When I think of Richard Dawkins it makes me think of this short clip from Francis Schaeffer called “The Naturalistic, Materialistic, World View” and it is taken from Episode 4 “BASIS FOR HUMAN DIGNITY” of WHATEVER HAPPENED TO THE HUMAN RACE?
Francis Schaeffer pictured below:
Dr. Francis Schaeffer – The Naturalistic, Materialistic, World View
Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR
Francis Schaeffer and Gospel of Christ in the pages of the Bible
(The Bible is the key in understanding the universe in its form)
프란시스 쉐퍼 – 그러면 우리는 어떻게 살 것인가 introduction (Episode 1)
Age of Nonreason
#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer
The clip above is from episode 9 THE AGE OF PERSONAL PEACE AND AFFLUENCE
In above clip Schaeffer quotes Paul’s speech in Greece from Romans 1 (from Episode FINAL CHOICES)
A Christian Manifesto Francis Schaeffer
A video important to today. The man was very wise in the ways of God. And of government. Hope you enjoy a good solis teaching from the past. The truth never gets old.
115. Filosofia: Richard Dawkins Vs Alister McGrath
Neste vídeo: Richard Dawkins Vs Alister McGrath
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As Oxford professor and arch-evangelist of atheism Richard Dawkins continues his crusade against religion, we finally have the first book-length critique of The God Delusion: Alister McGrath and Joanna Collicutt McGrath’s The Dawkins Delusion?: Atheist Fundamentalism and the Denial of the Divine (InterVarsity Press).
One could hardly think of a more contrasting figure to Dawkins or a better apologist for theism than Alister McGrath. This atheist-turned-Christian, also of Oxford, is a professor of historical theology. But as a student of molecular biophysics, he possesses the dual credibility in science and religion that Dawkins lacks. Further, McGrath authored Dawkins’ God: Genes, Memes, and the Meaning of Life in 2004, and is thus thoroughly familiar with Dawkins’s other writings. This is especially helpful for calling Dawkins to consistency.
For example, Dawkins’s central argument is that God’s existence cannot explain the world because he must be at least as complex, and therefore as improbable, as the world itself; and such an improbable entity would also require explanation. Recalling Dawkins’s earlier work Climbing Mount Improbable, McGrath notes Dawkins’s admission that humanity’s existence itself is overwhelmingly improbable. But of course we exist. “We may be highly improbable—yet we are here,” writes McGrath. “The issue, then, is not whether God is probable but whether he is actual.”
Although McGrath’s response is provocative, it is precisely at such points in The Dawkins Delusion? that one wishes McGrath had plumbed the depth of Dawkins’s philosophical naïveté. In asserting that God is improbable, the zoologist is out of his habitat. Probability theorists have developed complex equations to tackle exactly this sort of problem.
Suffice it to say that if Dawkins’s argument (i.e., God’s existence cannot account for the design of the world because his existence is improbable) is correct, God’s trial is over before it begins. In other words, Dawkins does not have to counter specific empirical evidence for purposeful design.
Dawkins next proposes that evolution shaped human brains to believe religious hypotheses (even though religion is itself not evolutionarily beneficial). McGrath is at his finest here, observing that while Dawkins is a scientist writing about religion, he fails to study religion scientifically. In fact, Dawkins does not even offer a rigorous definition of religion.
Like watching one schoolboy do another’s work, McGrath’s true gift is pointing out what Dawkins is obliged to show in order to make his case. Different propositions are, unsurprisingly, processed differently by the brain. So if Dawkins is to proffer religious belief as a byproduct of our evolution, it is incumbent on him to tell us what category religious statements belong to, what other sorts of statements religious thoughts may piggyback on, and how the brain processes them—none of which Dawkins seems aware he should provide.
As McGrath rightly points out, “There is nothing specific to religion here.” All of our thoughts (including atheistic thoughts) are brain-dependent. What is worse, Dawkins presupposes a reductionist approach in which mental states have a one-way relationship from the physical brain rather than a more complex approach in which mental states—depression is McGrath’s example—have a multiplicity of causes, both physical and social. And McGrath can’t resist noting that while love has physical correlates in the brain, this should not be taken to prove that one’s beloved does not exist!
Finally, concerning religious beliefs—where Dawkins paints in broad strokes—McGrath admirably delves into their complexity and diversity. It may make a nice sound bite to lump Christian evangelicals with Islamic extremists. But to develop a serious scientific critique of religion, one must discuss pertinent differences in theology. And McGrath finds Dawkins’s knowledge of Jesus of Nazareth, the roots of religious violence, and the Bible (e.g., Dawkins asserts without qualification that Paul wrote Hebrews) seriously wanting.
