Mirogenny theories of genius

4.1. MIROGENIC THEORIES OF GENIUS

In the world-centered approach, theories of genius are determined by the essential characteristics of the qualitatively defined, autonomous spheres with their own specific laws, phenomenological worlds.
Each of the worlds is an independent ontology, a peculiar form of being, with its own space-time and materiality, with its elements, connections and structures, with its own peculiar rules of interaction, laws, values ​​and meanings. None of the worlds can be reduced to each other, nor to any more fundamental reality, but is considered as a separate and independent way of being in the world. “Here, culture appears as a special Universe of human being, as a human-sized ontology which incorporates many human ontologies” (V.I. Moiseev).
The interrelations between the worlds can be topologically represented as an initial pentabase, including the objective, symbolic, social and inner world, as well as integrating their higher manifestations, the world of culture. In addition, each of these worlds has its own laws of structure, functioning and development. The criteria of genius proposed by D. Simonton and V. Cassandro fit organically into this matrix. They consider that attempts to measure and define creative genius usually rely on a number of interrelated categories:
• performance
• fame (celebrity, high position),
• intelligence,
• cognitive style (divergent thinking, creativity),
• personality, or biography.

In turn, the world-centered approach reveals the essential criteria of genius on the basis of the qualitatively specific features of its manifestation in relatively independent phenomenological worlds of reality. These theories can be represented in the form of a matrix and superimposed on the isomorphic pentabasis, representing the configuration of interconnected and autonomous worlds:

Tab. 7. Basic criteria and essential theories of genius

1. The personal theory of genius defines genius as the pinnacle of evolution and the crown of creation, as an original, unique individuality, as a self-contained holistic personality, characterized by extraordinary development and a special combination of such integral components as intelligence, traits, motivation and productivity.
1. The immanence and democratic genius. Genius is the highest act of manifestation, assertion, and deployment of the innate, potential properties of creative individuality. Genius is initially collapsed in each person’s essential, creative I, and under certain external and internal conditions, it receives the possibility of free deployment and approval. “But if something is possible for a person and for him, then consider that it is available to you as well” (Marcus Aurelius). As Hegel noted: "Talent is specific, and genius is a universal ability." Otto Veynigger wrote: The genius is most perfectly reveals the human idea. He proclaims for eternal time that there is a man: a subject whose object is the whole universe ... For genius is nothing more than the full realization of the idea of ​​man, i.e., what man must be and what he is in principle able to become.
2. The quality of the creative personality and genius. The personality of a creative genius, - say D. Simonton and V. Cassandro, - is a complex multidimensional construct that includes such integral components as personality traits, intellect and productivity. Creative personalities have a number of such distinctive features as the ability to show stamina in overcoming obstacles, such as openness to the world and the presence of broad interests, curiosity, commitment and a high level of intrinsic motivation (T. Tardiff and R. Sternberg). In turn, E. Torans and L. Hall argued that the main characteristics of genius personalities are: 1) the ability to work miracles, 2) a high degree of empathy - the ability to penetrate the needs and requirements of other people, 3) an aura of exclusivity, 4) the ability to resolve conflicts , 5) the presence of feelings of the future, 6) the ability to transcendental meditation, 7) the ability to come to delight when meeting with a new method of solving the problem, 8) interest in everything new and unusual. K. Taylor points out such traits of a highly gifted personality: the desire to always be on the front lines; independence and independence, risk appetite, dissatisfaction with existing (traditions, methods), not just denial, but the desire to change the existing; non-standard thinking; willingness to make decisions, the gift of communication; talent of foresight. In turn, G. Porter believes that such qualities are inherent in genius as: 1) confidence in the inexhaustibility of the world and abundance of opportunities, 2) the ability to put all the advantages and circumstances into a single generating pattern, 3) the ability to be at the right moment in the right place, 4) the ability to represent an ideal situation, 5) holographic thinking that does not require the expenditure of mental energy, 6) the use of holistic thinking, two-hemispheric thinking: controlled creativity, accurate reverie, logical music, 7) the ability to improvise 8) sense of power over the Universe and its space. It should be noted such a distinctive quality of genius as the combination of reflexivity and spontaneity, as the ability to fully immerse into the process and at the same time be above it.
3. Uniqueness. One of the essential characteristics of a genius is his originality, uniqueness, unique originality. Geniuses reach that highest point of individuality in which it merges with universality.
