Saturday, September 16, 2017

What Happens to Creativity as We Age?




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CreditMarion Fayolle
One day not long ago, Augie, a 4-year-old Gopnik grandchild, heard his grandfather wistfully say, “I wish I could be a kid again.” After a thoughtful pause, Augie came up with a suggestion: Grandpa should try not eating any vegetables. The logic was ingenious: Eating vegetables turns children into big strong adults, so not eating vegetables should reverse the process.
No grown-up would ever come up with that idea. But anyone with a 4-year-old can tell similar stories. Young children’s creativity seems to outstrip that of even the most imaginative adults.
How does the ability to come up with unusual ideas change as we grow older? Does it begin to flag in adolescence? Before then? To investigate these questions, we and our colleagues recently conducted several experiments, which we relate in a new paper in the Proceedings of the National Academy of Sciences.
We began with a group of participants of various ages: 4- and 5-year-old preschoolers; 6- to 11-year-olds; 12- to 14-year-old teenagers; and adults. We presented them with a scenario involving a physical machine that lit up when you put some combinations of blocks on it, but not others. Either of two hypotheses could explain how the machine worked. It could work in a usual and obvious way: Some individual blocks would make it light up, and the other blocks were irrelevant. Or it could work in a more unusual way: It would take a combination of different blocks to make the machine light up.
We presented the participants with another scenario as well, also with two possible explanations. This scenario was social: We told a story about Sally, who approached a skateboard, and Josie, who avoided a scooter. How come? The usual explanation was that something about Sally’s and Josie’s individual traits made them act as they did — maybe Sally was braver than Josie. A more unusual, though equally valid, explanation was that something about the situation was important — maybe the skateboard was safer than the scooter.
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Presented with these two scenarios, most adults did indeed explain the events by talking about a single block, or about Sally’s traits — they gave the obvious explanation.
Then we added a twist. Another group of participants saw the same scenarios, but this time they saw an additional set of facts that made the unusual explanation more likely than the more obvious one. Would the participants go with the obvious explanation, or try something new?
When it came to explaining the physical machine, the pattern was straightforward. The preschoolers were most likely to come up with the creative, unusual explanation. The school-age children were somewhat less creative. And there was a dramatic drop at adolescence. Both the teenagers and the adults were the most likely to stick with the obvious explanation even when it didn’t fit the data.
But there was a different pattern when it came to the social problems. Once again the preschoolers were more likely to give the creative explanation than were the 6-year-olds or adults. Now, however, the teenagers were the most creative group of all. They were more likely to choose the unusual explanation than were either the 6-year-olds or the adults.
Why does creativity generally tend to decline as we age? One reason may be that as we grow older, we know more. That’s mostly an advantage, of course. But it also may lead us to ignore evidence that contradicts what we already think. We become too set in our ways to change.
Relatedly, the explanation may have to do with a tension between two kinds of thinking: what computer scientists call exploration and exploitation. When we face a new problem, we adults usually exploit the knowledge about the world we have acquired so far. We try to quickly find a pretty good solution that is close to the solutions we already have. On the other hand, exploration — trying something new — may lead us to a more unusual idea, a less obvious solution, a new piece of knowledge. But it may also mean that we waste time considering crazy possibilities that will never work, something both preschoolers and teenagers have been known to do.
This idea suggests a solution to the evolutionary paradox that is human childhood and adolescence. We humans have an exceptionally long childhood and prolonged adolescence. Why make human children so helpless for so long, and make human adults invest so much time and effort into caring for them?
The answer: Childhood and adolescence may, at least in part, be designed to resolve the tension between exploration and exploitation. Those periods of our life give us time to explore before we have to face the stern and earnest realities of grown-up life. Teenagers may no longer care all that much about how the physical world works. But they care a lot about exploring all the ways that the social world can be organized. And that may help each new generation change the world.

