. It does not know who or how. It does not understand the languages in which they are written. The child notes a definite plan in the arrangement of the books, a mysterious order, which it does not comprehend, but only dimly suspects. That, it seems to me, is the attitude of the human mind, even the greatest and most cultured, toward God. We see a universe marvelously arranged, obeying certain laws, but we understand the laws only dimly.
The overlooked point is this: when examined carefully, scientific accounts of natural processes are never really about order emerging from mere chaos, or form emerging from mere formlessness. On the contrary, they are always about the unfolding of an order that was already implicit in the nature of things, although often in a secret or hidden way. When we see situations that appear haphazard, or things that appear amorphous, automatically or spontaneously ‘arranging themselves’ into orderly patterns, what we find in every case is that what appeared to be amorphous or haphazard actually already had a great deal of order built into it.
In fact, we shall learn something more: in every case where science explains order, it does so, in the final analysis, by appealing to a greater, more impressive, and more comprehensive underlying orderliness. And that is why, ultimately, scientific explanations do not allow us to escape from the Design Argument: for when the scientist has done his job there is not less order to explain but more.
–Physicist Stephen M. Barr,
Modern Physics and Ancient Faith