4. Motivation. Genius is distinguished by its own powerful, intrinsic, own motivation - motivation by creativity. Geniuses are distinguished by incomprehensible sacrifice. Geniuses create because they can not create. They are not satisfied with fame, power or luxury. Van Gogh spent his days and nights painting his paintings, forgetting about dinner and sleep. T. Edison argued that he was alien to "the joy of the rich: horses and yachts," and for complete happiness he needed only a workshop and the ability to conduct experiments. The main motive for the life of Bonaparte was a thirst for action. "A genius does what he has to, talent does what he can." This formula, - wrote V.P. Efroimson, - implies the genius subordination to the task that his inner essence sets before him, his subordination to his creativity, the inevitability of exerting them all their strength to achieve the goal, to solve the task. The real motivation of a genius is his vocation, the indomitable love of the idea and the need to realize it, overcoming any obstacles.

2. Charismatic theory (from the Greek. Charisma - grace, gift, grace) argues that the essential characteristic of a genius is his magical gift of influence, spiritual charm, hypnotic power, the ability to inspire, infect, enthrall and lead people.
The genius creates around him a creatogenic atmosphere, inspires others, enhances their abilities to self-giving, awakens creativity, concentrates energy and strength, and thereby promotes the surrounding and surrounding objects to the ideal. Possessing a magical, spiritual aura, the charismatic genius infects others with his faith and energy, awakens their spiritual strength, leaving behind many supporters and followers. The essential characteristics of a genius are the ability to influence the masses, the ability to mobilize people and unite the nation around common goals, to lead the struggle in critical situations (D. Simonton).
Plato and Aristotle spoke about the special “divine qualities” of prominent people. B. Spinoza called these qualities “divine virtue,” and Kant, Hegel, and Ferbach saw their foundations in historical activities due to extra-personal grounds. BUT. Lossky argued that the essence of the surrounding reality is made up of super-temporal "ideal personalities", "substantial figures" associated with each other, as well as with the superworld beginning, and L.N. Gumilev spoke of the existence of special passionate personalities characterized by an excess of living energy causing an irresistible inner aspiration to activities aimed at achieving the happiness of contemporaries.
The concept of charisma itself was first introduced by M. Weber, who defined charismatic leadership as “based on devotion and exceptional holiness, heroism or an exemplary individual character and regulatory attitudes or the order defined by him”. The supernatural, superhuman abilities of a charismatic personality "are not peculiar to an ordinary person, they are attributed to a divine origin or are perceived as exemplary, thanks to which the individual is considered a leader."
A charismatic personality is usually a charming, creative, successful and self-confident person who is able to cause devotion and unconditional faith in his abilities, inspire a sense of awe to people around him and exert a deep and extraordinary influence on them. According to J. Conger, charismatic leaders are sensitive to the environment and others, a high level of personal risk, and most importantly the ability to formulate and communicate their vision, create an atmosphere of trust and commitment and seek to achieve this vision together. They have the ability to communicate complex ideas in the form of accessible, emotional messages - parables, symbols, analogies and metaphors. N. Tichy and M. Devanna identified the following features of transformational leaders: 1). They consider themselves to be the bearers of change. 2). They have the courage and courage. 3). They believe in people. four). They are driven by fundamental values. five). They learn all their life. 6). They are able to cope with difficulties, uncertainty and ambiguity. 7). They have a vision of perspective. According to A. Sosland, the charismatic person uses the following strategies to exercise his influence: 1). To be different. 2). Survive the insight. 3). Surprise supporters. four). Come up with a ritual. five). Defeat the enemies. 6). Show independence. 7) Awaken special emotions.
The appearance and approval of charismatic personalities is determined not only by intrapersonal, but also by sociocultural factors. Geniuses are born in situations of social crises, in periods of intensified struggle and the maturing of radical changes in society, as well as determined by the presence of adepts and loyal followers who share their world view and mission.
A distinctive feature of a charismatic genius is the fact that he uses his high need for leadership and power, as a means of achieving higher goals, as a tool for transforming the world around him. It is distinguished by the awareness of its mission, high creative potential, manifested in non-standard, original, qualitatively new solutions and actions, as well as a powerful, planetary, transformative vision.
Charismatic geniuses are the founders of new religions, new directions in art and scientific schools. Complementing the list of charismatic personalities given by Weber, it can be assumed that the founders of world religions and religions ( Moses, Buddha, Christ, Mohammed, Luther, Calvin), the great generals (Alexander of Macedon, Nebuchadnezzar, Caesar, Tamerlan, Chingishan, Zhanna D ) possessed charisma . 'Ark, Napoleon) and prominent politicians (Abraham Lincoln, Peter the Great, Mahatma Gandhi, Winston Churchill, Martin Luther King ).
At the same time, the influence of a genius on other people can also be mediated and carried out through his biographies, biographies, diaries, works that can awaken creative forces, inspire and elevate a person. “There can be no genius without a long-lasting productive force,” wrote I.V. Goethe . “If Napoleon is carried along by force of will,” wrote J. Guyot, “then Corneille and Victor Hugo are carried away no less, but in a different way.” Among artistic geniuses with charisma, one can single out - I.V. Goethe , Verdi, Hugo, Tolstoy. The influence of genius on humanity does not know the space-time boundaries and may even increase with time.