Bring Your Vacation Home




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CreditMarion Fayolle
The cruel thing about vacations is that they are pleasurable but finite. I recently had time to contemplate this unwelcome fact during a 10-hour flight home from a Greek island where I had spent a paradisiacal two weeks. I found myself wondering about the relationship between the duration of a vacation and the longevity of its mental health benefits.
Is a large amount of time off the secret to bringing your vacation home with you?
We Americans have been preoccupied with the length of our vacations for some time. William Howard Taft, our 27th president, opined on the subject in 1910 in an interview with The New York Times. He claimed that “two to three months’ vacation are necessary” for someone “to work the next year with the energy and effectiveness it ought to have.”
Two to three months? For most of us, that is not a possibility.
Not to worry, I have good news: Vacation research — yes, there is such a thing — shows that beyond a week or two away from work, more time off isn’t going to make you happier or calmer or produce more lasting gains of another sort.
For example, in a 2012 study in the Netherlands, in which the duration of the participants’ vacations ranged from 14 to 35 days, researchers found that subjective measures of health and wellness shot up rapidly at the start of the break and then peaked by Day 8. Sadly, these positive vacation effects evaporated after just one day back at work.
I know this finding runs counter to the popular notion that you can’t sufficiently recover from work stress or burnout without a long and leisurely break. But in fact several other studies have also failed to find a measurable psychological benefit to vacations that stretched beyond two weeks.
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Curiously, the Dutch researchers also found that those who couldn’t resist the urge to do a little work while on vacation were no less likely to reap the benefits than those who avoided all work. So no need to banish your phones entirely. Perhaps the key to enjoyment on vacation is the ability to control what you do, and to do what is most natural to you. Workaholics might find “enforced” relaxation stressful. By all means let them work a little on vacation!
At first glance, such research seems to support the idea that the best way to maximize the benefits of your vacation is to take shorter and more frequent breaks. Perhaps. But my personal and clinical experiences suggest that there might be something more to the effective vacation than just the proper length: namely, the importance of unexpected, immersive experiences.
Consider a former patient of mine, a hard-driving guy in finance who rarely, if ever, took time off and who finally agreed to a vacation at the urging — or more accurately, the threats — of his wife. Reluctantly, off he went with his wife to Tuscany.
Two weeks later, he returned to my office looking unusually relaxed. He related the following incident: He’d been driving in a little village when his car stalled out at a train crossing. Panicked, he and his wife got out and prepared for the worst, when a local farmer came by and offered to tow the car to safety. The farmer also insisted on taking them to his house for lunch, which turned into an all-day affair.
At first, the experience disconcerted my patient, who had carefully planned his vacation to the minute. But in the end he could not have been more delighted by this unexpected encounter. In fact, he referred to it repeatedly in his therapy after that.
My patient had no pictures or videos to show me, just a sharp and indelible memory that he carried with him. And that I suspect is key to a great and long-lasting vacation: He allowed himself to be open to the unforeseen and immersed in his experience.
In contrast, I think back to all the people I observed on my recent vacation armed with smartphones and cameras, diligently documenting the beauty around them. It made me wonder whether in the attempt to record and preserve our pleasure, we become observers of our experience rather than full participants in it.
Looking at the hundreds of pictures I took drove this possibility home. There were scores of perfect sunsets, shots of the glittering sea — all beautiful to look at, but largely incapable of arousing in me the feeling of being there. I was probably too busy capturing the moment to be part of it.
I do have one unglamorous, poorly framed shot of a dish of grilled octopus at a simple seaside taverna where I spent an unplanned afternoon talking with the charming owner. Whether or not I look at that image, when I think of that lunch, the pleasure of the afternoon comes rushing back.
That, I believe, is the way to bring your vacation home — not as a collection of recorded moments but as a few vivid experiences you allow to take you by surprise.

Star Pupils Offer Advice on Making It in the Arts




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From left, Alex Lacamoire, Cote de Pablo and Tarell Alvin McCraney, New World graduates.CreditFrom left: Sara Krulwich/The New York Times; Cliff Lipson, via CBS; Kevin Winter, via Getty Images
Three graduates of New World School of the Arts in Miami share advice for students interested in pursuing a dream.
Alex Lacamoire has won two Grammys and three Tonys for his orchestration on “Hamilton,” “In the Heights” and “Dear Evan Hansen.” He attended Berklee College of Music after New World.
Cote de Pablo is best known for her role as Ziva David on the hit television series “NCIS.” She attended Carnegie Mellon School of Drama.
Tarell Alvin McCraney, who went on to DePaul University and Yale School of Drama, shared an Oscar for best adapted screenplay for “Moonlight.” He began a new job in July as chairman of Yale’s department of playwriting.
The arts is one of the few fields where college is not altogether necessary. Is a Bachelor of Fine Arts the right move?
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Lacamoire The pros of college are that you need experience being away from home, growing up and becoming an adult. But if you have what it takes and there is an amazing opportunity — let’s say you get offered the national tour of “Wicked” — take it.
De Pablo There are many roads to achieve success. I have worked with tremendous actors who work with no training and with some who have gotten the most incredible training. But I don’t think I would have gotten into a place like Carnegie Mellon if my talents had not been guided by these teachers at New World and certainly by the students I was surrounded by.
McCraney If going to college is important to the artist, then it’s important. But if not, then not.
Getting into a good college theater or music program is painfully competitive. Some take only 12 to 16 students, based largely on auditions. What advice do you offer?
De Pablo It’s a muscle. The more you do it, the more comfortable you get. In the professional world, hopefully you are auditioning every day. The big advice is when you audition, especially if you have time, try to get the material memorized. Get your eyes off the page. Try to connect. One teacher said to me, “When you leave yourself alone, you can be absolutely compelling.” Get out of your own way.
McCraney I auditioned for New World three times. I didn’t get in until the last, and even then it was through a waiting list. The first audition, I was nervous and unprepared. The piece I had had no relevance to my life at all. It was Christopher Durang’s “Baby With the Bathwater.” I found it in a monologue book. I started to write my own pieces then. Even then, I knew work was not made for gay, poor, dark-skin teenagers.
Were your parents supportive of your desire to pursue the arts, a profession where jobs are scarce?
McCraney Most of the time — not about dancing but acting and writing, yes.
De Pablo My parents came from a comfortable reality in South America and they thought every reality was going to be a comfortable one. You want to go to this school — fantastic. They were incredibly kind, but a little ignorance is bliss, too.
Lacamoire They were extremely supportive. My mom especially would listen to the teachers, who would say your son is special, your son is doing things that other people can’t. She never said to me, study dentistry instead. Somewhere in there she was concerned and wanted to make sure I had a backup. She never really pushed it on me. In high school my mom would drive me to all my gigs because I couldn’t drive.
As students enter the professional world, what are the challenges and how do you overcome them?
Lacamoire You are in the business because you have to be in the business, because there is a need to perform, communicate, express yourself. It’s such a hard road. There is so much rejection. The means are meager. You have to share a plate of spaghetti with someone because you can’t afford it yourself. You continue on because there is nothing else you want to be doing. You have to have that drive. You are allowed to get to a point where you get exhausted and you can’t anymore. If you get to that point and there is rejection, if there is still nothing else you would want to be doing, you keep going. But you have to figure out what are you not doing to get gigs. Are you not strong enough at jazz? Get a jazz teacher. Are you not good at reading music? Once you stop learning, you are dead.
McCraney “The only thing new you bring to the art is you” — Alvin Ailey. Know yourself, your true desires, your limitations, and your capacity for change.