More on genius

So I just noticed that the recent Scientific American issue is all about genius, including this interesting assertion about what it is like to think like a genius (and can people promote this sort of thinking in their own brains?). From the (free) summary of the (subscription only) article "Boost Creativity with Electric Brain Stimulation":


A great idea comes all of a sudden. In the depths of the mind, networks of brain cells perform a sublime symphony, and a twinkle of insight pops into consciousness. Unexpected as they are, these lightbulb moments seem impossible to orchestrate. Recent studies suggest otherwise. By freeing the mind of some of its inhibitions, we might improve creative problem solving.

The human brain constantly filters thoughts and feelings. Only a small fraction of the stimuli impressed on us by our environment ascends to the level of conscious awareness. Prior learning enforces mental shortcuts that determine which sensations are deemed worthy of our attention. Our laboratory is investigating whether we can weaken these biases and boost openness to new ideas by temporarily diminishing the neural activity in specific brain areas.

I thought this was interesting, that part of the key to being more genius is what is coming into our conscious awareness, particularly as a person who has forced awareness of many mundane decisions into my conscious thought even from a very young age. Perhaps even more the money quote with regards to the connection between this article on genius and sociopaths having unique insight:

Genius, rare as it is, must demand a qualitatively different view of the world than what most of us experience. Austrian physician Hans Asperger, whose name is associated with the eponymous condition on the autism spectrum suggested that, '"a dash of autism' might set brilliant minds apart. We have been investigating this hypothesis by using weak electric current to modulate brain activity in healthy people in our laboratory. The effects fade in an hour, preserving normal cognition. This method of brain stimulation is safe and portable - a 'creativity cap' - that anyone might use to spur creativity on demand.

Carrie Mathison from the Showtime drama Homeland anyone? Particularly on the tails of the recent article on how to raise a genius, I like this idea that genius demands a qualitatively different view of the world than what most people experience. Especially when that requirement is taken into consideration, it does seem a damn shame to kill off sociopathic babies once they can be identified as aberrant, no?

Raising genius

I really enjoyed this article by Andrew Solomon in the NY Times Magazine, "How do you Raise a Prodigy?" I thought the parallels between raising a prodigy and raising a sociopath were compelling. He first talks about his recent research in parents that raise children with special issues:

Prodigies are able to function at an advanced adult level in some domain before age 12. “Prodigy” derives from the Latin “prodigium,” a monster that violates the natural order. These children have differences so evident as to resemble a birth defect, and it was in that context that I came to investigate them. Having spent 10 years researching a book about children whose experiences differ radically from those of their parents and the world around them, I found that stigmatized differences — having Down syndrome, autism or deafness; being a dwarf or being transgender — are often clouds with silver linings. Families grappling with these apparent problems may find profound meaning, even beauty, in them. Prodigiousness, conversely, looks from a distance like silver, but it comes with banks of clouds; genius can be as bewildering and hazardous as a disability.

He then goes on to express some of the particular difficulties in raising any child who is different than the norm, particular a child who is different from the parents themselves, and how there are no easy rules:


Children who are pushed toward success and succeed have a very different trajectory from that of children who are pushed toward success and fail. I once told Lang Lang, a prodigy par excellence and now perhaps the most famous pianist in the world, that by American standards, his father’s brutal methods — which included telling him to commit suicide, refusing any praise, browbeating him into abject submission — would count as child abuse. “If my father had pressured me like this and I had not done well, it would have been child abuse, and I would be traumatized, maybe destroyed,” Lang responded. “He could have been less extreme, and we probably would have made it to the same place; you don’t have to sacrifice everything to be a musician. But we had the same goal. So since all the pressure helped me become a world-famous star musician, which I love being, I would say that, for me, it was in the end a wonderful way to grow up.”