3. Forming, transformative theory - sees the essence of genius in form-building power and genius’s form-making, in its ability to tame chaos, create new symbolic systems, artificial languages, artistic means and methods, freely operate and play with symbols, give raw material shape and transform existing content into more advanced.
Ability to create new symbolic systems, artificial languages,
new system of artistic means and methods, expressive and visual means of artistic works.
Symbolic anthropology, at the origins of which Plotinus, Proclus, E. Shaftesbury and E. Cassirer stood, and which was framed in an independent direction by V.Terner, L.Whitt, K.Girtz, makes it possible to comprehend the origin and essence of genius using a kind of categorical apparatus, including such concepts as symbol and symbolic form and form-generating force.
The form-building power of a genius consists of two forces, two extremely generalized personality traits:
1. Ability to organize existing content based on ideal samples and internal generating forms.
2. Ability to express complex spiritual content, new deep meanings with the help of symbols, new systems of artistic means and methods.
Shaping. The ability to give chaos a certain form, ”wrote Otto Weininger, is the ability of a man who is given a comprehensive apperception and a comprehensive memory — these are essential features of a male genius. The genius creates his works from the raw material of clay, marble, paints, sounds, images, movements and words, creates perfect, lively, organic forms that carry the elusive essence of universality and unique originality of the creator.
In the form-generating activity itself, there are two levels of generative forms, two levels of order: cultural, relating to symbolic forms and the archetypes of culture, and universal, reflecting the deep, hidden and perfect order of the universe.
1. Cultural forms manifest as initial samples for subsequent direct or variable reproduction in the form of cultural objects - artifacts. Culture itself is understood as a complex, dynamic, man-made, symbolic system, as a multi-level "text", whose carrier is a natural language that interacts organically with artificial languages: a sign system in science and with various "languages" of art in music, painting, theater, architecture and cinema.
Culture is expressed not simply in signs, but in symbols, which represent the doors to the non-object world of meanings that live in the unconscious depths of the soul. “At the same time, an authentic symbol does not simply“ denote ”the meaning, but carries within it the fullness of its effective force” (A. A. Radugin).
Ernst Cassirer believed that at the origins of human culture lies the ability only inherent to man to create signs, symbols of the reality surrounding him. Verbal and other symbolic symbols give information a certain form of translation and preserve it, forming the world of human culture.
At the same time, culture itself bears shaping tendencies and possesses shaping power, which is realized through a certain form of the scheme inherent in a given culture, which guides and determines the creativity of geniuses. The culture, - considered O. Spengler, - is the prasimvol, from which the whole language of its forms and all its manifestations can be derived. At the same time, the culture prasymbols themselves occur in the depths of the unconscious person. Culture expresses itself through the world of symbolic forms that are transmitted from generation to generation through the creative activity of man. The very cultural and creative activity from the inside is connected with the concept of form.
2. Universal forms. The deep order of the universe is expressed in perfect numerical proportions and the geometric harmony of the universe, T. Mann, in the words of his hero Adrian Leverküun, speaks of the "star, cosmic order" underlying the modern musical form. In this case, the genius intuitively catches and submits in his work "universal, unchanging and truly existing" forms, ideas and eidos "(Plato), the ultimate" form of forms "(Aristotle), universal holistic structures and archetypes (C.Jung). At the same time, the implementation of this type of form underlies the independent holistic or universal theory of genius
Any integral act of interaction, dialogue of a genius with the world is a developable temporal structure consisting of perception (vision) –transformation (shaping) –expressions (incarnations).
According to I.V. Goethe , "the beginning and end of all scripture is the reproduction of the world ... With the help of the inner world, which absorbs everything in itself, mixes, re-creates and gives back in a peculiar form, in a different form."
1. VISION. According to K. Bell, for art it is important not to recognize the depicted object, but to reveal its “significant form” or hidden inner nature. Structuralists believed that "real" art can only express the essence of the object, or its ontological and metaphysical nature. They identified the notion of odds with the structure and set a goal for themselves, the disclosure of the secret meaning encrypted under the outer shell, and its transfer using new graphic tools.
External, visible outlines of objects, both socio-cultural and natural world, were understood as symbols of internal or spiritual reality, and therefore, the main task, ability and existence of genius is spiritual vision, reading and grasping higher ideas, universal structures and truths, hidden by external form .
In turn, complex symbolic systems created by man can arise between man and nature, as an obstacle to pure direct perception of the world.
