If it really were the case, as popular opinion has tried to establish, that the genius were separated from ordinary men by a thick wall through which no sound could penetrate, then all understanding of the efforts of genius would be denied to ordinary men, and their works would fail to make any impression on them. All hopes of progress depend on this being untrue. And it is untrue. The difference between men of genius and the others is quantitative not qualitative, of degree not of kind.
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p. 121Otto Weininger
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In science, as well as in other fields of human endeavor, there are two kinds of geniuses: the “ordinary” and the “magicians.” An ordinary genius is a fellow that you and I would be just as good as, if we were only many times better. There is no mystery as to how his mind works. Once we understand what he has done, we feel certain that we, too, could have done it. It is different with the magicians. They are, to use mathematical jargon, in the orthogonal complement of where we are and the working of their minds is for all intents and purposes incomprehensible. Even after we understand what they have done, the process by which they have done it is completely dark. They seldom, if ever, have students because they cannot be emulated and it must be terribly frustrating for a brilliant young mind to cope with the mysterious ways in which the magician’s mind works. Richard Feynman is a magician of the highest caliber. Hans Bethe, whom Dyson considers to be his teacher, is an “ordinary genius”; so much so that one may gain the erroneous impression that he is not a genius at all. But it was Feynman, only slightly older than Dyson, who captured the young man's imagination.
Richard Feynman
Universality is the distinguishing mark of genius. There is no such thing as a special genius, a genius for mathematics, or for music, or even for chess, but only a universal genius. ... The theory of special genius, according to which for instance, it is supposed that a musical genius should be a fool at other subjects, confuses genius with talent. ... There are many kinds of talent, but only one kind of genius, and that is able to choose any kind of talent and master it.
Otto Weininger
Ever since the French revolution there has developed a vicious, cretinizing tendency to consider a genius (apart from his work) as a human being more or less the same in every sense as other ordinary mortals. This is wrong. And if this is wrong for me, the genius of the greatest spiritual order or our day, a true modern genius, it is even more wrong when applied to those who incarnated the almost divine genius of the Renaissance, such as Raphael.
Salvador Dali
There must be understanding between the artist and the people. In the best ages of art that has always been the case. Genius can probably run on ahead and seek out new ways. But the good artists who follow after genius — and I count myself among these — have to restore the lost connection once more.
Kathe Kollwitz
When I was about twelve, I used to think I must be a genius, but nobody's noticed. Either I'm a genius or I'm mad, which is it? "No," I said, "I can't be mad because nobody's put me away; therefore I'm a genius." Genius is a form of madness and we're all that way. But I used to be coy about it, like me guitar playing. But if there's such a thing as genius — I am one. And if there isn't, I don't care.
John Lennon
Weininger, Otto
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