The Dawkins Delusion? is a deliberately short work not intended to fight Dawkins on all fronts. Even so, it is odd that McGrath does not attempt to counter Dawkins on neo-Darwinism, for this is Dawkins’s whole cachet. As Dawkins put it, “Darwin made it possible to be an intellectually fulfilled atheist.” Thus, any critique of Dawkins’s atheism without tackling its Darwinian foundation is bound to leave the reader unsatisfied.
McGrath does not attack Darwinism because he views it as equally compatible with both theism and atheism. Either interpretation is legitimate, he says. McGrath cites as a witness atheist-Darwinist Stephen Jay Gould, who noted that half his Darwinist colleagues believed in God, and half did not. Therefore, thought Gould, Darwinism must be compatible with both worldviews, or half of his colleagues must be “stupid.” But of course this would not make half of them stupid; it would just make half wrong. McGrath recounts surveys showing many scientists to be theists. Unfortunately, this does nothing to establish the compatibility of Darwinism and theism. Humans hold incompatible beliefs all the time.
To see why Darwinism and theism are incompatible, consider random mutations and natural selection—the two elements of modern Darwinian theory. Random mutations are, well, random. By definition, random mutations are unguided. “Mutations are simply errors in DNA replication,” according to University of Chicago biologist Jerry Coyne. “The chance of a mutation happening is indifferent to whether it would be helpful or harmful.” If a mutation is harmful, the organism with the mutation will leave fewer offspring; but if the mutation is beneficial for reproduction, the mutated gene will be passed to many offspring. This is the “natural” selection part. Theistic Darwinists claim that this process creates life’s diversity and is also “used” by God.
While theists can have a variety of legitimate views on life’s evolution, surely they must maintain that the process involves intelligence. So the question is: Can an intelligent being userandom mutations and natural selection to create? No. This is not a theological problem; it is a logical one. The words random and natural are meant to exclude intelligence. If God guides which mutations happen, the mutations are not random; if God chooses which organisms survive so as to guide life’s evolution, the selection is intelligent rather than natural.
Theistic Darwinists maintain that God was “intimately involved” in creation, to use Francis Collins’s words. But they also think life developed via genuinely random mutations and genuinely natural selection. Yet they never explain what God is doing in this process. Perhaps there is still room for him to start the whole thing off, but this abandons theism for deism.
So there is a danger in the approach of theistic Darwinists such as McGrath. He is surely right that the religious and scientific worldviews are compatible. Harmony can be found. But this is not because theism can concede a materialist origin story and escape unscathed. Rather, it is because the materialist story is false and, further, is contradicted by mounting physical evidence in physics, chemistry, and biology.
McGrath is, if anything, too generous with Dawkins. The Dawkins Delusion? is written with a scholarly care and graciousness that Dawkins lacks. Dawkins’s arrogance and contempt lead him to be sloppy with his opponents’ arguments. McGrath, despite his flaws, takes Dawkins seriously.
Logan Paul Gage, policy analyst, Discovery Institute.
Copyright © 2007 Christianity Today. Click for reprint information.
The Dawkins Delusion? is available from ChristianBook.com and other retailers.
Previous articles about atheism and Dawkins’ work include:
Puncturing Atheism | Fourfold God Squad brilliantly takes on Dawkins, Hitchens, & Co. (October 31, 2007)
The New Intolerance | Fear mongering among elite atheists is not a pretty sight. AChristianity Today editorial (January 25, 2007)
The Dawkins Confusion | Naturalism ad absurdum. (March/April 2007)
The Know-Nothing Party | How should Christians respond to ill-informed attacks? (February 5, 2007)
Clockwork Origins, parts 1, 2, and 3 | Richard Dawkins is absolutely confident that science will finally accomplish what philosophy has been unable to do in more than 2,000 years—make theism intellectually indefensible. (Jan/Feb 1996)
My haven: Anthropologist, artist and TV presenter, Desmond Morris, 83, in the studio at his Oxfordshire home
Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather’s brass microscope and a painting he completed a few months ago
1 MY INSPIRATION
The most precious object I own is my great-grandfather’s brass microscope. I found it in the attic when I was a child, and using it led to the two pursuits that have dominated my entire life – zoology and art. I began drawing the organisms I saw under the lens and exhibited my first collection of work in 1948. Although I use modern microscopes today, I would never part with this one.