Genius distinguishes the creation of "transparent" symbolic systems that do not distort the immediate, pure perception of the world, seeing it as it really is. It can even be argued that a genius is able to create “lens symbols,” magic crystals that sharpen perception, enhance insight, and allow penetration into the deeper essences of things. Everything created by a genius, starting from his works and ending with figurative and expressive means, has a holographic structure and reflects the universal structures of culture and the universe and therefore remains transparent for the mutually directed movement of meanings. Even the Neo-Platonists Plotinus and Proclus argued that language, myth and art are not indifferent intermediaries, and they do not play the role of a mirror, but a source of light and represent the condition of the vision and the beginning of any formation. ”
2. TRANSFORMATION. Many brilliant works did not differ in novelty plots, did not lead to an increase in information, but represented a qualitatively new explanation of old facts and the restructuring of existing knowledge. G. Jolie wrote that “a genius uses his strength much more often to organize existing elements and to give them hitherto unknown power, expressiveness and power than to find and create these elements themselves”. A genius is able to catch, grasp, comprehend, awaken in itself the original cultural form and express it in its own way, in a new semantic context defined by the epoch. A genius can say what has already been said, but already in a new context and in a new form, he picks up ideas and discoveries and expresses vividly, clearly, strongly.
Internal structure At the same time, the shaping and creative transformation of existing content, the transformation of socio-cultural and natural forms, is carried out through the spontaneous activity of the “internal structure”, some creative functional organ, creative symbolic intelligence.
This internal structure is understood at the same time as a perfect prism, a magic crystal and at the same time a generating matrix, energizing and structuring a creative method of interaction with the world.
This internal structure can be understood as a symbolic Self, as a mediated functional organ, creative symbolic intelligence, which interacts with the symbolic world.
Even I. Kant argued that such forms of contemplation as space and time and forms of thinking - categories, are not external objective conditions of being, but internal conditions of experience that lie in the human mind itself. In turn, G. Flaubert argued that poetry is a special manner of perceiving the external world, a special body that sifts matter and, without changing, transforms it.
K.A. Swasyan wrote that the essence of the Cambridge school, the leading representatives of which were R. Cadworth and E. Shaftesbury, consisted in the statement that the exterior design of the sensually given is based on certain internal measures (interior numbers, and the form itself is generated not by the substance, but by the creator, which gives it a perfect unity.
A genuine artist or genius becomes like nature itself and becomes the second creator. That “inner form” is revealed to him, which is inherent not only in natural bodies, but also in human consciousness. He portrays in his work not the accidental existence of empirical substances, but his internal and spiritual measures that give this substance wholeness and image.
E. Shaftesbury believed that each person is able to directly comprehend in his own “I” the individual principle of form, which turns out to be his own “genius”. At the same time, the individual manifestations of this genius, with all their differences, remain identical with each other in terms of the manifestation of some kind of form-building power, which can be called the “genius of the universe.”
In turn, Harris put forward the idea of ​​grammar, focused on universal principles that are identical for all languages, proclaiming the primacy of pure intelligible forms over sensual forms. According to E. Cassirer, the symbol creates being and man, being a “symbolic animal,” which means an artist who constructs the world in symbolic images with its contemplative, generative and creative force.
Creative intelligence is a symbolic intelligence manifested in the ability to form and transform the opening content.
By intellect, one can understand an extremely common mental capacity, a universal intrapersonal structure that ensures optimal interaction with the outside world and effectively resolves multi-level, including fundamentally new, unexpectedly arising tasks. In this understanding is meaningful, intelligence is determined by the goals and forms of activity, the quality level of the tasks being solved, and therefore by the interconnected system of specific functions.
Thus, in cognition, intelligence is determined by the cognitive functions of an individual by memory, thinking, imagination, in managing activities — building strategies, goal setting, organization and control, and in social relations, the ability to predict and understand the behavior of others. According to V.N. Druzhinin on the basis of primary behavioral intelligence, formed verbal, spatial and his highest form of sign-symbolic intelligence, which is based on artificial, symbolic languages. Symbols as models allow us to level down the subjective emotional coloring of perception, to distance oneself from an object, and at the same time open up the possibility of free, creative manipulation with it, revealing its new properties. Only at the level of operating with artificial symbolic structures, perhaps completely suprasituative thinking, delayed imitation, manifestation of fantasy, abstract flight of thought and play.
Symbolic intelligence allows the transition from one substantive task to another on the basis of comparison with some universal structure, and not just by “transfer”, transfer of operations from one task to another, according to the method of analogies.
