Creative Intelligence for Intelligent Creations
Whether or not a person subscribes to the notion of ubuntu, it is abundantly clear that humans possess creative minds; this can be seen in the human environment we have built. However, it can be questioned whether the creative action and thought that is a
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CREATIVE INTELLIGENCE FOR INTELLIGENT CREATIONS
Whether or not a person subscribes to the notion of ubuntu, it is abundantly clear that humans possess creative minds; this can be seen in the human environment we have built. However, it can be questioned whether the creative action and thought that is apparent represents an intelligent use of that facility. This chapter will explore in some detail the concept of creativity from the angle of linking creative thought and action to intelligent use of the creative powers of human minds. CREATIVITY AND CHANGE
Now and again there will be individuals in a culture who come up with ideas and artefacts that will change the culture. Examples include the ability to create fire in prehistoric times, the harnessing of electricity in the 19th century, and the introduction of smart technology in more recent years. All of these, whether a discovery of a single person or a joint or simultaneous effort, have enhanced or changed the culture we live in. On a micro level, individuals show genuine creativity in the sense that the founder of the theory of Multiple Intelligences, Howard Gardner defines: Genuine human creativity necessarily honours the deepest constraints in development, but at the same time such creativity alerts our consciousness to those chains that are not inexorably linked, permitting them to break or reconfiguring them into new arrangements. (Gardner, 1991, p. 263) Individuals affect the culture they live in. People produce ideas and objects that are truly novel and extend the culture in which they are working in new directions. The culture benefits from the production of the creative individual; it becomes richer in knowledge, skills, ideas, and tools. However, for the full effect of the creative production to be felt in the culture, the other individuals within that culture must then absorb the innovation and accommodate it into their schema. This is how the innovation becomes a “valuable” part of the culture. Thus the way that the creative person, scientist, artist, or cook works, is not solely accountable for major creative breakthroughs. In accommodating their understanding or knowledge of the culture they live in, most people create or add to the culture or their understanding of reality. In other words, people learn as they create and create as they learn. This is
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by no means the only way a person can learn, but it is a way that can help people to preserve and nurture the creative nature they possess. THE CONCEPT
The concept of creativity has many definitions, and is often misused. What interests us the most is the connection between creativity and learning, initiative, and motivation. Creativity as a concept is not easy to define in a single sentence. The difficulty seems to be twofold: first, it is logically very difficult to define a thing that is so integrated into the medium used for definition (for example the creative mind attempting to define itself); second, it is difficult epistemologically to identify acts or artefacts as in all re
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