Gardner

An intelligence is the ability to solve problems, or to create products, that are valued within one or more cultural settings—a definition that says nothing about either the sources of these abilities or the proper means of “testing” them.

There is a relation between intelligences and domains, but it is crucial not to confound these two realms. A person with musical intelligence is likely to be attracted to, and to be successful in, the domain of music. But the domain of musical performance requires intelligences beyond the musical (for example, bodily-kinesthetic intelligence and the personal intelligences), just as musical intelligence can be mobilized for domains beyond music in the strict sense (as in dance or in advertising).

The trio of intelligence, domain, and field has proved not only useful for unraveling a host of issues raised by MI theory, but also particularly fruitful for studies of creativity. As formulated originally by Csikszentmihalyi (1988), the felicitous question is: Where is creativity? The answer is that creativity should not be thought of as inhering principally in the brain, the mind, or the personality of a single individual. Rather, creativity should be thought of as emerging from the interactions of three nodes: the individual with his or her own profile of competences and values; the domains available for study and mastery within a culture; and the judgments rendered by the field that is deemed competent within a culture.

The prime author and mover of the universe is intelligence. Therefore, the final cause of the universe must be the good of the intelligence and that is truth.... Of all human pursuits, the pursuit of wisdom is the most perfect, the most sublime, the most useful, and the most agreeable. The most perfect, because in so far as a man gives himself up to the pursuit of wisdom, to that extent he enjoys already some portion of true happiness.

Sometimes progress occurs as a consequence of logical clarification, as for instance, when a fallacy is exposed. (No one continues in the mistaken belief that the distorted faces in El Greco’s portraits were due to an astigmatic condition, once it has been explained that astigmatism would not lead to the painting of elongated faces. An astigmatic painter would perceive the faces on his canvas (and in the everyday world) to be elongated; but, in fact, these faces would appear completely normal to non-astigmatic eyes.) Sometimes progress results from dramatic scientific findings (the discoveries of Copernicus and Kepler radically changed our view about the architecture of the universe). And sometimes progress comes about when a large body of information is woven together in a convincing tapestry of argument (as happened when, in the course of introducing his theory of evolution, Charles Darwin reviewed masses of evidence about the development and differentiation of species).