3. FORMING. Creativity of a genius manifests itself as a self-sufficient process of shaping, as a search and discovery of new forms of image and the expression of truth. Genius creates new symbolic systems, artificial languages, new systems of visual and expressive means. The genius creates his own language, his unique unique style, new forms of expression, his own artistic techniques. “Only by expressing oneself in a certain individual form,” wrote Hegel, “can a genius create a true artistic creation.” Describing the creative style of N. Gogol, B. In Rozanov writes: "Pages are like pages ... Only somehow the words are put especially. How they are put, - only Gogol knows the secret." A genius has the ability, but rather a gift, to express his historical epoch, in his individual dictionaries and with the help of special expressive means, in symbols, metaphors, parables, aphorisms with the simplicity and depth most accessible to man. Diderot talked about the individual language form, arguing that the creation of a true poet will forever remain untranslatable. E. Cassirer, in connection with this, cites the words of Lessing, who emphasizes the incomparable peculiarity of poetic genius, said that it is possible to take away his club from Hercules, rather than to remove one single line from the poetry of Homer or Shakespeare.
One of the most generalized types of expressive means is the symbol, understood as a trope, which can unfold in the form of a comparison, a metaphor containing a proportion of conventionality and symbolism.
The power of genius, - consider MK Mamardashvili, A.M. Pyatigorsky, consists in the ability to create a symbolic apparatus that can identify and convey the system of ideas of the author.
So, Andersen, to the authors, changes the idea of ​​the “detachedness” of individual human existence from the universal integrity of the cosmos, through the images of its heroes — tiny human beings, which symbolize not only the “fragmentation” of individual existence, but also its “soullessness” and “toy ". F. Nietzsche created his own special symbolic apparatus, successfully conveying his ideas through metaphors, symbols and oppositions, such as, for example, the “Apollonian and Dionysian Principles”.
Evelyn Underhill wrote that Dante was able to force human language to express one of the most sublime visions of the Absolute that had ever been cast into words. She believed that sublime symbolic vision, in which spiritual perceptions are expressed, representing not psychosensory hallucinations, but works of art, were possessed by such famous mystics as Plotinus, Proclus, St. Augustine, Dionysius Areopagite, Nikolai of Kuzansky, Jacob Boehme and Meister Eckhard. Their work was distinguished by a harmonious combination of mystical intuition and the deepest philosophical generalizations. E. Underhill particularly notes the genius of the poet, artist, visionary and prophet William Blake, the owner of "mystical talent, who subordinated to the vision of truth not only rhythm and word, but also color and shape."
K. Balmont believed that the Symbolists are thinkers distanced from reality, who see in it only their dream. He made an attempt to single out the most outstanding geniuses of the Symbolists: “in England: William Blake, Shelley, De Quincy, Dante Rossetti, Tennyson, Swinburn, Oscar Wilde; in America: the greatest of the Symbolists, Edgar Allan Poe and the genius singer of personality Walt Whitman; in Scandinavia: Henrik Ibsen, Knut Hamsun and August Strindberg; in Germany: Friedrich Nietzsche and Hauptmann; in Italy: D'Annunzio; In Russia: Tyutchev, Fet, Sluchevsky; in Belgium: Meterlink, Verharn; in France: Baudelaire, Villiers de Lille-Adans, Huysmans, Rambo ”.
Genius, representatives of such modernism trends as cubism, cubofuturism, dadaism, lettrism, abstract art, “suprematism”, “pop art” and “op-art”, “antitheater” and “theater of absurdity” differed in their conscious accentuation of form-making. In the world of the simplest forms, K. Malevich, P. Picasso, J. Braque, V. Kandinsky, P. Klee found their means of expression. In turn, the understanding of art as a combination of techniques, the system of expressive and graphic means was proclaimed and implemented in the independent school of Russian formalists, whose manifestos were the works of V. Shklovsky “Resurrection of the Word” (1914) and “Art as a Reception” (1917)
Tongue. As a universally deep inner creative matrix, such categorical structure as a language appears. He appears here in two guises, firstly, as a categorial structure defining the vision of genius, and secondly, as a system of expressive means, a set of techniques, tropes in literature, palettes, lines in painting, sound system in music, embodying this vision in a life.
Yu. Lotman, argued that language is the material of literature and, in relation to it, acts as a material substance, like paint in painting, stone in sculpture, sound in music.The language forms the secondary systems and this makes verbal arts the richest in its artistic possibilities. The word is not a designation or name, not a spiritual symbol of being, but itself is its real part. SuIvanov wrote about poetry as a source of intuitive cognition and about symbols as a means of realizing this cognition. At the same time, the poet of genius acts not only as an artist but also as a person, a bearer of the inner word, an organ of the world soul, a commemorator of the innermost connection of the being, the seer and the mystery of life.
In turn, R. Rorty believed that great personalities: writers, philosophers, scientists, politicians, whom he called "strong poets", have the ability to create their own new languages ​​that allow you to discover new pictures of being and reproduce your own worlds of new words and metaphors affecting the next generation. The “strong poet” appears as the creator of culture and history, which ultimately forms the vocabulary and consciousness of the masses. R. Rorty outlines the images of such bright thinkers as Hegel, Nietzsche, Heidegger, who decided to re-describe the past and create their own dictionaries.

