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The Art of Michael Bedard

Try PC World Risk-Free, just fill in the form and click Submit!NameCityFossil Watch Limited EditionsFrog and Toad Are Friends by Arnold LobelIn The Story, The Letter, and The List, friends Frog and Toad use writing and storytelling to help each other.cobra:'Legends Dark Knight' featuring Batman. Signed by Bruce Timm. 525.00, unframed. Edition of 250. Approx. size 14x16.Respree - 100 Top Selling ArtistsEmi Azeka Art Studio 572-16171163B Freitas Place, Makawao, HI 96768 9.97Choose from the following list of Bedard, Michael posters Burgundy grape wine decanter, wine glasses,cheese dome,ice buckets.Yellow Wildflower Cheese Domes and Cake plates. Serve cheese to delight any quests."To live is so startling it leaves little time for anything else." Emily DickinsonHome Liquidation ListingsBedard's work, both on the canvas and on the screen, is characterized by his uncanny ability to create an image with depth in both artistic quality and meaning. There is nearly always a social commentary that lies underneath his whimsical imagery. One must look beyond the simple visual statement employed by the composition to the real purpose of the painting -- usually an important social issue that concerns us all. 5,000 Offers ConsideredMichael Bedard Original, Framed Face to Face PaintingFine Art:PaintingsThis original, framed Michael Bedard painting, Face to Face , is from his award-winning children's book, Sitting Ducks . Acrylic on board. Framed Size 26 x 39 .Google Directory - Arts Literature World Literature Canadian Children's Authors Bedard, MichaelNews & Interviews 185 Offers Considered1970s Original Figurative Drawing The Mission Signed Peter MartinFine Art:DrawingsOriginal charcoal and conte crayon figurative drawing, unframed, measuring 14 ¼ by 19 ¼ inches. The overall size is 20 by 24 ½ inches. Signed "Peter Martin" in the lower right corner. Partial exhibition label on the verso with the title "The Mission" Atypical Fine Art and Antiques - Page: 1 | 2 | 3 | 4 | - Items 61 - 90 of 1185.DivideMichael Bedard, Emily Arnold McCully (Illustrator)KünstlerBedard MichaelTitelStranger in ParadiseRubrikMotiv - KinderzimmerGröße (cm)60 x 100Versandfertigin 2-5 TagenArtikelnr.2101870Preis (CHF)71,80The Survival Of The Fittest - Stephen Jay Gould In LondonRobyn Williams: Have you noticed that nearly everything in life is becoming commercial? A few years ago, when I gave the Alfred Deakin Lecture in Melbourne, the annual showcase lecture for the Liberal Party, I chose as a theme the privatisation of everything. I suggested that they consider sponsorship for Cabinet positions and proposed, for instance, the McDonald's Minister of Education, the Tampax Treasurer, and the Murdoch Minister of Arts and Communications. Gradually, we see here and abroad, these ideas are being taken up.Not least in science. Whereas once we had professors standing before appreciative crowds, giving talks for the public good, nowadays we have packaging, promotion, spin-offs, tie-ins and who knows? even T-shirts to augment the erudite oration. Where will it end? Learned institutions can no longer afford to put on the unembellished occasion; and if you can make a quid, why not go in for it?Well today, a personal reflection on all that from Professor Jane Goodall. She's just been to see one of the toreadors of palaeontology, and both he and she reacted rather adversely to the product and corporate manifestations, as you'll hear. Jane Goodall lectures at the University of Western Sydney, Hawkesbury.Jane Goodall: On a recent visit to London, I attended a public lecture by Stephen Jay Gould. It was jointly presented by The Times and Dillon's the booksellers, in connection with the release of Gould's latest book, 'Life's Grandeur'.Having bought my ten pound ticket from Dillon's, I turn up at the Institute of Education, where the main lecture hall has a capacity of around 1200. It's full. I pick up the free copy of The Times from my seat, and a reader survey falls out. The people around me seem to be more interested in filling in the crossword. At the left and right edges of the stage in front of me are symmetrically posed coffee tables, each with a large vase of flowers and an even larger placard bearing The Times logo. Behind these, hang Dillon's blue and gold banners. On the front of the lectern is a placard, divided in two horizontally, with The Times logo at the top and the Dillon's logo at the bottom. Centre stage is another large placard, also equally divided between the two sponsors. Over all, it's a very carefully arbitrated sharing arrangement - equal space for equal partners - though the impression is that the competition may break out again at any minute, and someone will come and unroll The Times carpet across the