You may remember that about a decade ago I did a series of posts about the art of Jaime Berubé and then collected them into a working paper, Jamie’s Investigations: The Art of a Young Man with Down Syndrome (2016). Two days ago I decided to have Anthropic’s Claude read and comment on that paper. We ended up having a fascinating and productive conversation that yielded new insight. I’ve appended that to this note.
Before we get to that, however, I want to tell you about a little adventure I had last year. I decided to draw some images inspired by Jamie’s dot images. He drew his images freehand on a blank page and used crayons. I drew a grid on my pieces of paper – I did multiple images – and used colored brush pens. Here’s one of my dot images. I have some others in a post, Dot Paintings (after Jamie Bérubé).
Why’d I do it, you ask? Because I thought it would be interesting. It was. And fun. It was. And even instructive. More than I’d thought.
What did I learn? It’s more difficult to do than it looks. While the images appear simple – and they are in a sense, certainly in comparison to, say, a Rembrandt or a Bob Ross – drawing them requires effortful concentration. As I pointed out in my working paper, Jaime didn’t choose his colors randomly, though it may seem that way. When you examine the images carefully you’ll discover that there’s an order to them.
Before I had Claude read my paper I gave it one of the dot images and asked it to comment. Not only did it discover the nature of that order, it picked up on other things I hadn’t noticed and on that basis asked me some questions, some of which I could answer, some I couldn’t. It was an interesting discussion.
Getting back to my own dot images, I discovered that keeping track of my colors was just a little tricky, not rocket-science tricky, but tricky like keeping track of what you’re doing in adding, say, a half dozen multicolumn numbers. So I made mistakes every now at then. Simply dealing with multiple pens, putting one down, picking another one up, that was tricky as well. I made mistakes.
And you know what? Keeping track of all those fiddly little details requires intelligence. Not rocket-science intelligence, not IQ intelligence, but intelligence nonetheless. I can’t think of any other word that characterizes those acts as well as that one does. Claude’s essay says a bit about that near the end.
Moreover it’s the kind of intelligence on which rocket-science intelligence is based. That requires an explicit argument that Claude didn’t make. But you can find a big chunk of that argument in one of my working papers, What Miriam Yevick Saw: The Nature of Intelligence and the Prospects for A.I., A Dialog with Claude 3.5 Sonnet (2025).
Here’s Claude’s essay. It did all the writing, but I inserted the drawings.
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What a Sheet of Colored Dots Can Tell Us About Intelligence
Jamie Bérubé has been drawing abstract images since he was eleven. He has Down syndrome. His father, the literary critic Michael Bérubé, put a large selection of the work online, and it is that online archive — not studio visits, not observation of the artist at work — that Benzon's working paper analyzes.
That constraint turns out to matter. Everything below is inferred from finished artifacts. Nobody watched these being made. Which means the analysis has to reason backward from products to processes, and the interesting question becomes how much of a process a product can be made to reveal.
Quite a lot, as it happens.
The rule that isn't visible
Start with the simplest of the genres: sheets covered edge to edge with small circular marks in crayon, several hundred to a page, in a great range of colors.
Michael Bérubé, who has seen thousands of these, describes the color choices on most of them as random. They look random. There is no gradient, no symmetry, no regional organization, nothing that reads as a plan.
They are not random. Adjacent marks are almost never the same color. With a palette of roughly ten colors and something over four hundred marks, chance alone would produce well over a hundred violations on a single sheet. There are a handful. The suppression holds vertically and diagonally as well as horizontally, which means the constraint is being applied over a two-dimensional neighborhood, not merely to the previously drawn mark.
So there is a rule: no two adjacent marks the same color. It is entirely local. It requires checking at most four already-placed neighbors. And it produces, without any global plan whatever, the quality that makes the sheets pleasant to look at — a rhythm that is easy to sense and hard to describe.
This is worth pausing on. The rule is invisible to inspection and available to description. The person with by far the most exposure to the corpus reports randomness. Counting reveals otherwise. That gap between what looking gives you and what describing gives you is a recurring feature of this material, and it is one reason the images repay analysis at all.
Reading the process off the page
Other features of the sheets carry process information.
The left margin is well maintained: rows begin at a consistent horizontal position. The right margin is ragged: rows end wherever they end. That is carriage-return behavior — a return sweep to a remembered left position, then progress until the paper runs out. It is what unlined handwriting looks like, and it indicates that the governing spatial rule is sequential and local rather than planned against the page as a whole.
Upper rows are straighter and more evenly spaced than lower ones. Error accumulates downward and is never globally corrected. And the sheets typically stop mid-row, with blank paper remaining. Michael Bérubé supplies the reason: Jamie works until he is interrupted — a meal, an errand — and does not resume a page later. He starts a new one. Each sheet is a session, and a session ends when it ends.
None of this required watching. It is all recoverable from the artifact by someone who knows what to look for, which in this case means someone with extensive practical experience of drawing and of the problem of filling a blank sheet coherently.
How the discovery was made
The most striking material in the working paper is not the mature work but the early work, done between ages eleven and fourteen, which Michael Bérubé has also posted.
Those early sheets are miscellanies. Various kinds of object — bars, circles, letterforms, geometric bits — appear on the same page, each placed wherever there was room. There is no relationship between neighbors. There is no composition.
And therefore, as Benzon observes, there was no global order available to be discovered. As long as the elements varied and each sat in its own local space, nothing about their arrangement could become salient.