3.1. The game theory of genius - represents the work of genius as free from the bonds of everydayness, a bold, spontaneous and enjoyable game with forms, symbols and meanings. The symbolic representation of reality opens up the possibility of a special, fundamentally creative, game interaction with the world. The representation of the world in the form of symbols breaks tough ties with the material world, gives rise to a space of freedom and creates opportunities for play. Schiller, one of the first to have the courage to declare that "... a man plays only when he is a man in the full sense of the word, and he is quite a man only when he plays."
A. Astvatsaturov wrote that Mozart and I.V. Goethe was distinguished by a special creative, playful attitude to life. So I.V. GoetheHe said about himself: “Everything that I can, I want to do, playing as I have to, and while I feel pleasure from it. So I unconsciously played in my youth, so I want to consciously act all my life. ” Mozart unconsciously perceived music as a game and freely worked, obeying the immanent laws of music and games. He easily absorbed all the variety of musical forms and as easily and spontaneously, as if playing, changing and transforming them.

4. Activity theory considers the essence of genius from the point of view of a creative product produced by a genius, its volume, significance, influence on contemporaries and descendants, as well as contribution to the sociocultural evolution of humanity. According to the definition of the author of the activity (behavioral) theory of R. Albert (R. Albert), the genius is: "A person who for a long period of time performs an enormous amount of work that has a significant impact on other people for many years." Деятельностный подход к гениальности, -пишет автор,- сосредотачивает свое внимание на изучении высших достижений гениев, что позволяет операционализировать такой всеобщий, на первый взгляд таинственный, драматический и необъяснимый феномен как гениальность. Р. Элберт предлагает несколько взаимосвязанных, существенных характериситк или черт гения:
1. Продуктивность. Гения отличает огромный объем проделанной им работы и гигантское наследие. Так И. С. Бах оставил после себя 46 томов сочинений, А. Бине - 227 публикаций, Ч. Дарвин -119, -А. Эйнштейн -248, З. Фрейд -330, Ф. Гальтон -227, А. Пуанкаре 500 статей и 30 книг, В. Джеймс -307 и А. Маслоу – 165 работ. Можно добавить, что Веймарское издание произведений И.В. Гете включает 143 тома, И.К. Айвазовский написал за свою жизнь более 5 тысяч картин, а И.Н. Крамской создал более 3 тысяч портретов. При этом гениев отличало исключительное творческое долголетие: З. Фрейд создавал свои работы на протяжении 45 –лет, П. Пикассо творил более 75 лет, Ч. Дарвин-51 и А. Эйнштейн -53 года. Этот список дополняет пример Микеланджело, который творил около 70-ти лет.
2. Величие трудов и их влияние на человечество. Отличительной чертой великих людей является высокая значимость их трудов, насыщеность большим количеством идей, и направленность на раскрытие саамых насущных проблем. Их произведения оказывали решительное влияние на современников и потомков и служили импульсом к дальнейшим нововведениям и открытиям.
3. Долговечность произведений. Работы гениев, по мнению Р. Элберта, - отличает трансактивность (transacive), понимаемая как свойство сохранять значимость и развиваться во времени. Именно это свойство позволяет гению привлекать многочисленных сторонников и последователей. Самыми существенными качествами гения, -заключает Р.Элберт,- кроме восприимчивости, являются последовательность, выносливость, продуктивность и влиятельность.
Деяния гениев измеряются величием воздействия на современников и потомков, пользой человечеству, вкладом в его прогрессивное развитие. Еще И.В. Гете , рассуждая о сущности и величии гения, говорил: «Все сводится к тому, жива ли его мысль, деяние и дарована ли им долгая жизнь». «В них заложена животворящая сила, она переходит из поколения в поколение, и ее никак не исчерпать, не изничтожить". Эта же мысль была выражена Т. Манро, который утверждал, что гении - это творцы, внесшие в мировую культуру ценности “которые могут получить высокую оценку знатоков в более позднее время и в других странах”.
Деятельностная теория раскрывает сущность гениальности с точки зрения объективных, действенных и, в определенном смысле, измеряемых критериев. Отмечая данное обстоятельство, как позитивный вклад в теорию гениальности, Д.Саймонтон и В.Кассандро подчеркивают ограниченность количественного подхода, который не может измерить сущность гениальности, так же как и определить числом чувство юмора.
В связи с этим количественные анализ необходимо дополнить раскрытием
качественных характеристик продукта, определением меры универсности и уникального своеобразия артефактов и шедевров, созданных гениями.
Качественное своеобразие творческого Продукта. Гений создает насыщенные общечеловеческими ценностями и свернутыми универсными смыслами шедевры, которые оказывают значительное влияние на развитие культуры и человечества, причем это влияние с о временем становится все сильнее и ощутимее. Творческий продукт существует в контексте истории культуры и внутри потока взаимодействия с современниками и потомками, что ведет к игре и порождению вечно новых глубинных смыслов.
