Gian-Carlo Rota (1997): Ten Lessons I Wish I Had Been Taught, Notices of the American Mathematical Society 1, 1997, Vol. 44, pp. 22-25.

https://www.newyorker.com/magazine/2014/07/07/ambient-genius

It's not stated in the piece, but there's a hint of Brian Eno as a lone genius within music, but the piece explicitly explores his own creative practices and collaborations which go toward creating his creativity and genius by way of his path through music.

Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.

Book Source: Eno, Brian. A Year With Swollen Appendices: Brian Eno’s Diary. 1st edition. London: Faber & Faber, 1996. Section: A Letter to Dave Stewart, p 354

Cross reference quote and further usage/refinement of the word from popular blog post by Kevin Kelly Scenius, or Communal Genius: https://hypothes.is/a/SgYqomnBEe2_Yaf4i1JnCg

Definition of scenius, a portmanteau of scene and genius, meaning roughly the output of combining the ideas of zeitgeist with combinatorial creativity to create sustained output which might be considered genius level work.

Generally it gives more credit to the people and time than is generally seen in other instances which are often frame as lone genius.

My definition may be more complex and nuanced than that of the version coined (?) by Brian Eno.

The cumulative effect of one's perception of Sturgeon's law may be a driving force underlying imposter syndrome.

While one see's the entirety of their own creation process and realizes that only a small fraction of it is truly useful, it's much harder seeing only the finished product of others. The impression one is left with by availability heuristic is that there are thousands of geniuses in the world with excellent, refined products or ideas while one's own contribution is miniscule in comparison.

Contrast this with Matt Ridley's broad perspective in The Rational Optimist which shows the power of cumulative breeding and evolution of ideas. One person can make their own stone hand axe, but no one person can make their own toaster oven or computer mouse alone.

Link to: - lone genius myth (eg. Einstein's special relativity did not spring fully formed from the head of Zeus, there was a long train of work and thought which we don't see the context of)

Forte is fairly good at contextualizing people and proving ethos for what he's about to present. Essentially saying, "these people are the smart, well-known geniuses, so let's imitate them".

Humans are already good at imitating. Are they even better at it or more motivated if the subject of imitation is famous?

See also his sections on Twyla Tharp and Taylor Swift...

link to : - lone genius myth: how can there be a lone genius when the majority of human history is littered with imitation?

Feynman’s approach encouraged him to follow his interests wherever they might lead. He posed questions and constantly

Creating strong and clever connections between disparate areas of knowledge can appear to others to be a flash of genius, in part because they didn't have the prior knowledges nor did they put in the work of collecting, remembering, or juxtaposition.

This method may be one of the primary (only) underpinnings supporting the lone genius myth. This is particularly the case when the underlying ideas were not ones fully developed by the originator. As an example if Einstein had fully developed the ideas of space and time by himself and then put the two together as spacetime, then he's independently built two separate layers, but in reality, he's cleverly juxtaposed two broadly pre-existing ideas and combined them in an intriguing new framing to come up with something new. Because he did this a few times over his life, he's viewed as an even bigger genius, but when we think about what he's done and how, is it really genius or simply an underlying method that may have shaken out anyway by means of statistical thermodynamics of people thinking, reading, communicating, and writing?

Are there other techniques that also masquerade as genius like this, or is this one of the few/only?

Link this to Feynman's mention that his writing is the actual thinking that appears on the pages of his notes. "It's the actual thinking."

"Social encoding advantage" is what psychologists refer to as the phenomenon of people remembering social information more accurately than other types.

Reference to read: “social encoding advantage”: Matthew D. Lieberman, Social: Why Our Brains Are Wired to Connect (New York: Crown, 2013), 284.

It's likely that the social acts of learning and information exchange in oral societies had an additional stickiness over and beyond the additional mnemonic methods they would have used as a base.

