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PREDICTIONS – 10 Years Later - Santa Fe Institute

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4. THE RISE AND FALL OF CREATIVITY<br />

297, overshooting his perceived potential by 8 percent! Looking at the graph,<br />

we see that during the last eleven years of Einstein’s life his publications deviate<br />

from the curve, which has practically reached its ceiling around<br />

1945. However, his cumulative works continue growing in a straight<br />

line, implying a constant rate of production, like a machine printing<br />

away at a preset rate.<br />

I looked up these late publications. As a rule the original scientific<br />

thought in their content is sparse. Some are open letters or honorary addresses<br />

at gatherings and social meetings. But most of them are simple<br />

translations or old works republished with a new introduction. It would<br />

seem that Einstein was overcompensated at the end for what he was deprived<br />

of early in his life. Who would dare refuse to publish a document<br />

bearing Albert Einstein as its author’s name?<br />

CAN WE PREDICT OUR OWN DEATH?<br />

Marchetti pioneered work in correlating the end of life with the end of<br />

creativity/productivity by studying selected outstanding personalities<br />

from the arts, literature, and science. In a paper titled Action Curves and<br />

Clockwork Geniuses, he presents curves for scores of personalities. 5 He<br />

admits to being biased in choosing cases by his personal interest in the<br />

visual arts and the availability of reliable data in his library. The cases<br />

he covers include Sandro Botticelli, Domenico Beccafumi, Guido Reni,<br />

José Ribera, Sebastiano Ricci, Tintoretto, Francisco de Zurbarán, Jonh<br />

Sebastian Bach, Wolfgang Amadeus Mozart, William Shakespeare,<br />

Ludwig Boltzman, Alexander von Humboldt, and Alfred J. Lotka.<br />

Marchetti concentrates on persons whose actions have been appreciated,<br />

studied, and classified. The work done by editors, authors, publishers<br />

and critics contributes to the validation of the data to produce a sample<br />

that accurately represents the worthy creations of a genius.<br />

I checked a few of Marchetti’s cases (Mozart, Botticelli, Bach,<br />

Shakespeare) and ventured to study others on my own. I did not always<br />

obtain agreement between a natural growth curve and the lifework in<br />

question. (Some “failures” are discussed in the following section.)<br />

My preoccupation from the beginning, however, was that if such an<br />

90

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