Page 17 - Tell Me About the Creation

THE DESIGN IN OUR
HANDS
The human hand has a
perfect design that
gives us ideal
movement ability.
Each one of the
27 small bones
making up the
hand is
positioned properly with a certain
engineering calculation. The muscles that
help us to move our fingers are located in our
lower arms so as not to make our hands clumsy. These
muscles are connected by strong tendons to three small
bones in our fingers. Moreover, there is a special bracelet-
like tissue in our wrists that fastens all these tendons.
The hand has such a perfect design that no "robot hand"
produced by modern technology has been able to imitate
the abilities of the hand.

would require thousands and thousands of lucky, appropriate events.
Thus, miracles would become the rule: events with an infinitesimal
probability could not fail to occur… There is no law against
daydreaming, but science must not indulge in it. 12
Grassé summarises what the concept of "coincidence" means for evolutionists:
"...Chance becomes a sort of providence, which, under the cover of atheism, is
not named but which is secretly worshipped." 13
This is the type of superstition that underlies
Darwinism. BONE AND THE
EIFFEL TOWER
Examples of design in
nature often become a
source of inspiration
for technological
designs. An example
is the spongy
A PERFECT HUNTER: THE VENUS' FLYTRAP structure of the human
A carnivorous plant, the Venus' Flytrap, is a perfect bone furnished with
hunter that swiftly catches the flies landing on it. It is small tendons, which
impossible for this trap system working with electric inspired the famous
signals to be the work of coincidence or a gradual Eiffel Tower in
developmental process. The perfect design of the Paris. This structure
Venus' flytrap is one of the numerous signs of creation. is responsible for
the strength,
elasticity, and
lightness of bones.
The same properties
also exist in the
Eiffel Tower, though
The prey, lured by not as effectively as
the fake fish, draws in bones.
near and suddenly
falls a victim to it.
The Design in Nature 15
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