При этом можно выделить следующие качества идеального творческого продукта:
1. Смысловая неисчерпаемость и насыщенность высшими ценностями. Произведение гения – это прирост бытия, новая реальность, представляющая собой сплав наиболее универсальных, объективных характеристик внешнего мира и предельно своеобразных, уникальных свойств творческой индивидуальности. Каждый шедевр отличается образцовостью, непревзойденностью, совершенством и, в то же время, смысловой незаконченностью, недосказанностью, таинственностью, распахнутостью вовне и устремленностью в будущее, предназначенностью для воссоздания, сотворчества и порождения новых смыслов.
Произведение гения -представляет собой голограмму, отражающую наиболее фундаментальные законы строения и развития Универсума. Vs Библер писал, что произведение культуры это: «Застывшая форма бытия, в которой создается заново "форма понимания бытия, космоса, вещей "как если бы" они были произведением".
Произведение гения представляет собой органическое целое, оживленную, одухотворенную сущность, порождающую матрицу, содержащую неисчерпаемое богатство вечных, непреходящих, общечеловеческих смыслов, развертывающихся новыми гранями в бесконечно новых личностных и социокультурных контекстах.
«Показателем подлинности всякого произведения культуры, - писал Г. С. Батищев, является его многократное возрождение в обновляющих толкованиях… Лучшее и самое глубокое из того, что ему было присуще подспудно, нередко находят в нем и актуализируют лишь иные умы в иные времена, с иной духовной атмосферой".
Жан Поль Сартр писал: «Мы отказываемся, например, понимать под гениальностью в том смысле, в котором говорят, что Пруст "обладал гениальностью" или что он "был гением", особую способность создавать произведения, которая не исчерпывалась бы их созданием. Гениальность Пруста – это не его произведение само по себе и не субъективная способность его создания…. Гений Пруста, даже если свести его к созданным им произведениям, тем не менее равен бесконечному числу возможных точек зрения на его творчество, что и назовут "неисчерпаемостью" прустовского наследия». Произведение гения всегда всегда шире, глубже и богаче самого автора. Гейне писал, что Сервантес хотел написать только сатиру на рыцарские времена, даже не предполагая глубины и общечеловечности вложенных в роман смыслов.
Произведения гениев содержат, преимущественно в неявном, скрытом, свернутом виде такие универсные, культурные общечеловеческие ценности как Вера, Красота, Истина, Добро и Любовь. Эти аксиологические универсалии в сверконцентрированном виде содержат сущностную информацию о мире и, обладая имманентной внутренней активностью, порождают у реципиентов произведений радость от созерцания красоты, любовь к миру, желание творить добро, наслаждение истиной и веру в существование некоторой непостижимой, неисчерпаемой, справедливой и действенной силы.
2. Глобальная и принципиальная новизна продукта –как открытие и основание новых направлений и стилей в искусстве и парадигм в науке, новых путей развития человечества. Величие личности – в свершении великих дел, создании шедевров, совершении эпохальных открытий. П. Сорокин, говорил, что выдающиеся личности совершают великие дела, которые можно охарактеризовать как « достижение», «создание», «открытие», преобразование», «изобретение», «модификация», «выдающиеся деяние». Еще Г. Жоли писал, что гений: “Это тот кто прославился научно-философской системой, содержащей в себе больше истины, или произведением искусства, обнаруживающим больше красоты, или, наконец, делами...оказывающимим ... большее влияние на жизнь современников и потомства...”.
Трансформативное новое –удовлетворяет универсальным тенденциям Творческой эволюции, глубинным нуждам космогенеза и социокультурного развития человечества. Таким образом, гениальное открытие - такое, которое за счет своей новизны, значимости (полезности) и мастерства исполнения приводит к появлению качественно нового видения картины мира, новых возможностей и тенденций развития культуры.
3.Универсная красота и идеальность. Произведения гения –научные теории, изобретения, великие свершения и шедевры искусства, обладают внутренней красотой, сложными симметриями, гармоничностью, пропорциональностью и совершенной целесообразностью формы. Они вызывают духовную радость, наслаждение от восприятия, пробуждают чувство красоты и становятся образцами для подражания.
4. Действенность шедевров и их влияние на современников и потомков. При этом великие научные теории и концепции, отличаются высоким уровнем прагматичности, практической применимости и действенности. Так основные положения и принципы концепций Гиппократа и Фрейда, были известны и до них, однако усилие гения заключалось к привязке этих положений к практике, к обращению к самым насущным и глубинным потребностям человека. Прогресс в науке всегда сопровождался радикальным переходом от теории к методу, от теоретических знаний к их применению на практике, от практики к человеку.
