Creativity And Intelligence

Creativity is one of the most highly valued of human qualities. It is also one of the most elusive to systematic inquiry. Questions without end have been asked and re-asked. What is the nature of the creative process? Can creative potential be identified before creative achievement? What is the effect of family environment on creative development? What is the relationship between creativity and personality? Between creativity and intelligence? We ourselves begin with the last question, hoping that in the course of seeking an answer we shall throw light on the other issues. The concept of intelligence and the consequent intelligence measure have been used to define individual differences in cognition as if the concept and the measure encompassed the totality of the human mind and imagination. In school, and more recently in other areas requiring intellectual accomplishment, the IQ (or some cognate of it) has become the critical metric on which individuals are evaluated and sorted, given preferment or denied it. Individual differences in potential for productive thinking have been made synonymous with individual differences in performance on one or another of the numerous intelligence tests. We began our studies with few preconceptions and few presuppositions. We did not begin (as is our more usual preference) with an explicitly stated theoretical framework and a set of formal hypotheses. Instead, we permitted the behavior of the children and our own interests, whatever their conceptual foundation, to lead us from problem to problem and from question to question. That this procedure enabled us sometimes to come upon fascinating new vistas in the behavior of children seemed worth the cost of being often lost in phenomena without relevant explicit concepts to guide our observations.

"This is a blockbuster of a book. It allows teachers to follow standards, but provides space for them to develop students′ wisdom, intelligence, and creativity (and of course success). Both teachers and students will come to understand themselves and their values better." —William E. Doll, Jr., Professor Emeritus Louisiana State University The essential guide for teaching beyond the test! Students with strong higher-order thinking skills are more likely to become successful, lifelong learners. Based on extensive, collaborative research by leading authorities in the field, this book shows how to implement teaching and learning strategies that nurture intelligence, creativity, and wisdom. This practical teaching manual offers an overview of the WICS model—Wisdom, Intelligence, Creativity, Synthesized—which helps teachers foster students′ capacities for effective learning and problem solving. Teachers will find examples for language arts, history, mathematics, and science in Grades K–12, as well as: Hands-on strategies for enhancing students′ memory, analytical, creative, and practical skills Guidelines on teaching and assessing for successful intelligence Details on how to apply the model in the classroom Teacher reflection sections, suggested readings, and sample planning checklists Teaching for Wisdom, Intelligence, Creativity, and Success is ideal for educators seeking to broaden their teaching repertoire as they expand the skills and abilities of students at all levels.

Creativity is one of the most highly valued of human qualities. It is also one of the most elusive to systematic inquiry. Questions without end have been asked and re-asked. What is the nature of the creative process? Can creative potential be identified before creative achievement? What is the effect of family environment on creative development? What is the relationship between creativity and personality? Between creativity and intelligence? We ourselves begin with the last question, hoping that in the course of seeking an answer we shall throw light on the other issues. The concept of intelligence and the consequent intelligence measure have been used to define individual differences in cognition as if the concept and the measure encompassed the totality of the human mind and imagination. In school, and more recently in other areas requiring intellectual accomplishment, the IQ (or some cognate of it) has become the critical metric on which individuals are evaluated and sorted, given preferment or denied it. Individual differences in potential for productive thinking have been made synonymous with individual differences in performance on one or another of the numerous intelligence tests. We began our studies with few preconceptions and few presuppositions. We did not begin (as is our more usual preference) with an explicitly stated theoretical framework and a set of formal hypotheses. Instead, we permitted the behavior of the children and our own interests, whatever their conceptual foundation, to lead us from problem to problem and from question to question. That this procedure enabled us sometimes to come upon fascinating new vistas in the behavior of children seemed worth the cost of being often lost in phenomena without relevant explicit concepts to guide our observations.

Creativity and Artificial Intelligence: A Conceptual Blending Approach takes readers into a computationally plausible model of creativity. Inspired by a thorough analysis of work on creativity from the areas of philosophy, psychology, cognitive science, cognitive linguistics and artificial intelligence, the author deals with the various processes, principles and representations that lie underneath the act of creativity. Focusing on Arthur Koestler's Bisociations, which eventually lead to Turner and Fauconnier's conceptual blending framework, the book proposes a theoretical model that considers blends and their emergent structure as a fundamental cognitive mechanism. The author thus discusses the computational implementation of several aspects of conceptual blending theory, namely composition, completion, elaboration, frames and optimality constraints. Informal descriptions and examples are supplied to provide non-computer scientists as well as non-cognitive linguists with clear insights into these ideas. Several experiments are made, and their results are discussed, with particular emphasis on the validation of the creativity and conceptual blending aspects. Written by a researcher with a background in artificial intelligence, the book is the result of several years of exploration and discussion from different theoretical perspectives. As a result, the book echoes some of the criticism made on conceptual blending and creativity in artificial intelligence, and thus proposes improvements in both areas, with the aim of being a constructive contribution to these very intriguing, yet appealing, research orientations.

