Page 175 - A Definitive Reply to Evolutionist Propagand‪a

HARUN YAHYA

like structures, called stereocilia, which are affected by this wave ef-
fect. These tiny hairs move strictly in accordance with the motion of
the liquid. If a loud noise is emitted, then more hairs bend in a more
powerful way. 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 is most interesting, and once more reveals the com-
plexity 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 16,000 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 oppo-
site 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 electri-
cal signals. These electrical signals are forwarded to the brain by
nerves, and the brain then processes them, turning them into sound.
Science has not been able to explain all the technical details of this
system. While producing these electrical signals, the cells in the inner
ear also manage to transmit the frequencies, strengths, and rhythms
coming from the outside. This is such a complicated process that sci-
ence has so far been unable to determine whether the frequency-dis-
tinguishing system takes place in the inner ear or in the brain.
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.
Take away any one of these parts—for instance, the hammer

173