2 CAVE CUBES
When my wife Ramona and I visited a mineral fair a few years ago I fell in love with this amazing object, so she secretly bought it for me. It’s a piece of cave wall dotted with dozens of pyrite cubes with such precise edges and smooth faces it’s hard to believe they’re natural. My old friend David Attenborough came to see it and said, ‘You may have more cubes than I have, but mine are bigger!’
3 HEAVY, MAN!
Seven years ago my son Jason bought this huge fossil from a gallery in Ireland for my birthday. It’s so heavy I can hardly lift it. It’s called Cladocyclus and I discovered that 110 million years ago itwas a very fast and ferocious marine predator. I value it highly, partly because it’s a relief to find something older than me, but even more so because my son went to so much trouble to get it to my studio.
4 I’VE BEEN FRAMED
This is a favourite painting of mine, completed only a few months ago. It’s number 2365 out of the 2392 I’ve done since I began in 1944. I have no idea what drives me on, but it certainly makes my haven a place of work as well as a place of rest. I’m fascinated by the totem poles of American Indians and allowed my Biomorphs, the strange beings that have inhabited my work since the 40s, to grow out of the tops of them.
5 100 NOT OUT!
It was a schoolboy ambition of mine to visit 100 countries before I die and I did it in February 2010 when I set foot on Christmas Island in the Pacific. The islanders are a delightful people who live in small villages, three of which are quaintly called Banana, London and Poland. The women make these ornaments out of cowrie shells and this is very special to me because it symbolises my lifetime of travel.
6 DUMMY RUN
Many years ago I found this tailor’s dummy in a junk shop and I’ve added bits to it from faraway lands so it’s developed its own bizarre character. There’s an antique scythe I found in Cyprus and a doctor’s birdmask from Croatia (the long beak kept the doctor at a distance from infectious patients). On its head I placed a wig I found on Pier 39 in San Francisco and a coolie hat from Java.
Recent paintings by Desmond Morris are on show at the Taurus Gallery, North Parade, Oxford, tel: 01865 514870.
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Desmond Morris (1969)
|Born||Desmond John Morris
24 January 1928
Purton, Wiltshire, England
|Occupation||Zoologist and ethologist|
|Known for||The Naked Ape (1967)|
Born on 24 January 1928 in Purton, Wiltshire, Desmond John Morris is the son of Marjorie (née Hunt) and the children’s fiction author Harry Morris. In 1933, the Morrises moved to the nearby town of Swindon, which remained his primary home until 1951. During this time in Swindon, Morris began to develop a strong interest in both natural history and writing. In 1941 Morris attended Dauntsey’s School, a co-educational boarding school for 11- to 18-year-olds on the northern edge of Salisbury Plain in Wiltshire. It was during this time away at school that Morris’s passion for both zoology and the modern visual arts began to intensify and come to the surface.
In 1946, Morris was conscripted into the army for two years of national service. During this time, he became a lecturer in fine arts at the Chiseldon Army College, and also began to take painting seriously. In 1948 he was demobilised from the army, and that same year held his first one-man show of his own paintings at the Swindon Arts Centre. Pursuing his interests immediately, that autumn he enrolled as an undergraduate in the Zoology Department of the University of Birmingham. Morris graduated with a First Class Honours Degree in zoology. He moved on in 1951 to the Oxford University Zoology Department to begin his research into animal behaviour for his doctorate degree, mainly basing his studies on reproductive communication systems. In 1954 he earned a Doctor of Philosophy for his research and works leading to his doctoral thesis regarding reproductive behaviour of the ten-spined stickleback.
After receiving his doctoral degree from Oxford University, Morris continued at the university, conducting research on the reproductive behaviour of birds. After some time elapsed, including Morris’s move to London in 1956, he thence began a research project into the picture-making abilities of apes. The following year of 1957 he organised an exhibition at the Institute of Contemporary Arts in London, all of paintings and drawings composed by chimpanzees. Later, in 1958 he co-organised an exhibition which compared pictures made by the likes of infants, human adults, and apes. The event was called The Lost Image and was held at the Royal Festival Hall in London. After assuming the position of Curator in 1959, Morris’ upcoming years begin to fill with strings and strings of books to be released on the topics of animal behaviour, art, many centring on the topic of human behaviour, as well as comparisons to primates, viewing humanity as revolutionised from the hunter-gatherer to the city dweller. Morris also published books covering infant behaviour watching, as well as man watching, and watchings of various types of animals such as cats and dogs.
