Darwinian Perspectives on Creativity
Total Page:16
File Type:pdf, Size:1020Kb
ORIGINS OF GENIUS This page intentionally left blank ~ ORIGINS OF GENIUS ~ Darwinian Perspectives on Creativity Dean Keith Simonton New York Oxford OXFORD UNIVERSITY PRESS 1999 Oxford University Press Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Copyright © 1999 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 http://www.oup-usa.org Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Simonton, Dean Keith. Origins of genius: Darwinian perspectives on creativity/ Dean Keith Simonton. p. cm. Includes bibliographical references and index. ISBN 0-19-512879-6 i. Genius. 2. Creative ability. 3. Darwin, Charles, 1809-1882. I. Title. BF412.S58 1999 153.9'8 — dc2i 98-45044 987654321 Printed in the United States of America on acid-free paper To all Darwinists This page intentionally left blank Contents ~ Preface IX 1. GENIUS AND DARWIN The Surprising Connections i 2. COGNITION How Does the Brain Create? 25 3. VARIATION Is Genius Brilliant—or Mad? 75 4. DEVELOPMENT Are Geniuses Born—or Made? 109 5. PRODUCTS By What Works Shall We Know Them? 145 6. GROUPS The Right Place and the Right Time? 199 /. DARWINIAN GENIUS The Future of an Idea 243 Notes 249 References 261 Index 297 This page intentionally left blank Preface ~ For nearly a quarter of a century, I have been conducting scientific inquiries into the nature and origins of creative genius. The subjects of these investigations have included thousands of eminent figures from most of the world's civilizations and key domains of creative activity: scientists and artists, philosophers and composers, poets and psychologists. During the course of my research, I have come to admire many outstanding exem- plars of creativity. From European civilization, for instance, come such per- sonal idols as Beethoven, Shakespeare, and Leonardo da Vinci. Nonetheless, because I am a behavioral scientist, my private list of heroes tends to be heavily weighted toward those who have made signal contributions to sci- entific knowledge. At the top of the roster are such notables as Galileo, Pas- cal, Newton, Faraday, Pasteur, and Einstein. But my all-time favorite is Charles Darwin. There are probably three main reasons for this choice. First, Darwin had an unusually attractive and approachable personality, at least as revealed in his autobiography and correspondence. He had a rare combination of frankness, modesty, and persuasive self-confidence. Seri- ously dedicated to the hard work of science, Darwin also could enjoy the everyday world of family and community. He was arguably the most human of all scientific luminaries. He is certainly more accessible than Newton. Second, all of his landmark contributions are accessible to educated lay readers—including me. One does not need special training, mathematical or otherwise, to read the Origin of Species, for example. Indeed, I can think of no scientific masterpiece that can boast such universal appeal. Newton's Principia, in contrast, is very tough going, even for physicists (who are now unschooled in its archaic mathematics). At the same time, Darwin did not compromise his scientific integrity or effectiveness in producing such a popular work. It is rich in logic and fact—features that render the work all the more thought provoking and convincing. Third, and probably most important, no scientist, living or deceased, has more influenced my own thinking than has Charles Darwin. I may admire Einstein or Newton or Galileo, but their epoch-making ideas belong to someone else's discipline. In comparison, Darwin's powerful contributions have left their indelible imprints throughout the biological and behavioral sciences, psychology not excluded. Great psychologists as diverse as William James, Sigmund Freud, and B. F. Skinner have all acknowledged Darwin's penetrating influence. In fact, among the first behavioral scientists to feel the impact of Darwin's ideas was Francis Galton, whose 1869 Hereditary Genius x ~ Origins of Genius ~ is considered one of the landmarks in the scientific study of creative genius. Which brings me to my purpose in writing this book: Not only do I admire Darwin as a creative genius par excellence, but in addition I believe that Darwin provided the secure foundations for a comprehensive theory of extraordinary creativity. For more than a decade now, I have been grappling with whether the diverse features of creative phenomena are best under- stood from a Darwinian perspective. This potential application is by no means new with me. I have many predecessors going as far back as Galton and James. Nevertheless, I