Relationship between Intelligence and Creativity

1.      Introduction

There are a variety of views on the relationship between intelligence and creativity. The contradictions are explained primarily by different approaches to the interpretation of each of these concepts. To get away from discussions, some of the authors prefer to call intelligence what is measured by intelligence tests. There is a point of view that intelligence is the ability of a person to adapt to the environment effectively. In this case, different types of intelligence are distinguished: academic, social and emotional. The focus of this essay is on evaluating if there is a relationship between intelligence and creativity. While doing so, the author of the essay has presented different viewpoints to strengthen the argument.

2.      Discussion

According to Runco and Albert (1986)’s concept of human creative development, the fundamental component of the human psyche is the ability to act “in the mind”, which is associated with the degree of formation of general abilities for any forms of behaviour, including creative, features of its psychological mechanism. Runco and Albert’s (1986) thought is continued by Silvia (2008), who believes that creative abilities are the maximum level of development of abilities, and therefore they are associated with intelligence.

Intellect, in a broad sense, is the totality of all cognitive functions of an individual. In a narrower sense, it is thinking, the highest cognitive process. Naturally, the success of an activity s performance is determined by both motivation and personal characteristics; in addition to success inactivity, ability determines the speed and ease of mastering a particular activity. Intelligence, on the other hand, is a specific general ability to adapt to new living conditions. An adaptive act is the solution of a life task carried out through action with a mental equivalent of an object, through action in mind . Throughout history, an individual s creative act conveys in itself his self improvement, yet besides progress, makes culture. The expression innovativeness demonstrates both the action of the individual and the qualities made by it. Imagination is, most importantly, an impression of the pith of an individual, his disposition to the encompassing reality, his wants, dreams, emotions, which push humankind ahead. Inventiveness is the capacity to be imaginative, create strange things, design, discover, see the world in another way (Jauk et al., 2013).

The relevance of creativity is obvious, and it is everywhere: in the resume of the applicant, and the implementation of your plans, and the career of a person, and creative self realization, and the inevitable race of world progress. The claim can be justified by the research of Richard (2007), who examines creativity as the hidden potential in every individual. He dictates that creativity is present everywhere, but it is being suppressed in cases due to multiple factors. From a scientific point of view, creativity is viewed as a complex, multifaceted, heterogeneous phenomenon expressed in the variety of theoretical and experimental directions of its study. Researchers have created a comprehensive, detailed picture of creativity s phenomenology (Silvia, 2015).

Research on creativity as an ability to be creative considers creativity and intelligence as independent parameters that occur in nature in all possible ways: there are people with high intelligence and high creativity, low intelligence and high creativity, both low performance and high creativity and low intelligence (Guignard et al., 2016).

While intelligence tests are reasonably accurate in predicting academic performance and professional success, creativity tests have less predictive power, as presented in the research of Freund and Holling (2008). These researchers applied creativity tests to the classroom and dictated that these tests does not have enough predictive power. Druzhinin (2005) proposed a model of the intellectual range ,, which does not use the parameter creativity , but explains the effectiveness in creativity. According to this model, productivity is determined by motivation and interest in the task for people with the same intelligence. In this case, gifted children should have a wide range of achievements in different spheres of activity, determined by the specific distribution of attention at this stage of human development. If we consider creativity as the ability to be creative, but not as creativity itself, then perhaps the contradiction will disappear: for creativity to develop into creativity, it must be combined with high indicators of intelligence.

Some researchers consider intellect, creativity as a single human ability of the highest plan. This means that creativity is one of those abilities that presents the human personality s worth and hidden talent. Moreover, it reflects positivity in the human being. In this case, it is not just about the fact that it is a single ability but about the fact that creativity is a derivative of the intellect. High intelligence high creativity. Low intelligence no creativity is possible. The ability for any creativity (scientific, artistic) is provided, first of all, by high values of general intelligence (Karwowski et al., 2016).

Researchers also considered creativity as a means of compensating for the inferiority complex that he had discovered. Empirical research has shown that creatively gifted children often experience personal severe and emotional problems, cannot find friends, are considered outcasts in the classroom, are ridiculed, and so on. By the way, many of these children have a level of real achievement (for example, school grades) below their natural capabilities, which further worsens their well being (Benedek et al., 2014).

Another point of view on the relationship between intelligence and creativity can be called reconciling. Its authors are trying to smooth over the irreconcilability of the first two positions. Intelligence and creativity seem to be different factors, but at the same time, there is a specific relationship between them (Sanchez Ruiz et al., 2011). 

The brain of all these ancestors was inferior to the brain of a modern person. The frontal lobes were smoothed; in all likelihood, their intelligence level was significantly lower than the modern one and most likely did not exceed a child s IQ or a mentally disabled adult. It is logical to assume that intellect and creativity were still an inseparable whole (Silvia, 2015).

A significant explanation that prompts clinicians to research keen insight lies in the standard of investigating practical knowledge, the segments of which are passionate and social insight. Practical knowledge is considered by current brain science as maybe the principle indicator of achievement throughout everyday life. Since the mental states of fruitful action are the object of examination in the brain research of skill, helpful knowledge and keen insight, as its segment, have assumed a focal position in the structure of talent (Karwowski et al., 2016).

Activities that are conducted in the study of emotional intelligence is also caused by the processes that are currently taught in the field of education. This no longer satisfies society with prescription reproductive teaching methods. It is actually based on convergent thinking with its leading indicator (IQ) and is increasingly turning to creative methods based on research activities. Psychology and pedagogy of creativity, successfully developing these methods of personality development, could not help. But paying attention to the emotional factor that underlies and stimulates search activity will surely help in this (Guignard et al., 2016).

Another reason for the appeal of psychologists and representatives is the involvement of the creative professions in emotional intelligence. It is basically the renewed interest in artistic thinking, the main organ of artistic creativity, after a long break. In the study of emotional intelligence, science sees one way to recognize the nature of artistic creativity by (emotions that carry out artistic communication). But on the other hand, it recognizes the nature of creativity in general as the universal mechanisms (Benedek et al., 2014).

In organizational and procedural thinking, practical intelligence plays a significant role, which, in this case, solves a large number of everyday tasks that are not directly related to the creative process. The practical mind acts in artistic thinking and a creative quality, as a type of thinking that solves strategic tasks in a tight time frame in extreme conditions. Such conditions arise at the concert stage among musicians performers, when they have to improvise either due to forgetting the musical text or on a given theme or image. In most cases, both the theatres and the film actors find themselves in likely situations, especially if something happens unexpectedly. So, they have to find a solution right away or resorting spontaneous (Jauk et al., 2013).

3.      Conclusion

An analysis of the types of thinking included in artistic thinking testifies the proportion of the rational and emotional components and emotional intelligence. It must be admitted that all types of thinking in the structure of artistic thinking are integrated and represent the unity of three types of thinking. But the analysis shows that in each specific case, we see which type of thinking is closest to him, dominant in his work.

References

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