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As a result, it creates a sort of shadow curriculum that furthers the goals of neither educators nor students. The SAT has been sold as snake oil; it measured intelligence, veri- fied high school GPA, and predicted college grades. This notion is pervasive, and it extends well beyond aca- demia. Remember the bell-shaped curve we dis- cussed earlier?
How Are You Intelligent? The right question to ask is the one above. The dif- ference in these questions is profound. The nature of intelligence has always been a mat- ter of controversy, especially among the many pro- fessional specialists who spend their lives thinking about it.
They disagree about what it is, about who has it, and about how much of it is out there. In a survey conducted in the United States several years ago, a sample of psychologists attempted to define intelligence, choosing and commenting from a list of twenty-five attributes. Only three were mentioned by 25 percent or more of the respondents. Harvard psychologist Howard Gardner has argued to wide acclaim that we have not one but multiple in- telligences.
They include linguistic, musical, math- ematical, spatial, kinesthetic, interpersonal relation- ships with others , and intra-personal knowledge and understanding of the self intelligence. He is a long-term critic of traditional approaches to intelligence testing and IQ. He argues that there are three types of intelli- gence: analytic intelligence, the ability to solve prob- lems using academic skills and to complete conven- tional IQ tests; creative intelligence, the ability to deal with novel situations and to come up with ori- ginal solutions; and practical intelligence, the ability to deal with problems and challenges in everyday life.
Psychologist and best-selling author Daniel Gole- man has argued in his books that there is emotional intelligence and social intelligence, both of which are essential to getting along with ourselves and with the world round us.
Whenever we have a direct experience, he says, it does not go directly to the brain in our heads. The first place it goes is to the neurological networks of the intestinal tract and heart. Other psychologists and intelligence testers worry about all of these sorts of ideas. They say there is no quantifiable evidence to prove their existence.
That may be. But the clear fact of everyday experience is that human intelligence is diverse and multifaceted. For evidence, we need only look at the extraordinary richness and complexity of human culture and achievement. Whether we can ever capture all of this in a single theory of intelligence—with three, four, five, or even eight separate categories—is a problem for the theorists. Alexis Lemaire, on the other hand, does. In , he claimed the world record for calculating in his head the thirteenth root of a random two-hundred-digit number.
He did this in Alexis sat in front of a laptop computer that had gen- erated at random a two-hundred-figure number and displayed it on the screen. The number was more than seventeen lines long. This is a big number. He stared at the screen without speaking and then an- nounced correctly that the answer was, 2,,,,, Remember that he did this in In his head. Lemaire performed this feat at the New York Hall of Science. He has been working on the thirteenth- root challenge for a number of years.
Previously, his best time had been a sluggish 77 seconds. I use an artificial intelligence sys- tem on my own brain instead of on a computer. My brain works sometimes very, very fast. I use a process to improve my skills to be- have like a computer. I think somebody without a very fast brain can also do this kind of multiplication but this may be easier for me because my brain is faster. His experi- ence of math is so intense that he also has to take regular time off to rest his brain.
Otherwise, he thinks there is a danger that too much math could be bad for his health and his heart. I have always felt that too much math can be bad for my health and my heart as well, but for different reasons.
Surprisingly, like me, he did not do particu- larly well in math at school, though the comparisons between us end right there. He was not top of the class in math, and mainly taught himself through books. But the found- ation of all of these achievements is a unique, per- sonal aptitude combined with a deep passion and commitment. When he is digging around in huge numbers to unearth their roots, Alexis Lemaire is clearly in his Element.
The Three Features of Human Intelligence Human intelligence seems to have at least three main features. The first is that it is extraordinarily diverse.
It is clearly not limited to the ability to do verbal and mathematical reasoning. These skills are important, but they are simply one way in which in- telligence expresses itself.
Gordon Parks was a legendary photographer who captured the black American experience in a way that few others ever had. He was the first black pro- ducer and director of a major Hollywood film. He helped found Essence magazine and served as its ed- itorial director for three years. He was a gifted poet, novelist, and memoirist. And he was professionally trained at none of this. In fact, Gordon Parks barely attended high school. The schooling he did get was discour- aging—he often mentioned that one of his teachers told her students that college would be a waste for them since they were destined to become porters and house cleaners.
Still, he used his intelligence in ways few could match. He taught himself to play the piano and this helped him make some money to get by in his late teens. A few years later, he bought a camera from a pawnshop and taught himself to take pictures. What he learned about film and writing came largely from observation, an intense level of intellectual curiosity, and an off-the-charts ability to feel for and see into the lives of other people.
I realized I liked it and I went all out for it. I spent this dough and decided to get my- self some cameras. I had a tremendous interest and I just kept plugging away and knocking at doors, seeking out encourage- ment where I could get it. But all I know, it was a constant effort, a constant feeling that I must not fail. Yet by any reasonable definition of the word, Gordon Parks was remarkably intelligent, a rare hu- man being with an uncanny ability to learn and mas- ter complex and nuanced art forms.
