Invention has its own algorithm: genius, obsession, serendipity, and epiphany in some unknowable combination.
This phenomenon of simultaneous discovery—what science historians call “multiples”—turns out to be extremely common
Jason Bardi writes in “The Calculus Wars,” a history of the idea’s development.
“If Newton and Leibniz had not discovered it, someone else would have.” Calculus was in the air.
Merton’s observation about scientific geniuses is clearly not true of artistic geniuses, however. You can’t pool the talents of a dozen Salieris and get Mozart’s Requiem. You can’t put together a committee of really talented art students and get Matisse’s “La Danse.” A work of artistic genius is singular
our persistent inability to come to terms with the existence of multiples are the result of our misplaced desire to impose the paradigm of artistic invention on a world where it doesn’t belong.