While it is true that some parents push their kids too hard and give them breakdowns, others fail to support a child’s passion for his own gift and deprive him of the only life that he would have enjoyed. You can err in either direction. Given that there is no consensus about how to raise ordinary children, it is not surprising that there is none about how to raise remarkable children. Like parents of children who are severely challenged, parents of exceptionally talented children are custodians of young people beyond their comprehension.

I love the Lang Lang quote. It is such a great acknowledgment that different folks require different strokes. If there is anything that I hope to achieve with the blog and getting people to think about the presence and role of sociopaths in society, it is probably to preach this gospel that we're all really different from each other in ways that we too often either ignore or pretend don't exist. There's nothing wrong with heterogeneity, in fact it is probably what keeps us so viable as the dominant species on this planet. Monster babies are born into all types of family every day. But the word monster need not mean B movie horror matinees, it could also be someone more like Lang Lang.

Famous sociopaths: Gesualdo

Having studied music, I was a little familiar with the madrigals of the late renaissance composer Don Carlo Gesualdo, but somehow missed his backstory as a psychopathic murderer until I stumbled upon this New Yorker article, which unfortunately is not available in its full text.  Here are selections from the abstract:

On the night of October 16, 1590, a palace apartment near Piazza San Domenico Maggiore, in Naples, was the scene of a double murder so extravagantly vicious that people are still sifting through the evidence, more than four centuries later. The most reliable account of the crime comes from a delegation of Neapolitan officials, who inspected the apartment the following day. On the floor of the bedroom, they found the body of Don Fabrizio Carafa, the Duke of Andria, whom a contemporary described as a “model of beauty,” one of the handsomest young men of his time. The officials’ report stated that the Duke was wearing only “a woman’s nightdress with fringes at the bottom, with ruffs of black silk.” The corpse was “covered with blood and pierced with many wounds,” 

Lying on the bed was the body of Donna Maria d’Avalos, the famously alluring wife of Don Carlo Gesualdo, the Prince of Venosa. Her throat had been cut and her nightshirt was drenched in blood. Interviews with eyewitnesses left no doubt about who was responsible for the murders. Gesualdo had been seen entering the apartment with three men, shouting, “Kill that scoundrel, along with this harlot!” The report ended with the observation that Gesualdo had left town. 

A prince being a prince, there matters rested. Yet Gesualdo paid a posthumous price for the killings. In the decades after his death, he became a semi-mythical, even vampiric figure, about whom ever more lurid tales were told. 

Gesualdo also wrote music, publishing six books of madrigals and three books of sacred pieces. He turned out to be one of the most complexly imaginative composers of the late Renaissance, indeed of all musical history. The works of his mature period—he died in 1613, at the age of forty-seven—bend the rules of harmony to a degree that remained unmatched until the advent of Wagner. There have been no fewer than eleven operatic works on the subject of Gesualdo’s life, not to mention a fantastical 1995 pseudo-documentary, by Werner Herzog, called “Death for Five Voices.” 

The origins of “Gesualdo fever” are not hard to discern. The lingering question is whether it is the life or the work that perpetuates the phenomenon. If Gesualdo had not committed such shocking acts, we might not pay such close attention to his music. But if he had not written such shocking music we would not care so much about his deeds.

Although, as the article notes, some scholars "reject[] the picture of Gesualdo as a 'violent psychopath'," he certainly has plenty to recommend him as one.  I know that these sorts of guesses about whether or not a historical figure was a sociopath are as ridiculous as the aspie's claiming that half the famous scientists from history had Asperger's.  But, I find Gesualdo to be a particularly fun historical candidate for sociopathy not just because of how well it explains his violence and flouting moral conventions, but also how well it explains the experimental aspects of his music, which have managed to sound utterly modern and cutting age in every time period.   The article continues from the above quoted selections in the abstract:

Many bloodier crimes have been forgotten; it's the nexus of high art and foul play that catches our fancy.  As with Gesualdo's contemporary Caravaggio, who killed a man by stabbing him near the groin, we wonder whether the violence of the art and the violence of the man emanated from the same demoniac source.