Masterpieces, the highest achievements of genius are distinguished by hidden, inner power, magical power, the ability to illuminate, elevate, inspire and strengthen the spirit, develop, expand and deepen awareness, awaken creative forces and encourage creativity, the ability to influence and generate changes in all spheres of culture.

5. The culture-creative theory directly links the manifestation of genius with creativity, which is the deep true nature of genius, the substantial way of its existence and implementation.
In turn, creativity constitutes the very essence, the very fabric of genius, in which it reaches its highest and perfect level of manifestation. Moreover, following the methodological principle of studying the phenomenon in its ideal manifestation, we can say that it is the study of genius that makes it possible to highlight the deep laws of creativity, to reveal all the richness of its incarnations in their highest fullness and brightness.
“If we evaluate productivity objectively,” wrote E. Luke, namely, as the transformation of the existing in value, the transformation of the temporal into the eternal, the genius is identical to the highest productivity, and the genius is productive continuously, because it is creativity that is its essence, words to the deed. "
At the same time, the essence of human existence as creativity is revealed and embodied in culture.
Through culture, a genius enters into dialogue with the spiritual historical experience of mankind fixed in symbolic forms, joins the creative achievements of his predecessors, revives and creates new cultural meanings in his own work. “Culture and its meanings,” wrote O. Spengler, do not live on their own, but only through the creative activity of the person inspired by them. Culture can be understood as becoming, as a creative process, a stream of creative sociocultural evolution, within which the genius of breathing, living and self-executing, creates culture, his works and himself. The well-known assertion that both man creates culture and culture creates man can be enhanced by man and culture — one thing and they change simultaneously in the flow of creativity.
So K.A. Svasyan writes: “Culture is the All-Man, understood, however, not iconically, but dynamically. Its protophenomenon is not a culturological scheme, but a universal personality, and one sound of the name Goethe is saturated with a great propaedeutic meaning than other weighty monographs. In this sense, the profound statement of Novalis can be read: "All people are variations of some perfect individual."
From the universal point of view, any creative effort made by a genius leads to a simultaneous qualitative change in the objective, symbolic, inner and social world, the higher spheres of which constitute the body of culture.
Understanding creativity as a way of being a genius leads to the assumption that the secret of genius lies in the mystery of creativity. At the same time, the existing theories of creativity, representing it as divergent thinking (J. Guilford), self-activation (A. Maslow), lateral thinking (E. Bono), Janusian thinking (A. Rothenberg), bisociation (A. Kostler), analogous thinking or creating distant associations (S. Mednick), the flow (M. Chiksentmihali), the work of the full spectrum (D. Nadler, S. Hibino, D. Farrell) are descriptive and explanatory in nature and do not allow revealing the essential laws and universal mechanisms of genius. So D.Simonton and Cassandro note that in reality there is practically no connection between high rates of tests for creativity, divergent thinking and successes in practical areas of creative activity.
The essence of genius can be revealed in the analysis of creativity not as a process, personality or product and environment, but as a holistic flow, the dynamic creative space of the poles of which are the creative value-semantic position of the personality and the world, understood as a work of genius. This creative flow is realized in the form of a creative vision by the personality of the world, the field and content of which is the highest creative state, and the core method and structuring principle is the creative method.
Theory of creative position and creative method. This theory claims that the basis of genius is a creative position, a creative vision and a universal creative method of interaction of a genius with the world.
In the process of creative dialogue with the world, a genius creates his own creative method, composed of both the most successful and productive methods of creativity, and the systematic cognition and revelations granted to him, the explicit and implicit knowledge of the underlying laws and universal mechanisms of creativity. “Therefore, a genius,” noted M. Arnaudov, “voluntarily approaches a theorist, from whom he waits for the reduction of his path and every kind of relief in his work.” According to A. Drozdov, one of the factors of A. Einstein's outstanding achievements was the construction by him of some general model of innovation during his work as a clerk in the patent office.
The holistic, planetary vision of the world, the strategy and the creative method of genius, which are intermediaries between subject and world, are themselves holographic copies of the holistic universe model. In this case, the essence of genius reveals the original generative matrix, built on the basis of universal laws of the development of the world, expressed through pairs of opposite, mutually directed, but mutually coordinated and interrelated mechanisms of creativity.
The condition of a productive creative dialogue of a genius with the world is the realization of a holistic multi-level system of opposing, but interrelated mechanisms that interpenetrate, strengthen and cause each other, appear simultaneously, creating certain generative configurations depending on the type of creativity and individuality of the subject, on his condition and "pattern "specific circumstances.

Tab. 8. The original generative matrix of creativity
The original constituent structure is a dynamic system of mechanisms for multi-level creative dialogue between the individual and the world.