floor, or Dillon's will let down a set of hanging banners across the fore-stage. What are they doing here anyway? I ask myself. A lecture pulling in box office of around 20,000 surely doesn't need sponsorship.Gould, when he arrives, looks strangely out of place up there amidst the flower and banners. He should be wearing a blue and gold Times/Dillon's kimono or something, instead of the slightly shambolic arrangement of sagging trousers and shirt with rolled-up sleeves. The lecture begins, and somewhere around the middle of the second sentence, the mike on the lectern cuts out. Technicians run down the steps from the back of the auditorium to tap and tinker, then run back to the control room, and down again with a clip-on mike. 'Oh, I hate these things', Gould mutters as he's reconnected to the sound system. 'Do I really have to use this thing? Oh well ' He goes back to the lectern and starts again. 'Tomorrow I'm reading The Guardian'.It must have taken hours to set the stage, but nobody bothered to check the mike. Nothing could more succinctly make the point that the substance of this lecture is an also-ran in a massive promotion exercise, or should I say, exercise is in promotion. (I'm not sure there's anything being promoted, other than the principle of promotion itself.)Gould starts to talk to a slide sequence. Then abruptly, he breaks off and walks across to the side table. 'Flowers are nice,' he says, 'but the people at the front can't see what I'm talking about.' He carries the vase, and then The Times logo board, offstage, and returns to the lectern. I'm beginning to understand why he rolled up his sleeves for this job.Gould's lecturing style is throwaway, self-deprecating, anti-pretentious: the antithesis of that of his critical opponent, Richard Dawkins, who goes for the cut and thrust of formal pedagogy, and never, never under-sells himself. This is not to say that Gould is no salesman. When it comes to displaying an idea, he has the edge on Dawkins, whose approach to ideas is a little too clinical and school masterly to be attractive to anyone not terminally wedded, like himself, to the principle of correctness. Dawkins is an explainer, an explicator, in the best biblical tradition of explication, where all the skill goes into persuading you to take out a subscription to a given principle. Gould offers a lot more conceptual showmanship. He promises to turn the picture around, shift some of the baggage that might be blocking your view so that, nothing in his hand, nothing up his sleeve, he'll demonstrate the paradigm shift happening before your very eyes.The paradigm shift in this case involves turning around a particular narrative bias which gets into the way when we tell the story of evolution. There's a certain way we like our stories to run, says Gould, who unlike Dawkins, understands that the difficulty of getting scientific logics across is not simply due to the recalcitrance of people who are determined to be incorrect. Sometimes the difficulty is attributable to culturally embedded beliefs that serve particular interests, and justify particular ways of living. So, says Gould, we don't like stories to be like the Book of Ecclesiastes, where what goes around comes around, and there's no drive toward any particular direction, no momentum. We like a story that drives towards progress, and that's what we expect the theory of evolution to be. That's the myth, as illustrated in the slides, by a lot of examples from advertising and popular culture showing the sequential picture of the evolution of man - you've all seen it: from primate, through various forms of hunched anthropos, to the upright, briefcase-carrying mobile-connected reader of Dillon's books. Linear evolution triumphant. But that's not how it is. You have to reverse the story, and listen to another story about non-predictable non-direction. This is also a story of deterioration and extinction, loss and gains in variety, and one in which triumph and defeat are notions which begin to be dissolved by the sheer complexity of the picture. The evolution of any given organism or behaviour is relative to that of a whole network of interlocking systems. We think what we see in natural history is the trend towards improvement, when what we need to be looking at is 'the spread of excellence' - the complex leakage of enhancement through variation. 