believe the time has come to consolidate all of the diverse efforts at constructing a Darwinian theory of creative genius. Besides advancing our understanding of creativity, such a consolidation would also serve as a kind of homage to that scientist who most profoundly shaped my own thinking. I would like to thank Joan Bossert and Philip Laughlin, my editors at Oxford, whose initial reactions to an early draft of this book were most encouraging. I am particularly grateful to Philip for his having obtained a balanced set of external reviewers. Two of these evaluators provided detailed critiques along with a willingness to be identified: Colin Martin- dale and Howard Gardner. In addition, Frank Sulloway provided numer- ous, detailed, and useful comments on what I had—quite mistakenly!— thought to be the final draft. Although none of these readers can be said to be sympathetic with everything in the final product, I hope that all will appreciate my attempts to accommodate their most significant criticisms. The book certainly has much fewer faults as a result of their input. Charles Darwin did all of his research at home. He was therefore fortu- nate to have a family willing to provide him with that special environment he needed to read and write, contemplate and experiment. Because I also do virtually all of my own research at home, I must feel myself equally blessed. Specifically, I must explicitly thank my wife, Melody, and my daughter, Sabrina. Melody's role was especially crucial, and in all aspects of my life and work. I can think of no better way of honoring her contribution than to quote what Darwin said of his own wife: She has been my greatest blessing, and I can declare in my whole life I have never heard her utter one word which I had rather have been unsaid. She has never failed in the kindest sympathy towards me, and has borne with the utmost patience my frequent complaints.... I do not believe she has ever missed an opportunity of doing a kind action to anyone near her. I marvel at my good fortune that she, so infinitely my superior in every single moral quality, consented to be my wife. She has been my wise adviser and cheerful comforter throughout life, which without her would have been ... a miserable one.... She has earned the love and admiration of every soul near her. ORIGINS OF GENIUS This page intentionally left blank 1 GENIUS AND DARWIN The Surprising Connections C/ivilizations are often defined by the lives and works of their creative geniuses. The glory that was ancient Greece was built on the achievements of Homer, Pythagoras, Herodotus, Sophocles, Plato, Hip- pocrates, Phidias, and hundreds of other great creators. Modern European civilization was illuminated by the likes of Galileo, Descartes, Tolstoy, Rem- brandt, and Mozart. The same story may be told of the world's other civi- lizations. The histories of Persia, India, China, and other high cultures are to a very large extent chronologically arranged biographies of notable creative minds. As Thomas Carlyle proclaimed in his famous 1841 essay On Heroes, "Universal History, the history of what man has accomplished in this world, is at bottom the History of the Great Men who have worked here." Among those he discussed at length as illustrations were Dante and Shakespeare, two of the greatest writers in any language. So obvious is the debt civilizations owe these exceptional individuals that the appearance of such geniuses is often considered an indication of the cre- ative health of a civilized culture. For example, this linking is evident in the 1944 Configurations of Culture Growth by Alfred Kroeber, an eminent cul- tural anthropologist. Wishing to gauge the emergence, growth, and stagna- tion of civilizations throughout the world, Kroeber could conceive of no better method than to assess the appearance of famous creators across a cul- ture's history. A civilization enjoyed a golden age when it overflowed with ~i 2 ~ Origins of Genius ~ first-rate creative minds, experienced a silver age when the creative activity descended to a less notable level, and suffered a dark age when creators became few and far between. Indeed, this association goes beyond the abstract operational definitions of behavioral scientists. What nation does not take pride when one of its writers or scientists is awarded the Nobel Prize? Yet who are these creative luminaries? Where do they come from? When do they appear? What are they like? Can any one of us become a creative genius? Or is high-caliber creativity limited to the one in a million? These questions are important. In fact, they provide the impetus behind my writing this book.