 Dembski’s aim is two-fold. First, to give us the criteria by which we distinguish something that we would label ‘designed’ rather than otherwise. Second, to put this into context, and show how we distinguish design from something produced naturally by law or something we would put down to chance. As far as inferring design is concerned, there are three notions of importance: contingency, complexity, and specification. Design has to be something which is not contingent. The example that Dembski uses is the message from outer space received in the movie Contact. The series of dots and dashes, zeros and ones, could not be deduced from the laws of physics. But do they show evidence of design? Suppose we can interpret the series in a binary fashion, and the initial yield is the number group, 2, 3, 5. As it happens, these are the beginning of the prime-number series, but with so small a yield no one is going to get very excited. It could just be chance. So no one is going to insist on design yet. But suppose now you keep going on the series, and it turns out that it yields in exact and precise order the prime numbers up to 101. Now you will start to think that something is up, because the situation seems just too complex to be mere chance. It is highly improbable. ‘Complexity as I am describing it here is a form of probability….’ (Dembski 2000, 27).