Morris’ works have been published worldwide. His first book that concerned human behaviour was The Naked Ape: A Zoologist’s Study of the Human Animal, published in 1967. The book gained much popularity. Following its success, in 1968 Morris moved to the Mediterranean island of Malta in order to focus on preparing a sequel as well as freely painting and other activities. Shortly thereafter, with books still continuously being published, in 1971 he opened his research headquarters in Malta, in order to conduct research towards producing an encyclopedia of all human actions, more specifically, to classify all human action-patterns. However, in 1973 Morris left Malta to work for the Nobel Prize winner Niko Tinbergen in his research group studying animal behaviour, with the Department of Zoology at Oxford University.
In 1982 Morris began to study archaeological research for a new, slightly different book, The Art of Ancient Cyprus. The following year Morris published Book of Ages, a year-by-year account of human life from birth to death. Morris finished writing The Art of Ancient Cyprus the next year, 1984, and published it in 1985. His next research project, conducted in 1988, focused on the colors used in decorating human homes. The findings and data were brought together that same year within a report called Nestbuilders. Throughout his entire career Desmond Morris has produced a steady stream of books on the observations of life, humans, animals and even paintings as well as children’s books on the matters. Despite all of his other interests, the majority of his books took place under the category of sociobiology.
In 1948 Morris had his first one-man showing of his paintings, at Swindon Art Centre. Two years later, he emerged into the surrealist art scene at the London Gallery. For the first time at an event held by the Belgiansurrealist Edouard Mesen’s.[clarification needed] The event was held with Joan Miró. The following year (1951), Morris travelled to Belgium to exhibit his paintings at an international art festival. His next art showing wasn’t until 1957 when he organised a chimpanzee paintings and drawings exhibition at the Institute of Contemporary Arts, London (a result of his research study into the drawing abilities of apes). In the spring of 1967, upon release of Morris’s first human behavioural book, he resigned from his post of Curator held at the London Zoo, and thence became executive director of the London Institute of Contemporary Arts for only a year, until 1968 with the release of The Naked Ape, thus sending Morris on an absence from the arts world of over twenty years, while his sociobiology career took the front seat.
In 1974, shortly after returning from his time painting, studying and writing in Malta, Morris held his first exhibition of his surrealist paintings since before the takeoff of his career in other areas. The showing was held at the Stooshnoff Fine Art Gallery in London. Two years Morris held four more exhibitions of paintings, including an exhibition holding 61 works of his from over thirty years – held at the Public Art Gallery in his former home of Swindon. In 1987 Morris combined his two passions of writing and art, to create and publish his first book about his surrealist paintings called The Secret Surrealist, with introduction by Phillip Oakes. His first showing of paintings after the book’s release was held the following year in New York at the Shippee Gallery. Morris continues his showings to this day, with his works being documented and recognised officially by his biographer Silvano Levy in Desmond Morris: 50 Years of Surrealism in 1997. Morris has since travelled showing his art exhibits around the world, from his home in Britain branching throughout Europe. In 2005 a solo exhibit, Ape Artists of the 1950s, of paintings by apes from his earlier studies in the 1950s, was held at the Mayor Gallery in London.
|Swindon Art Centre||Swindon||1948|
|Stooshnoff Fine Art||London||1974|
|Public Art Gallery||Swindon||1977|
|Shipee Gallery||New York||1988|
|Galerie Michele Heyraud||Paris||1991|
|Public Art Galley||Swindon||1993|
|Public art galleries||Stoke and Nottingham||1996|
|Public Art Gallery||Buxton||1997|
Television and film
In 1950 Desmond Morris made his entrance into film and television, writing and directing two surrealist films entitled Time Flower and The Butterfly and the Pin. In 1956 he moved to London in order to assume the position at the Zoological Society of London as Head of the Granada TV and Film Unit. Morris’s job thus included creating programmes for both film and television on the topic of animal behaviour and other various zoology-orientated topics. His job remained as a host for Granada TV’s weekly Zoo Time programme for the following three years up until 1959. During his time in this position, a total of eight years, Morris scripted and hosted a total of 500 Zoo Time programmes, along with 100 episodes of the show Life in the Animal World for BBC2. During this time he also dabbled in radio for the BBC on topics of natural history. However, he left the Film & TV unit at the London Zoo in order to become the Zoological Society’s Curator of Mammals (1959).