I can only guess that Parks considered himself in- telligent. As the stories of Gordon Parks, Mick Fleetwood, and Bart Conner indicate, intelligence can show itself in ways that have little or nothing to do with num- bers and words. We think about the world in all the ways that we experience it, including all the different ways we use our senses however many of those there turn out to be.
We think in sound. We think in movement. We think visually. I worked for a long time with the Royal Ballet in Britain and came to see that dance is a powerful way to express ideas and that dancers use multiple forms of intelligence—kin- esthetic, rhythmic, musical, and mathematical—to accomplish this. Nor would abstract painting, hip-hop, design, architecture, or self-ser- vice checkouts at supermarkets.
The diversity of intelligence is one of the funda- mental underpinnings of the Element. An individual who represents this wonderful di- versity is R. Buckminster Fuller, best known for his design of the geodesic dome and his coining of the term Spaceship Earth.
Certainly his greatest accom- plishments come in the field of engineering which of course requires the use of mathematical, visual, and interpersonal intelligence , but he was also a clever and unusual writer, a philosopher who challenged the beliefs of a generation, an ardent environmental- ist years before the emergence of a true environ- mental movement, and a challenging and nurturing university professor. He did all of this by eschewing formal education he was the first in four genera- tions in his family not to graduate from Harvard and setting out to experience the world to use the fullest range of his intelligence.
Fuller seemingly saw no limits on his ability to use every form of intelligence avail- able to him. The second feature of intelligence is that it is tre- mendously dynamic. The human brain is intensely interactive. You use multiple parts of it in every task you perform.
It is in fact in the dynamic use of the brain—finding new connections between things—that true breakthroughs occur. Albert Einstein, for instance, took great advantage of the dynamics of intelligence.
However, Einstein was a student of all forms of expression, be- lieving that he could put anything that challenged the mind to use in a variety of ways.
For instance, he interviewed poets to learn more about the role of in- tuition and imagination. And later, as a theorist, his success came not from the brute strength of his mental processing power but from his imagination and creativity. He could construct complex equations, but more im- portant, he knew that math is the language nature uses to describe her wonders.
Growth comes through analogy, through seeing how things connect rather than only seeing how they might be different. Certainly, the epiphany stories in this book indicate that many of the moments when things sud- denly come clear happen from seeing new connec- tions between events, ideas, and circumstances.
The third feature of intelligence is that it is entirely distinctive. There might be seven, ten, or a hun- dred different forms of intelligence, but each of us uses these forms in different ways. My profile of abil- ities involves a different combination of dominant and dormant intelligences than yours does. The per- son down the street has another profile entirely. This brings us back to the question I asked earlier: How are you intelligent? Knowing that intelligence is diverse, dynamic, and distinctive allows you to ad- dress that question in new ways.
This is one of the core components of the Element. For when you ex- plode your preconceived ideas about intelligence, you can begin to see your own intelligence in new ways. No person is a single intellectual score on a lin- ear scale. And no two people with the same scores will do the same things, share all of the same pas- sions, or accomplish the same amount with their lives.
Discovering the Element is all about allowing yourself access to all of the ways in which you experi- ence the world, and discovering where your own true strengths lie.
She has exhibited in major museums all over the world, and her work is in the permanent collections of the Guggenheim Museum, the Metropolitan Museum of Art, and the Museum of Modern Art. In addition, she is an award-winning writer, having received the Caldecott Honor for her first book, Tar Beach. She has also composed and recorded songs. Interestingly, though, she found herself on this path when illness kept her out of school.
She got asthma when she was two, and because of this, had a late start to formal education. Because when you have a lot of people in one space, you have to move them around in a certain way to make it work. I just did not ever get hooked into the regimentation. I missed all of kindergarten and the first grade. By the second grade, I was going. And I absolutely did not mind missing those classes. Duke Ellington, Billie Holiday, Billy Eck- stine—all these old singers and bandleaders and all those people who were so wonderful.
And so these people were the ones who I thought of as being highly creative. It was so obvious that they were making this art out of their own bodies. We all lived in the same neighborhood. You just ran into them—here they are, you know? I was deeply in- spired by their art and by their willingness to give of themselves to the public and to their audience. I did not dress like them.
I did not look like them. And in my family, it was not expected that I should be like that. So, it came quite natural to me to do something that was considered a bit odd. My mother was a fash- ion designer. She was an artist herself, although she would never have said she was an artist. She helped me a lot, but she was very keen on the fact that she did not know whether art would be a good lifetime endeavor.
An excellent experience. I dis- tinctly recall my teachers getting excited about some of the things that I had done and me kind of wonder- ing, Why do they think this is so good? In junior high school, the teacher did a project with us in which she wanted us to try to see it without looking.
We were supposed to paint these flowers in that way. Look at this. It was free and it was the same kind of thing that I like when I see chil- dren do art. It is expressive; it is wonderful. This is the kind of magic that children have. Children do not see anything so strange and different about art.
