Finding Paley’s Watch

24 October 2011

Monday


William Paley

The locus classicus for pre-Darwinian natural theology and the design argument appears on the first page of William Paley’s Natural Theology:

In crossing a heath, suppose I pitched my foot against a stone, and were asked how the stone came to be there, I might possibly answer, that for any thing I knew to the contrary it had lain there for ever; nor would it, perhaps, be very easy to show the absurdity of this answer. But suppose I had found a watch upon the ground, and it should be inquired how the watch happened to be in that place, I should hardly think of the answer which I had before given, that for any thing I knew the watch might have always been there. Yet why should not this answer serve for the watch as well as for the stone; why is it not as admissible in the second case as in the first? For this reason, and for no other, namely, that when we come to inspect the watch, we perceive — what we could not discover in the stone — that its several parts are framed and put together for a purpose, e. g. that they are so formed and adjusted as to produce motion, and that motion so regulated as to point out the hour of the day; that, if the different parts had been differently shaped from what they are, or placed after any other manner or in any other order than that in which they are placed, either no motion at all would have been carried on in the machine, or none which would have answered the use that is now served by it. To reckon up a few of the plainest of these parts and of their offices, all tending to one result: We see a cylindrical box containing a coiled elastic spring, which, by its endeavor to relax itself, turns round the box. We next observe a flexible chain — artificially wrought for the sake of flexure — communicating the action of the spring from the box to the fusee. We then find a series of wheels, the teeth of which catch in and apply to each other, conducting the motion from the fusee to the balance and from the balance to the pointer, and at the same time, by the size and shape of those wheels, so regulating that motion as to terminate in causing an index, by an equable and measured progression, to pass over a given space in a given time. We take notice that the wheels are made of brass, in order to keep them from rust; the springs of steel, no other metal being so elastic; that over the face of the watch there is placed a glass, a material employed in no other part of the work, but in the room of which, if there had been any other than a transparent substance, the hour could not be seen without opening the case. This mechanism being observed — it requires indeed an examination of the instrument, and perhaps some previous knowledge of the subject, to perceive and understand it; but being once, as we have said, observed and understood, the inference we think is inevitable, that the watch must have had a maker — that there must have existed, at some time and at some place or other, an artificer or artificers who formed it for the purpose which we find it actually to answer, who comprehended its construction, and designed its use.

Natural Theology; or, Evidences of the Existence and Attributes of the Deity, COLLECTED FROM THE APPEARANCES OF NATURE, William Paley, D.D., Late Archdeacon of Carlisle, The Twelfth Edition, Chapter 1

That was, as Paley put it, the state of the argument in his day. For some among us neither the day nor the argument has changed.

Having the benefit both of hindsight and of subsequent scientific progress, we can reformulate Paley’s attitude to found objects as that between organic forms of order and mechanistic forms of order. Paley, of course, didn’t put it that way, and in fact this distinction wasn’t of interest to him. Paley did distinguish between a stone and an artifact like a watch, implying that the minimal forms of order manifested by the stone failed to rise to the level of implying a designer.

This implicit disinterest in the order represented by the neglected stone, which might have lain there forever, reminds me on one of Plato’s late works, the Parmenides, in which Socrates is asked whether “vile and paltry” things are manifestations of a Platonic Form or Idea:

“And would you feel equally undecided, Socrates, about things of which the mention may provoke a smile? — I mean such things as hair, mud, dirt, or anything else which is vile and paltry; would you suppose that each of these has an idea distinct from the actual objects with which we come into contact, or not?”

“Certainly not, said Socrates; visible things like these are such as they appear to us, and I am afraid that there would be an absurdity in assuming any idea of them, although I sometimes get disturbed, and begin to think that there is nothing without an idea; but then again, when I have taken up this position, I run away, because I am afraid that I may fall into a bottomless pit of nonsense, and perish; and so I return to the ideas of which I was just now speaking, and occupy myself with them.”

The scenarios of Plato and Paley are so closely similar that we can substitute the “vile and paltry” examples from either one for the argument of the other, salva veritate, so that Paley might have referred to hair, mud, and dirt as implying no design, while Socrates in Plato’s dialogue might have denied that a stone has an Idea or a Form.