After a long break from the world of television, Morris re-entered the game in 1979, undertaking a new television series for Thames TV. The series was called The Human Race, focusing on human behaviour. The show’s filming ran on schedule and was presented on television in 1982. Later the series was shown in many other countries as well. That same year, Morris travelled to Japan for another television expedition to make a production titled Man Watching in Japan, which was shown on Japan Television in that autumn of 1982. In 1986 Morris started working on a new TV series (co-presented by British TV Broadcaster Sarah Kennedy) which was called The Animals Road Show. The show totalled 40 programmes over the next three years, as well as a book published on the series within that time frame. After the show’s second year airing, Morris began filming another TV series that was called The Animal Contract. The show aired for Australian television, wrapping up in 1989. Although The Animal Road Show ended in 1989 also, Morris and Kennedy reunited in 1992 to show a second series of exactly fourteen half-hour episodes. This was followed by a third series the following year in 1993, with thirteen half-hour programmes. This was followed by a fourth series in 1994, and finally a fifth in 1995, all with Sarah Kennedy. In 1994, Morris also wrote then presented a series of six one-hour TV episodes for BBC1, called The Human Animal. This series went on to win the Cable Ace Award in Los Angeles for best documentary series in 1995. The following year Morris began to work on The Human Sexes, a new TV sequel to The Human Animal, which was completed in 1997.
- Zootime (Weekly, 1956–67)
- Life (1965–67)
- The Human Race (1982)
- The Animals Roadshow (1987–89)
- The Animal Contract (1989)
- Animal Country (1991–96)
- The Human Animal (1994)
- The Human Sexes (1997)
In 1964 he was invited to deliver the Royal Institution Christmas Lecture on Animal Behaviour.
- The Biology of Art (1963) – a look at the paintings of primates and their relation to human art
- The Big Cats (1965) – part of The Bodley Head Natural Science Picture Books, looking at the habits of the five Big Cats, the lion, tiger, leopard, jaguar, snow leopard, and the cheetah.
- The Mammals: A Guide to the Living Species (1965) — a comprehensive and compelling listing of all mammal genera, all non-rodent non-bat species, and additional information on select species.
- The Naked Ape (1967) — an unabashed look at the human species. The book is notable for its focus on humanity’s animalistic qualities and our similarity with other apes. Reprinted many times and in many languages, it continues to be a best-seller.
- The Human Zoo (1969) — a continuation of the previous book, analysing human behaviour in big modern societies and their resemblance to animal behaviour in captivity.
- Intimate Behaviour (1971) — In “Intimate Behaviour” Morris studies the human side of intimate behaviour from clapping to cutting hair, from the embrace to copulation. Morris examines how natural selection shaped human physical contact in and how intimate behaviours are expressed and/or repressed in modern culture. Morris explains the origins of complex and mundane human signaling and body contact relating much of it to the pre-natal condition in the womb and the experience of the protection and attention that children receive when young and helpless. Morris infers that most intimate contact is a variation or repetition of such comforting and secure contact which is expressed in thinly disguised forms from pats on the back to massage “therapy”. Morris describes an increasingly rigid modern society empty of typical physical interaction in public and how people compensate by enacting intimate behaviour in other forms in private or through deviant behaviour in public.
- Manwatching: A Field Guide to Human Behaviour (1978)
- Gestures: Their Origin and Distribution (1979)
- Animal Days (1979) — Autobiographical
- The Soccer Tribe (1981)
- Pocket Guide to Manwatching (1982)
- Inrock (1983)
- Bodywatching – A Field Guide to the Human Species (1985) — Hundreds of photos analyzing the human body from hair down to the feet.
- Catwatching: & Cat Lore (1986) — a study of one of the most popular of household pets across the centuries.
- Dogwatching (1986) — an in-depth study of “man’s best friend”.
- Horsewatching (1989) — subtitled “Why does a horse whinny and everything else you ever wanted to know”
- Animalwatching (1990)
- Babywatching (1991)
- Bodytalk (1994)
- The Human Animal (1994) — book and BBC documentary TV series
- The Human Sexes (1997) — Discovery/BBC documentary TV series
- Cat World: A Feline Encyclopedia (1997)
- The Naked Eye (2001)
- Dogs: The Ultimate Dictionary of over 1,000 Dog Breeds (2001)
- Peoplewatching: The Desmond Morris Guide to Body Language (2002)
- The Naked Woman: A Study of the Female Body (2004)
- Linguaggio muto (Dumb language) (2004)
- The Nature of Happiness (2004)
- Watching (2006)
- The Naked Man: A Study of the Male Body (2008)
- Baby: A Portrait of the First Two Years of Life (2008)
- Planet Ape (2009)
- Owl (2009) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the owl.