'We crave progress,' Gould says, 'as our best hope for retaining human arrogance in an evolutionary world. Only in these terms can I understand why such a poorly formulated and improbable argument maintains such a powerful hold of us today. Progress,' he says, 'is a delusion based on social prejudice and psychological hope.'Does Dillon's know about this? Is this news to The Times? The staging of the lecture tells another evolutionary story, and one which has achieved the status of a massive orthodoxy in late 20th century Britain: the story of progress, defined as being ahead of your rivals. Progress achieved through pure competition. The triumph of the principle of competition itself. But of course, it's more than a story, it's a lived pseudo-Darwinian drama of the survival of the fittest, in which the notion of adaptation means riding not the paradigm shifts, but the shifts in the free market economy.The Times reader survey is seeking to assess its position in relation to its rivals - The Guardian, the Daily this and that. The Times, having thrown off its old crustacean guise, seeks to move with the times, to read the narrative of competition based culture back to itself with all the rider imperatives of fitness and rapid adaptation.In spite of its dependence on evolutionary concepts, this narrative is as far from any scientifically-based version of evolutionary principles as it could be. The story so painstakingly told by Gould over the years - of natural selection as a super-slow and haphazard process happening through deep time - is replaced by a narrative of determined rapid adaptation that is always one jump ahead. Survival depends on being the first and fastest to adapt. This is the way to triumph. Fitness means working out and trimming back till you are the perfect lean machine, and regularly taking your pulse with client surveys. It's nothing to do with the gradual and uncertain process of finding a fit between a life form and its environment. Gould's main theme in this new book is, he says, 'that we can only understand trends properly if we map expansions and contradictions in variation among all items in systems, and cease to focus on the march of mean or extreme values through time.'Outside in the streets, the kids are rolling out their swags in the doorways where they sleep the night. An Evening Standard hoarding announces, 'Major's Hopes Rise: British Economy Booms.'The triumph of mean and extreme values is still the story then. What does 'economy' mean here, I wonder, as I pass a cap on the ground with a few copper coins scattered on it. An economy is that which is in competition with other economies. Survival of the fittest. I imagine someone in 40 years' time looking in patronising amusement at a photograph of this London scene in the pages of a new book which offers a history of the now-defunct idea of competition, and of how it gradually came to be evident that competition is not the way to survival and evolutionary superiority, but a fast track to extinction. But then, maybe I'm just indulging in another slightly disguised progress narrative - one that assumes that the level of human understanding improves through time.Gould warns against making analogies between cultural change and natural evolution. Ever since Darwin though, there has been a kind of cultural fixation on drawing these analogies. How are you going to stop them? Spencer's coinage of the phrase 'survival of the fittest', which Darwin himself decided to adopt, has generated a form of cultural anxiety so insistent that it triggers major political policies. Assumed to be a law of nature, it has become a law of culture, and will take far more than a few school-masterly accusations of scientific incorrectness to dislodge.But there is always hope of the paradigm shift. Cultural history demonstrates that paradigm shifts are sudden; they are unexpected, because they work by reversing well established trends in thinking, whose momentum seems to be steady and strong. There's a role here for human agency. The influence of even one person's ideas can trigger the change in the direction of the current. And then the whole picture of meaning changes.Right now, I'm back home. Since the fast forward pseudo-evolutionary narrative of progress and survival through competition looks set to gain monopoly in Australia, with the universities being amongst the first, rather than the last to take out an uncritical subscription to it, I ask myself, who's going to roll up their sleeves and take the promotional clutter out of the line of vision, so that the paradigm shift can get a look in?Robyn Williams: Who indeed? And I wonder whether Britain's new government will go in for a paradigm shift.That was Jane Goodall, Associate Professor in the School of Humanities, University of Western Sydney, Hawkesbury.By the way, Steven Jay Gould's latest book is called 'Life's Grandeur'. Richard Dawkins' is called 'Climbing Mount Improbable'. And of course, Ockham's Razor's latest book is called 'All Us Apes', now in the ABC Shop.Next week, Ockham's Razor comes from Perth: Lyn Roberts of Curtin University of Technology, talks about MOOOS.return to index of transcripts of Ockham's Razor



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