Creativity is one of the least understood aspects of intelligence and is often seen as `intuitive' and not susceptible to rational enquiry. Recently, however, there has been a resurgence of interest in the area, principally in artificial intelligence and cognitive science, but also in psychology, philosophy, computer science, logic, mathematics, sociology, and architecture and design. This volume brings this work together and provides an overview of this rapidly developing field. It addresses a range of issues. Can computers be creative? Can they help us to understand human creativity? How can artificial intelligence (AI) enhance human creativity? How, in particular, can it contribute to the `sciences of the artificial', such as design? Does the new wave of AI (connectionism, geneticism and artificial life) offer more promise in these areas than classical, symbol-handling AI? What would the implications be for AI and cognitive science if computers could not be creative? These issues are explored in five interrelated parts, each of which is introducted and explained by a leading figure in the field. - Prologue (Margaret Boden) - Part I: Foundational Issues (Terry Dartnall) - Part II: Creativity and Cognition (Graeme S. Halford and Robert Levinson) - Part III: Creativity and Connectionism (Chris Thornton) - Part IV: Creativity and Design (John Gero) - Part V: Human Creativity Enhancement (Ernest Edmonds) - Epilogue (Douglas Hofstadter) For researchers in AI, cognitive science, computer science, philosophy, psychology, mathematics, logic, sociology, and architecture and design; and anyone interested in the rapidly growing field of artificial intelligence and creativity.

How can creative individuals and societies adapt to complex 21st-century conditions? Will civilizations thrive or collapse in the decades to come if they are not creative enough, or if they are too creative? Interest in these questions is growing; however, until now there has been inadequate understanding of the socioeconomic and cultural trends and issues that influence creativity. This book provides that understanding while yielding insights from many of the world’s leading creativity researchers and educational experts. The book begins with a big-picture, interdisciplinary overview of the socioeconomic, cultural, and technological pressures emerging from 21st-century globalization and describes some ways in which those pressures simultaneously suppress, distort, and invigorate creativity in general, and creative education in particular. After that, prominent scholars of creativity and education use their impressive knowledge bases to clarify how we can adjust our thoughts and actions in order to give ourselves the best possible chances for success in this complex world. “The world’s problems are complex, messy, and seemingly intractable, but history tells us that human creativity finds solutions to even the most daunting problems. This book collects perspectives on creative development from many of the most respected scholars and educators working in creativity and innovation today, helping chart a path forward for creativity in the 21st century.” – Jonathan Plucker, Julian C. Stanley Endowed Professor of Talent Development, Johns Hopkins University “A volume taking on macro-opportunities and macroproblems by editors Ambrose and Sternberg is a treat for readers who want to think ‘big’ and think ‘forward.’ Kick back for an imaginative journey that reaches back to early global insights but propels us solidly into the 21st century and beyond.” – Ann Robinson, Past President, National Association for Gifted Children

A series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum. Is it possible that creative artists have more in common with machines than we might think? Employing an improvisational call-and-response writing performance coauthored with an AI text generator, remix artist and scholar Mark Amerika, interrogates how his own "psychic automatism" is itself a nonhuman function strategically designed to reveal the poetic attributes of programmable worlds still unimagined. Through a series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum, Amerika critically reflects on whether creativity itself is, at root, a nonhuman information behavior that emerges from an onto-operational presence experiencing an otherworldly aesthetic sensibility. Amerika engages with his cyberpunk imagination to simultaneously embrace and problematize human-machine collaborations. He draws from jazz performance, beatnik poetry, Buddhist thought, and surrealism to suggest that his own artificial creative intelligence operates as a finely tuned remix engine continuously training itself to build on the history of avant-garde art and writing. Playful and provocative, My Life as an Artificial Creative Intelligence flips the script on contemporary AI research that attempts to build systems that perform more like humans, instead self-reflexively making a very nontraditional argument about AI's impact on society and its relationship to the cosmos.

Is human creativity a wall that AI can never scale? Many people are happy to admit that experts in many domains can be matched by either knowledge-based or sub-symbolic systems, but even some AI researchers harbor the hope that when it comes to feats of sheer brilliance, mind over machine is an unalterable fact. In this book, the authors push AI toward a time when machines can autonomously write not just humdrum stories of the sort seen for years in AI, but first-rate fiction thought to be the province of human genius. It reports on five years of effort devoted to building a story generator--the BRUTUS.1 system. This book was written for three general reasons. The first theoretical reason for investing time, money, and talent in the quest for a truly creative machine is to work toward an answer to the question of whether we ourselves are machines. The second theoretical reason is to silence those who believe that logic is forever closed off from the emotional world of creativity. The practical rationale for this endeavor, and the third reason, is that machines able to work alongside humans in arenas calling for creativity will have incalculable worth.