Plato hesitates to grant ideas to hair, mud, and dirt as Paley hesitates to grant design to a stone. Both positions seem to me to be metaphysically wrong-headed. Both Plato and Paley point to an evaluative metaphysics in which some objects are presumptively denied their metaphysical status, while other objects are non-problematically granted metaphysical status. That is to say, the determination as to that which possesses the dignity of being and that which is denied the dignity of being has been made prior to the formulation of the metaphysical doctrine in question.

For Plato, hair, mud and dirt to not rise to the level of metaphysical interest; for Paley, a stone does not rise to the level of metaphysical interest. In both Plato and Paley the distinction between the two appears pervasively but also implicitly. In the quote from Plato above, Socrates says, “visible things like these are such as they appear to us,” which implies a distinction between things that are as they appear to us and things that are not as they appear to us, and ultimately reality belongs to the latter. In Paley, he is entirely indifferent to the stone he nearly trips over. Paley says of the watch as objet trouvé that, “its several parts are framed and put together for a purpose,” which implies a parallel distinction between objects that are not put together for a purpose and objects that are put together for a purpose, and ultimate reality belongs to the latter.

These evaluative metaphysical doctrines of Plato and Paley invite parallel thought experiments:

1) According to Plato, how much of the world can exist independently of Ideas or Forms?

2) According to Paley, how much of the world can exist independently of design?

A geologist might be shocked to see a stone dismissed from the realms of order so casually, and in fact I once spoke to a geomorphologist who described the discovery of a particular stone as one of the high points of his career. And, similarly, a natural historian might be shocked to see hair, mud, and dirt so casually dismissed. In his Origin of Species, Darwin described one of his experiments with mud:

“I do not believe that botanists are aware how charged the mud of ponds is with seeds: I have tried several little experiments, but will here give only the most striking case: I took in February three tablespoonfuls of mud from three different points, beneath water, on the edge of a little pond; this mud when dry weighed only 6 and 3/4 ounces; I kept it covered up in my study for six months, pulling up and counting each plant as it grew; the plants were of many kinds, and were altogether 537 in number; and yet the viscid mud was all contained in a breakfast cup! Considering these facts, I think it would be an inexplicable circumstance if water-birds did not transport the seeds of fresh-water plants to unstocked ponds and streams, situated at very distant points.”

Charles Darwin, The Origin of Species, Chapter XIII, “Geographical Distribution, continued”

Stones, hair, mud, and dirt and materials from which a world entire might be made, though metaphysicians of a certain stripe have thought these things beneath their dignity. The stone has a natural history which may reach back to the original formation of the planet, and the mud may be filled with traces of life that also betray a natural history to be measured in millions if not billions of years.

The humble stone and the humble dirt upon which the stone lies have much to teach us, and yet we cannot even say how they are distinct from works of artificers, like a watch, or from beings that are the paltry reflections of ideal Forms.

For all we have learned in the meantime, since Paley wrote his treatise, I know of no adequate formulation of the distinction between the organic and the mechanistic. There seems to me to be no question but that in most cases we can intuitively distinguish organic forms of order from mechanistic forms of order, but the relative obviousness of the intuitive difference only points all the more insistently at our failure to capture this intuitive distinction in conceptual terms.

In fact, the distinction between the mechanistic and the organic is so intuitively clear that the violation of the boundary between the two can be confusing and even offensive. Here precisely lies the power of the works of H. R. Giger, who has called his creations “biomechanoids.”

A similar aesthetic violation of our categories of the organic and the mechanical is to be found in representations of cyborgs in science fiction, and especially the Borg as they appear in Star Trek television episodes and films.

I sing the Body Electric, or, to be more specific, the Feminine Electric: is this to be feared as dystopia or welcomed as futurism?

To subsist in the ontological gray area of category confusion — partly organic, partly mechanistic — is to embody the abject. Abjection is a common source of moral horror, and I previously cited transhumanism and its apparent embrace of cyborg technology as a source of moral horror in Addendum on the Avoidance of Moral Horror.

Whereas it is moral indifference that led Plato and Paley to neglect the ontological status of stones, hair, mud, and dirt, it is moral horror that leads many to neglect the abject entities that violate our categorical schemes. However, it is once again an implicit and evaluative metaphysical presupposition that leads to an abstract conception of the world that glosses over entire classes of beings as unworthy of theoretical notice.

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