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Kätzchen · 09-10-2010, 01:47 PM

Excerpts from the chapter, I found interesting
(the first sub-section titled, The Phenomenon of the Prodigy):

"The term prodigiousness connotes a gift that borders on the miraculous" (p. 138)

"Without addressing the gender differences of prodigousness, I believe that a significant genetic or neuro-biological component exists in the prodigy: something in the structure or functioning of the nervous system of Mozart, of the chess player Bobby Fischer, or of the mathematician Carl Gauss that made it preternaturally easy to gain initial mastery of patterns involved in musical tones, the configuration of chess pieces, or the possibilities of numerical combinations, respectively" (p. 138-139).

"In terms of multiple intelligences theory, Picasso's precocity was most striking in the visual-spatial, bodily-kinesthetic, and interpersonal areas. Such gifts are what one would expect in a visual artist, but artists differ from one another in whether their strengths are more pronounced motorically, visually, spatially, or with respect to the world of human beings. Part of Picasso's prodigiousness stems from the fact that he was gifted across the range of relevant skills and could draw on them synergystically" (p. 140).

"It has been said that Picasso never mastered certain scholastic skills and had trouble with abstract thinking (Picasso was terribly distressed with the disparity between his artistic skills and his scholastic acumen)" (p. 141).

Gardner, Howard. (1993). Creating Minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi. New York, NY: Harper-Collins Publishers.

09-10-2010, 01:47 PM	#3941
Kätzchen Member How Do You Identify?: Femme Preferred Pronoun?: She, please. Relationship Status: Attached to my granddaughter and chosen family. Join Date: May 2010 Location: ツ Posts: 16,066 My Photo Gallery Thanks: 30,111 Thanked 33,522 Times in 10,647 Posts Rep Power: 21474868	(Ch. 5) Pablo Picasso: Prodigiousness & Beyond Excerpts from the chapter, I found interesting (the first sub-section titled, The Phenomenon of the Prodigy): "The term prodigiousness connotes a gift that borders on the miraculous" (p. 138) "Without addressing the gender differences of prodigousness, I believe that a significant genetic or neuro-biological component exists in the prodigy: something in the structure or functioning of the nervous system of Mozart, of the chess player Bobby Fischer, or of the mathematician Carl Gauss that made it preternaturally easy to gain initial mastery of patterns involved in musical tones, the configuration of chess pieces, or the possibilities of numerical combinations, respectively" (p. 138-139). "In terms of multiple intelligences theory, Picasso's precocity was most striking in the visual-spatial, bodily-kinesthetic, and interpersonal areas. Such gifts are what one would expect in a visual artist, but artists differ from one another in whether their strengths are more pronounced motorically, visually, spatially, or with respect to the world of human beings. Part of Picasso's prodigiousness stems from the fact that he was gifted across the range of relevant skills and could draw on them synergystically" (p. 140). "It has been said that Picasso never mastered certain scholastic skills and had trouble with abstract thinking (Picasso was terribly distressed with the disparity between his artistic skills and his scholastic acumen)" (p. 141). Gardner, Howard. (1993). Creating Minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi. New York, NY: Harper-Collins Publishers.