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The Arts in Schools - Calouste Gulbenkian Foundation

The Arts in Schools - Calouste Gulbenkian Foundation

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one who is <strong>in</strong>telligent but who exhibits a certa<strong>in</strong> k<strong>in</strong>d of<strong>in</strong>telligence upon which we place great value. Why is this?We can best answer this by list<strong>in</strong>g here some of the pr<strong>in</strong>cipalcharacteristics or conditions of creative activity. We identifyseven of these.34 Features First, creative work or activity obviously implies mak<strong>in</strong>g orof creative produc<strong>in</strong>g someth<strong>in</strong>g. To count as creative, however, someworkth<strong>in</strong>g more than merely mak<strong>in</strong>g or produc<strong>in</strong>g (like 'creat<strong>in</strong>ghavoc') must be <strong>in</strong>volved. Second, the work must be thepersonal achievement of the person we are call<strong>in</strong>g creative.We do not normally consider forgers, plagiarists or copiersof other people's work to be creative. Third, creative workmust be, <strong>in</strong> some way, novel, orig<strong>in</strong>al, different or dist<strong>in</strong>ctivefrom anyth<strong>in</strong>g previously created <strong>in</strong> that sphere. This canbe as true of th<strong>in</strong>gs appear<strong>in</strong>g <strong>in</strong> the world for the first timeas of new comb<strong>in</strong>ations of exist<strong>in</strong>g elements. It can also bean extension or elaboration of what exists or is knownalready. For example, the actor creates, us<strong>in</strong>g the worksand structures of a playwright; a perform<strong>in</strong>g musician creates,us<strong>in</strong>g the work of a composer and so on. At all events,creative work must, <strong>in</strong> some way, break new ground. Fourth,we would only apply the term 'creative work' to the productsof conscious and deliberate activity rather than to those ofchance, luck or serendipity.<strong>The</strong>se are our first four conditions of creative activity.We will consider the rest as we go on. We must note herethat these are also some of the characteristics looked for <strong>in</strong>creative th<strong>in</strong>k<strong>in</strong>g by early researchers <strong>in</strong> their analysis ofcerta<strong>in</strong> mental qualities or activities.35 Creative In the previous chapter we noted -that some educators andand philosophers have long recognised the existence of differentdivergent modes of <strong>in</strong>telligence. Psychologists too had seen that there isth<strong>in</strong>kers another k<strong>in</strong>d of <strong>in</strong>telligence dist<strong>in</strong>ct from the one which wasmeant to be measured by such IQ tests as the StanfordB<strong>in</strong>et, the WISC or the Moray House. 3 Complet<strong>in</strong>g such testsrests on an ability to give the right set of answers to setquestions rely<strong>in</strong>g largely on deductive reason and operat<strong>in</strong>gwith<strong>in</strong> conventional structures of ideas. This requires a typeof th<strong>in</strong>k<strong>in</strong>g sometimes called 'convergent'. 4<strong>The</strong> other type of <strong>in</strong>telligence was divergent, nonconventionaland open-ended. Rather than the ability tooperate with<strong>in</strong> the set patterns and structures of conventionalth<strong>in</strong>k<strong>in</strong>g, it showed <strong>in</strong>genuity, <strong>in</strong>ventiveness, unconventionalityand the ability to <strong>in</strong>novate and to solve problems. <strong>The</strong>obvious question was, how do we recognise and assess thisability?30

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