The first article focused on determining the underlying structure of creativity and intelligence, partly by looking at how they are defined and measured, and came up with the following schema for creativity:
1. The first factor is of UTILITY: whether one produces something that is useful. As evident from the alternate uses task the utility of something is ambiguous and context dependent. Creativity is the ability to deal with this inherent ambiguity, be comfortable with it and look at things from multiple simultaneous perspectives to find useful contexts. Politics (leadership) epitomises this ability. This is also related to speed and fluency with which you can hold multiple representations or generate multiple ideas. Taken to an extreme this may result in flight of ideas and racing thoughts typical of mania. Relating to personality constructs this is measured by feelings/ actions facets of openness to experience. The product associated with this type of creativity is typically an invention. In terms of existing schemata, you use multiple schemas simultaneously or let the member belong to multiple categories.
2. The second factor is ORIGINALITY: whether one produces something that is appealing and aesthetically satisfying and original. Originality sometimes lies in making remote associations (think mixing of metaphors etc). Creativity is the ability to think beyond conventional boundaries or categories, loosen up the associations and make remote associations between and within categories. Art epitomises this ability. This is also related to flexibility with which you can walk across categories and disciplines. Taken to extreme this may lead to apophenia (or seeing patterns everywhere and correlating everything in a loose framework), over-inclusive delusions, and scizotypy or even full blown schizophrenia. Relating to personality constructs this is measured by aesthetics facets of openness to experience. The product associated with this type of creativity is typically a new stylistics. In terms of existing schemata, you loosen your schemata boundaries and let them overlap.
3. The third factor is SURPRISABILITY: whether one produces something that is really unique and novel and unheard of before. Surprisabililty is creativity that is not just combinatorial but perhaps associated with transforming and transcending. The role of imagination is prominent here. Also serendipity and latent thinking is more prominent here. Mythmaking / religion epitomises this ability. This is also related to originality where a truly unique take is evident. Fantasy and role playing are important. Constructs like distractibility and latent inhibition are also relevant here. Taken to extreme this may result in attention problems associated with ADHD always being enthralled by something novel rather than paying attention to routine but boring stuff. Relating to personality constructs this is measured by fantasy facets of openness to experience. The product associated with this type of creativity is typically a social innovation. In terms of existing schemata, you transform your schemata and create new categories by principle of accommodation.
A similar, tripartite structure, for intelligence was also arrived at:
To sum up, The three broad factors of intelligence are:
1. Processing speed: related to inductive part of Gf, selective attention and set updating. This is measured using problem solving especially puzzles. This is also the algorithmic mind using the method of simulation (Stanovich). This parallels fluency/utility facet of creativity.
2. (Working) memory: related to crystallized Gc, sustained attention and set shifting. This is measured using ability to recognise explicit patterns and analogies. This is also the remembering mind using the method of serial associative cognition (Stanovich). This parallels flexibility/ beauty facet of creativity.
3. Planning: related to deductive part of Gf, divided attention and set initiation. This is measured using abstract reasoning and inhibition tasks like the stroop task. This is also the reflective mind using the method of TASS override (Stanovich). This parallels originality/novelty facet of creativity.
In the second article I related this tripartite structure to the underlying BVSR process as follows:
So, how does BVSR lead to creativity?
Blind means unsighted or unplanned or something which comes out of such a blind process will not be expected but necessarily involve leaps and be non-obvious and surprise us with the serendipitous results. Thus blindness ensures Surprisability.
Variation means recombination or transformations or some such process that leads to new and novel variants. Thus variation guarantees Originality.
Selection means separating wheat from the chaff based on either subjective criteria like Beauty or objective criteria like Truth. In either case the idea retained will be either true or adaptive/useful. In other words, Selection necessitates Utility.
Retention means developing the selected idea to completion, validating it and using similar means again. Typical means may include trying to replicate the phenomenon. Given that the BVS part of BVSR may work unconsciously it is hard to replicate or deliver the same creative performance again; the same may not be true of a scientific discovery though. We will not focus on retention here which has to do with repetition of the act, in my opinion, and not that relevant to the creative process.
As you move towards more sighted variant of BVSR, you move from creativity to intelligence.
With that in mind I propose the following table for creativity and intelligence
and the following for intelligence…