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Stephen Jay Gould

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Steve is extremely bright, inventive. He thoroughly understands paleontology; he thoroughly understands evolutionary biology. He has performed an enormous service in getting people to think about punctuated equilibrium, because you see the process of stasis/sudden change, which is a puzzle. It's the cessation of change for long periods of time. Since you always have mutations, why don't things continue changing? You either have to say that the particular form is highly adapted, optimal, and exists in a stable environment, or you have to be very puzzled. Steve has been enormously important in that sense. Talking with Steve, or listening to him give a talk, is a bit like playing tennis with someone who's better than you are. It makes you play a better game than you can play. For years, Steve has wanted to find, in effect, what accounts for the order in biology, without having to appeal to selection to explain everything—that is, to the evolutionary "just-so stories." You can come up with some cockamamie account about why anything you look at was formed in evolution because it was useful for something. There is no way of checking such things. We're natural allies, because I'm trying to find sources of that natural order without appealing to selection, and yet we all know that selection is important.
--
Stuart Kauffman, as quoted in John Brockman, ed., The Third Culture, New York: Touchstone, 1996, pp. 64-65.

 
Stephen Jay Gould

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Speech is an acoustic reality, writing a visual one. Performance of the former has been perfected through a million years of natural selection in the evolutionary process. The latter is a trick which we began to learn only yesterday (in terms of evolutionary time). To "hear" language (and to "say" it) is programmed in our genes; to "see" it (and "read" it) is not.

 
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In the early days, I was writing scripts for virtually all the books, and it was very hard to keep all the artists busy; poor little frail me, doing story after story. So I'd be writing a story for Kirby, and Steve Ditko would walk in and say, 'Hey, I need some work now.' And I'd say, 'I can't give it to you now, Steve, I'm finishing Kirby's.' But we couldn't afford to keep Steve waiting, because time is money, so I'd have to say, 'Look Steve, I can't write a script for you now, but here's the plot for the next Spider-Man. Go home and draw anything you want, as long as it's something like this, and I'll put the copy in later.' So I was able to finish Jack's story. Steve in the meantime was drawing another story.....Okay, it started out as a lazy's man's device...but we realized this was absolutely the best way to do a comic.....Don't have the writer say, 'Panel one will be a long shot of Spider-Man walking down the street.' The artist may see it differently; maybe he feels it should be a shot of Spider-Man swinging on his web, or climbing upside-down on the ceiling or something.

 
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