pues Nash es un apellido judio . puede ser que o no fuera practicante o fuera solo el padre judio .
que fuera antisemita lo atribuyen a sus delirios paranoicos y no seria tampoco el primer judio antisemita . ver samuel roth por ejemplo.
cierto que el que fuera gay no importaria , turing tambien fue gay y mucho .
el error que comete la masa y que es inducido por la pelicula es este.
dicen
todos los genios estan locos
este estaba loco luego era un genio
no se dan cuenta del error de que no es una doble implicacion.
respecto a si su enfermedad le ayudo yo creo que no en absoluto , la esquizofrenia es una enfermedad muy grave y en ningun sentido ha producido nunca nada ni en arte ni en ciencia. si acaso un delirio de grandeza pudo haberlo impulsado a acometer problemas que un hombre mas modesto no se habria atrevido.
La enfermedad que si asocian a veces con genialidad es la ciclotimia o
depresion bipolar , que tiene depresiones profundas alteradas con mania(exaltacion) profunda . es en los periodos de mania en los que el individuo se encuentra pletorico y logra trabajar y crear mucho.
grandes musicos han sido ciclotimicos por ejemplo.
la epilepsia tambien aparece sospechosamente en muchos casos de gente brillante.
incluso la sifilis que provoca demencia en fases avanzadas. habia un libro sobre ese tema muy curioso.
https://www.psychiatrictimes.com/showArticle.jhtml?articleId=164902206
First, although highly creative individuals tend to exhibit elevated scores on certain psychopathological symptoms, their scores are seldom so high as to represent bona fide psychopathology. Instead, the scores lie somewhere between the normal and abnormal ranges (Barron, 1963; Eysenck, 1995). For example, although successful writers score higher than normals on most clinical scales of the MMPI, and highly creative writers score higher still, scores for both groups remain below those received by individuals who are psychotic (Figure). At these moderate levels, the individual will possess traits that can actually be considered adaptive from the standpoint of creative behavior. For instance, higher than average scores on psychoticism are associated with independence and nonconformity, features that lend support to innovative activities (Eysenck, 1995). In addition, elevated scores on psychoticism are associated with the capacity for defocused attention (e.g., reduced negative priming and latent inhibition), thereby enabling ideas to enter the mind that would normally be filtered out during information processing (Eysenck, 1993). This less restrictive mode of information processing is also associated with openness to experience, a cognitive inclination that is positively associated with creativity (Peterson and Carson, 2000; Peterson et al., 2002).
Do these results imply that creativity and psychopathology are intimately connected? Are genius and madness tantamount to the same thing? The answer to the first question is affirmative, but the response to the second is negative. The affirmation comes from the fact that various indicators of mental health appear to be negatively associated with creative achievement. This fact is demonstrated by historiometric, psychiatric and psychometric sources. The negation emerges from the equally crucial reality that few creative individuals can be considered truly mentally ill. Indeed, outright psychopathology usually inhibits rather than helps creative expression.
The theoretical interpretation just provided holds that creativity and psychopathology share a common set of traits. As a consequence, creators will commonly exhibit symptoms often associated with mental illness. The frequency and intensity of these symptoms will vary according to the magnitude and domain of creative achievement. At the same time, these symptoms are not equivalent to out-and-out psychopathology. Besides the fact that characteristics are normally at subclinical levels, their effects are tempered by positive attributes, such as high ego strength and exceptional intellect. Moreover, many of the relevant components can be nurtured by environmental factors that lessen their dependence on any psycho-pathological inclinations. Taken altogether, this means that creativity is not incompatible with mental and emotional health. This affirmation is reinforced by the existence of numerous creative individuals who display little or no symptoms beyond normal baselines.
As a result, creators should have no fear that therapeutic treatment for disabling mental or emotional disorders would undermine their creative potential. Because the relationships between certain symptoms and creativity are described by curvilinear inverted-U curves, one goal of psychiatric intervention should be to identify the optimum level of functioning and then maintain the creative individual at that level.
Furthermore, treatment can also concentrate on those aspects of the creative personality that have a positive linear association with both creativity and mental health. Examples include ego strength and openness to experience. Although such an intervention clearly requires a delicate balancing act, the task is not by any means impossible. Executed carefully, it should be possible to help clients become more creative and more healthy at the same time.
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