It seems a matter of common sense that the more cognitively challenging the task of discovery or reconception is, the less likely it is to be discovered more than once. Leaping over a rivulet is possible for many, over a river for few. This begs the question: just how many scientific advances entail the application of an extreme degree of cognitive power? What Newton did and what Einstein did, in reconceiving the laws of physics, seem to be defensible examples of extremity. So much of science, though, especially outside the highly abstract realms of physics and mathematics, resembles a process of incremental, random discoveries, happy accidents, the accumulation of data to ramify an extant paradigm.
The key difference between those advances susceptible to access by multiple minds and those reserved for high genius may be the relative degree of discovery content versus thought content--discovering and describing a new species of beetle is entirely distinguishable from postulating the theory of relativity. And this distinction may also partially explain why there is more clarity in the arts as to who is and who is not a genius. Even an artist like Flaubert, a founder of the "realist" school, which emphasized details discovered in the real world, only achieved his greatness by selecting and placing those details to maximize their symbolic and aesthetic power. Thus, the "discovery" element, the knowledge of relevant details, is only a minor aspect of his work--their aura and their consequence derive from the conceptual powers active through them. The other form of artistic discovery is the imitation of other artists--their forms, techniques, perspectives. But, like the greatest scientists, who "stand on the shoulders of giants" and must reconceive their conceptual inheritance to make major advances, great artists also must achieve reconceptions or reinventions to create major works. Revolutions in science, which shower eternal glory upon the revolutionaries, seem rarer than revolutions in the arts--though it would be a reckless leap to assume that supreme genius is more common in the arts. The materials upon which artists and scientists work and the conditions under which they work are too different for a meaningful comparison of relative degrees of genius.
I should add that I was provoked to this consideration by the PC implications of Gladwell's emphasis on the democratisation of discovery. There is nothing more PC than the assumption that all humans are equal. This is the unquestioned and unquestionable
foundation stone of PC ideology. When one of the priests of PC happens upon any
evidence to further press this notion upon the public consciousness, he is
religiously bound and equipped to extrapolate it to the edge of
nonsense. So does he slide into this premeditated nonsequitur:
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