The Western cultural tradition doesn't value the social coding advantage because it "excludes social interaction from the realm of the intellect" (Paul, 2021). Instead it provides advantage and status to the individual thinking on their own. We greatly prefer the idea of the "lone genius" toiling on their own, when this is hardly ever the case. Our availability bias often leads us to believe it is the case because we can pull out so many famous examples, though in almost all cases these geniuses were riding on the shoulders of giants.

Reference to read: remember social information more accurately: Jason P. Mitchell, C. Neil Macrae, and Mahzarin R. Banaji, “Encoding-Specific Effects of Social Cognition on the Neural Correlates of Subsequent Memory,” Journal of Neuroscience 24 (May 2004): 4912–17

Reference to read: the brain stores social information: Jason P. Mitchell et al., “Thinking About Others: The Neural Substrates of Social Cognition,” in Social Neuroscience: People Thinking About Thinking People, ed. Karen T. Litfin (Cambridge: MIT Press, 2006), 63–82.

I like the idea of some of the research into education, pedagogy, and technology challenges here.

Given the incredibly common and oft-repeated misconception which is included in the article ("But Zettelkasten was a very personal practice of Nicholas Luhmann, its inventor."), can we please correct the record?

Niklas Luhmann positively DID NOT invent the concept of the Zettelkasten. It grew out of the commonplace book tradition in Western culture going back to Aristotle---if not earlier. In Germany it was practiced and morphed with the idea of the waste book or sudelbücher, which was popularized by Georg Christoph Lichtenberg or even re-arrangeable slips of paper used by countless others. From there it morphed again when index cards (whose invention has been attributed to Carl Linnaeus) were able to be mass manufactured in the early 1900s. A number of well-known users who predate Luhmann along with some general history and references can be found at https://en.wikipedia.org/wiki/Zettelkasten.

I suspect that most of the fallacy of Luhmann as the inventor stems from the majority of the early writing about Zettelkasten as a subject appears in German and hasn't been generally translated into English. What little is written about them in English has primarily focused on Luhmann and his output, so the presumption is made that he was the originator of the idea---a falsehood that has been repeated far and wide. This falsehood is also easier to believe because our culture is generally enamored with the mythology of the "lone genius" that managed Herculean feats of output. (We are also historically heavily prone to erase the work and efforts of research assistants, laboratory members, students, amanuenses, secretaries, friends, family, etc. which have traditionally helped writers and researchers in their output.)

Anyone glancing at the commonplace tradition will realize that similar voluminous outputs were to be easily found among their practitioners as well, especially after their re-popularization by Desiderius Erasmus, Rodolphus Agricola, and Philip Melanchthon in the emergence of humanism in the 1500s. The benefit of this is that there is now a much richer area of research to be done with respect to these tools and the educational enterprise. One need not search very far to discover that Ralph Waldo Emerson and Henry David Thoreau's output could potentially be attributed to their commonplace books, which were subsequently published. It was a widely accepted enough technique that it was taught to them at Harvard University when they attended. Apparently we're now all attempting to reinvent the wheel because there's a German buzzword that is somehow linguistically hiding our collective intellectual heritage. Maybe we should put these notes into our digital Zettelkasten (née commonplace books) and let them distill a bit?

syndication link: https://browninterviews.org/suddenly-you-realize-that-your-house-is-not-equipped-with-a-water-hose-or-even-emergency-exit-we-are-not-prepared-for-e-learning-at-such-a-large-scale-brown-interviews-dr-jingjing-lin/#comment-637

It's rarely ever the case (my cognitive bias statement), that anything springs fully formed from the mind.

Generally there's an infrastructure, a system, a method by which ideas or physical things are aggregated, accumulated, and edited into existence.

When seeing them well done, they appear magical because we don't see the work or the process. We will often call them genius, when in reality, they're the result of long hard work.

Take the Pyramids of Giza. They look large and magesterial---and likely moreso in their non-degraded form. But is it so mystical how they may have been built if we were to see the structure and scaffolding that likely went into constructing them?

It's rarely ever about the "lone genius".