Finding Creative Potential on Intelligence Tests via Divergent Production (original) (raw)
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Creativity: It’s Components Relative to Intelligence
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The Relationship Between Diverse Components of Intelligence and Creativity
Intelligence and creativity are accounted for in terms of two different mental operations referred to as 'convergent thinking' and 'divergent thinking', respectively. Nevertheless, psychometric evidence on the relationship between intelligence and creativity has been controversial. To clarify their relationship, we characterized the relationship between diverse components of intelligence and creativity through the administration of psychometric tests on a large sample (WAIS, RPM, and TTCT-figural: n = 215; TTCT-verbal: n = 137). The general intelligence factor (g) score showed significant correlations with both TTCT-figural and TTCT-verbal scores. However, sub-dimensional analysis demonstrated that their association was attributable to the specific components of both TTCTs (TTCT-figural: Abstractness of Titles, Elaboration, and Resistance to Premature Closure; TTCT-verbal: Flexibility) rather than to their common components (Fluency and Originality). Among the intelligence sub-dimensions, crystallized intelligence (gC) played a pivotal role in the association between g and the specific components of both TTCTs. When the total sample was divided into two IQ groups, these phenomena were more evident in the average IQ group than in the high IQ group. These results suggest that the mental operation of creativity may be different from that of intelligence, but gC may be used as a resource for the mental operation of creativity.
Intelligence, 2013
The relationship between intelligence and creativity has been subject to empirical research for decades. Nevertheless, there is yet no consensus on how these constructs are related. One of the most prominent notions concerning the interplay between intelligence and creativity is the threshold hypothesis, which assumes that above-average intelligence represents a necessary condition for high-level creativity. While earlier research mostly supported the threshold hypothesis, it has come under fire in recent investigations. The threshold hypothesis is commonly investigated by splitting a sample at a given threshold (e.g., at 120 IQ points) and estimating separate correlations for lower and upper IQ ranges. However, there is no compelling reason why the threshold should be fixed at an IQ of 120, and to date, no attempts have been made to detect the threshold empirically. Therefore, this study examined the relationship between intelligence and different indicators of creative potential and of creative achievement by means of segmented regression analysis in a sample of 297 participants. Segmented regression allows for the detection of a threshold in continuous data by means of iterative computational algorithms. We found thresholds only for measures of creative potential but not for creative achievement. For the former the thresholds varied as a function of criteria: When investigating a liberal criterion of ideational originality (i.e., two original ideas), a threshold was detected at around 100 IQ points. In contrast, a threshold of 120 IQ points emerged when the criterion was more demanding (i.e., many original ideas). Moreover, an IQ of around 85 IQ points was found to form the threshold for a purely quantitative measure of creative potential (i.e., ideational fluency). These results confirm the threshold hypothesis for qualitative indicators of creative potential and may explain some of the observed discrepancies in previous research. In addition, we obtained evidence that once the intelligence threshold is met, personality factors become more predictive for creativity. On the contrary, no threshold was found for creative achievement, i.e. creative achievement benefits from higher intelligence even at fairly high levels of intellectual ability.
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There has been an increasing body of research to uncover the relationship between creativity and intelligence. This relationship usually has been examined using traditional measures of intelligence and seldom using new approaches (i.e. Ferrando et al. 2005). In this work, creativity is measured by tools developed based on Sternberg's successful intelligence theory. Our aims were two-folded: to examine the relationship between intelligence and creativity and to investigate possible differences on the creative process depending on students' level of intelligence. A total of 385 students from primary and secondary schools took part in the study. Students completed 5 tasks from the Aurora Battery aimed to measure the synthetic-creative intelligence. They also completed the Cattell's general intelligence test. The results showed that there were statistically significant differences depending on students' level of intelligence on the five tasks of creativity, always favour...
Needed Research on the Measurement of Creativity*
The Journal of Creative Behavior, 1972
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The authors examined the relations among intelligence, personality, and creativity. They consider the concept and definition of creativity in conjunction with the qualifications that researchers in the field have suggested. The present authors briefly refer to historiometric studies but focus on psychometric intelligence and its relations to tests of divergent thinking (DT) and ratings of creativity.
2016
pictures described as children's book covers. Students are asked to imagine the history behind a given book cover (abstract or ambiguous images). Number Talk. It allows students to explain the reason for a social interaction briefly described and illustrated between two cartoon numbers. Students are presented cartoon numbers in different situations and are asked about what is happening and why with those numbers. For instance number 2 and number 4 may appear happy together. Except for metaphors, which is a multiple-option task, the other four tasks were scored using a rubric developed by Sternberg and Grigorenko research team. Each task obtained a unique score for creativity. According to Soto (2012) who adapted these tasks to the Spanish population, the task showed a reliability of α=.75 for figurative language, .76 for unanimated conversations, .71 for numerical conversations, .78 for multiple uses and .73 for book covers. Intelligence was measured using the Cattell and Cattel...