Why Art Matters

The New York Times has published a very interesting article called, How Nonsense Sharpens the Intellect by Benedict Carey.

The article discusses scientific speculation that people exposed to disruptive information are capable of recognizing a broader range of patterns when problem-solving. The author uses the term nonsense to describe disruptive information and then uses many examples of art to illustrate the theory.

As far as I can tell, the use of the term nonsense is, well, nonsense. It seems to me that this theory is reinforcing the idea that exposure to art broadens the mind in ways that schools and the public care little about (probably because you can't test it ad nausea).

In the most recent paper, published last month, Dr. Proulx and Dr. Heine described having 20 college students read an absurd short story based on “The Country Doctor,” by Franz Kafka. The doctor of the title has to make a house call on a boy with a terrible toothache. He makes the journey and finds that the boy has no teeth at all. The horses who have pulled his carriage begin to act up; the boy’s family becomes annoyed; then the doctor discovers the boy has teeth after all. And so on. The story is urgent, vivid and nonsensical — Kafkaesque.

After the story, the students studied a series of 45 strings of 6 to 9 letters, like “X, M, X, R, T, V.” They later took a test on the letter strings, choosing those they thought they had seen before from a list of 60 such strings. In fact the letters were related, in a very subtle way, with some more likely to appear before or after others.

The test is a standard measure of what researchers call implicit learning: knowledge gained without awareness. The students had no idea what patterns their brain was sensing or how well they were performing.

But perform they did. They chose about 30 percent more of the letter strings, and were almost twice as accurate in their choices, than a comparison group of 20 students who had read a different short story, a coherent one.

“The fact that the group who read the absurd story identified more letter strings suggests that they were more motivated to look for patterns than the others,” Dr. Heine said. “And the fact that they were more accurate means, we think, that they’re forming new patterns they wouldn’t be able to form otherwise.”

Brain-imaging studies of people evaluating anomalies, or working out unsettling dilemmas, show that activity in an area called the anterior cingulate cortex spikes significantly. The more activation is recorded, the greater the motivation or ability to seek and correct errors in the real world, a recent study suggests. “The idea that we may be able to increase that motivation,” said Dr. Inzlicht, a co-author, “is very much worth investigating.”

Researchers familiar with the new work say it would be premature to incorporate film shorts by David Lynch, say, or compositions by John Cage into school curriculums. For one thing, no one knows whether exposure to the absurd can help people with explicit learning, like memorizing French. For another, studies have found that people in the grip of the uncanny tend to see patterns where none exist — becoming more prone to conspiracy theories, for example. The urge for order satisfies itself, it seems, regardless of the quality of the evidence.

Still, the new research supports what many experimental artists, habitual travelers and other novel seekers have always insisted: at least some of the time, disorientation begets creative thinking.

The author's conclusions are an intellectual cop-out. A broader teaching of art is neither premature nor radical nor is it a touchy-feely appeasement.

The study of art and the participation in art exercises broadens the mind in significant and important ways and experiments like those described in this argument are beginning to quantify and formalize just how.