- Monkey (20013) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the monkey.
- Leopard (2014) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the leopard.
- Bison (2015) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the bison.
- In 1951 upon moving his studies to Oxford University, Desmond studied under Dr. Nikolaas Tinbergen, a Dutch ethologist and ornithologist, who in 1973 shared the Nobel Prize in Physiology or Medicine with two other scientists for their discoveries.
- Holds one man art show at the world’s first university museum (Ashmolean Museum of Art and Archaeology) in 1952, in Oxford.
- In 1952 the journal Behavior, published Morris’s first scientific paper on animal behavior. He produced 47 more over the next fifteen years.
- Awarded Doctor of Philosophy (D.Phil) in 1954 by Oxford University, his thesis on the “Reproductive Behaviour of the Ten-spined Stickleback“.
- First scientific book published in 1958: The Reproductive Behaviour of the Ten-spined Stickleback as well as a children’s book titled The Story of Congo.
- In 1983, Desmond published his first fiction novel, called Inrock (science fiction, fantasy), reflective of the surrealist world he created within his paintings. Said to be primarily aimed towards children, but not entirely.
- In 1992 Desmond held his first one-man showing of his paintings in Paris.
- In 1996 an exhibition titled “Desmond Morris 50 Years of Surrealism” was held at both Stoke Gallery, and then second Nottingham Public Gallery. Followed by a solo exhibit at Mayor Gallery in 1997 to coincide with Desmond’s official biographer Silvano Levy’s book entitled Desmond Morris: 50 Years of Surrealism.
- In 1998 Desmond Morris is awarded the honour of becoming a Doctor of Science by the University of Reading in Reading, Berkshire.
When Morris was 14, his father was killed whilst serving in the armed forces. In a 2008 interview Morris said, “it was the beginning of a life-long hatred of the establishment. The church, the government and the military were all on my hate list and have remained there ever since.” As said in another interview, Morris’s reasoning behind drifting towards the surrealist subculture is rather profound. In a time living as a child in the Second World War and then losing his father to the repercussions of that violence, an inner urge for rebellion against authority struck Morris.
Surrealism started in the 1920s as a rebellion against the horrendous natures of the Great War, these ideas fitted Desmond’s current mindset quite perfectly. Enabling him to create his own world for himself within his paintings. Painting he proclaims is his own personal pleasure, not business. So his rebellion ended up coming forth in other ways, more positive ways, not just within his paintings but within his desire to share knowledge throughout over 79 publications with the world. Not wanting to cause grief for anyone in other aspects (due to his prior grief), he decided to aim his energies in these more positive directions such as writing evolutionarily beneficial works. And so he did, as seen through his life accomplishments, or entire lists of works. Desmond’s grandfather William Morris, a very enthusiastic Victorian naturalist is noted to have played a great influence on Desmond during his time living in Swindon. Interesting to note, William Morris founded the Swindon local newspaper.
In July 1952, Morris married Ramona Baulch, a history graduate from Oxford. The two conceived their only son Jason in Malta. This occurred in 1968 following the success of The Naked Ape. In 1978 Desmond was elected Vice-Chairman of Oxford United F.C..
Desmond reflected in an interview with the following quote : “I also carried my message – about how fascinating animal behaviour and human behaviour can be – to an even wider audience by making television programmes, and presented a total of about 700 programmes over a period of half a century. I have now stopped that work and I am devoting my final years to the three things I enjoy most; writing books, painting pictures and travelling the world. I have so far managed to visit 95 countries and I have a schoolboy ambition to make that 100 countries before I die.”
- Williams, D. “Desmond Morris Biography”. Desmond-morris.com. Retrieved 2012-11-28.
- Williams, D. “Desmond Morris – Bibliography”. Desmond-morris.com. Retrieved 2012-11-28.
- Morris, D. (1967). The Naked Ape: A Zoologist’s Study of the Human Animal (1st American ed.). New York: McGraw-Hill.
- Harré, R. (2006). “Chapter 5: The Biopsychologists”. Key Thinkers in Psychology, pp. 125-132. London: Sage.
- “The Big Cats … Illustrated by Barry Driscoll.”. http://explore.bl.uk. The British Library Board. Retrieved 23 May 2015. External link in
- Williams, D. “Desmond Morris – Research”. Desmond-morris.com. Retrieved 2012-11-28.
- Douglas, Alice (1 November 2008). “My family values: Desmond Morris interview”. London: The Guardian. Retrieved 2012-11-28.
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