They accept it; they understand it; they love it. They walk into a museum and they are looking all around, they do not feel threatened. Whereas adults do. They think there are some messages there they do not get, that they are supposed to have something to say or do in relation to these works of art.
The children can just accept it because somehow or other they are born that way. And they stay that way until they be- gin to start picking themselves apart. Now, maybe it is because we start picking them apart. I try not to do that, but the world is going to pick them apart and, you know, judge them this way and that—this does not look like a tree, or this does not look like a man.
When children are little, they are not paying atten- tion to that. They are just—they are just unfolding right before your eyes. And I do too. Because they are completely unrepressed where these things are concerned. Their little voices are like little bells that they are ringing. I went to a school where I did a forty- minute session with each of the grades, starting with the prekindergarten, going all the way up to the sixth grade. I did this art session with them in which they would read from a book and then I would teach them.
By the fifth grade, you are running into trouble. Their little voices are no longer like bells; they are feeling ashamed of themselves, you know, and some of them who can still sing will not. She loved exploring her creativity from an early age, and she managed to keep that spark alive into adulthood. My dream was to be an artist, one who makes pictures for a lifetime, as a way of life. Every day of your life you can create something wonderful, so every day is going to be the same kind of wonderful day that every other day is—a day in which you dis- cover something new because as you are painting or creating whatever it is you are creating, you are find- ing new ways in doing it.
I usually ask these same people how they rate their creativity. As with intelli- gence, I use a 1 to 10 scale, with 10 at the top. And, as with intelligence, most people rate themselves some- where in the middle. Out of perhaps a thousand people, fewer than twenty give themselves 10 for cre- ativity. A few more will put their hands up for 9 and 8. On the other end, a handful always puts them- selves at 2 or 1. I think that people are mostly wrong in these assessments, just as they are about their intelligence.
Typic- ally, between two-thirds and three-quarters of the audience raise their hands at this point. Why is this? I think it is because most people believe that intelli- gence and creativity are entirely different things—that we can be very intelligent and not very creative or very creative and not very intelligent.
For me, this identifies a fundamental problem. A lot of my work with organizations is about showing that intelligence and creativity are blood relatives. Similarly, the highest form of intel- ligence is thinking creatively. In seeking the Ele- ment, it is essential to understand the real nature of creativity and to have a clear understanding of how it relates to intelligence.
In my experience, most people have a narrow view of intelligence, tending to think of it mainly in terms of academic ability. There are myths surrounding cre- ativity as well. This is not true. Everyone is born with tremendous capacities for creativity. The trick is to develop these capacities. Creativity is very much like literacy. We take it for granted that nearly everybody can learn to read and write. The same is true of creativity. Another myth is that creativity is about special activities.
These often do involve a high level of creativity. But so can science, math, engin- eering, running a business, being an athlete, or get- ting in or out of a relationship. The fact is you can be creative at anything at all—anything that involves your intelligence. This is one of the surest paths to finding the Element, and it involves stepping back to examine a fundamental feature of all human intelli- gence—our unique powers of imagination.
We do the same with our imaginations. In fact, while we largely take our senses for granted, we tend to take our imaginations for granted com- pletely. Imagination underpins every uniquely human achievement. Imagination led us from caves to cities, from bone clubs to golf clubs, from carrion to cuisine, and from superstition to science.
And this relation- ship serves a very significant role in the search for the Element. We know too that we can routinely step outside of our immediate sensory environment and conjure mental images of other places and other times. If I ask you to think of your best friends at school, your favorite food, or your most annoying acquaintance, you can do that without having any of those things directly in front of you.
This is unfortunate because imagina- tion is vitally important to our lives. Through ima- gination, we can visit the past, contemplate the present, and anticipate the future. We can also do something else of profound and unique significance. We can create. Through imagination, we not only bring to mind things that we have experienced but things that we have never experienced.
We can conjecture, we can hypothesize, we can speculate, and we can suppose. In a word, we can be imaginative. As soon as we have the power to release our minds from the imme- diate here and now, in a sense we are free. We are free to revisit the past, free to reframe the present, and free to anticipate a whole range of possible fu- tures.
Imagination is the foundation of everything that is uniquely and distinctively human. It is the basis of language, the arts, the sciences, systems of philosophy, and the all the vast intricacies of human culture. I can illustrate this power with an example of cosmic proportions.
This is another good question. The British philosopher Bertrand Russell presented this question simply and brilliantly. Or is he what he appears to Hamlet? Is he perhaps both at once? Most of us now get the point that the universe is gigantic. We also get the point that Earth is relatively small. But how small? I was delighted to come across a great set of im- ages that helped me get a sense of the relative size of the Earth. Someone had the bright idea of taking dis- tance out of the equation altogether by plucking the Earth and some other planets out of the cosmos and laying them side by side on the floor like a team pho- tograph.
Pluto, by the way, is no longer a planet and we can see why in this picture. What we were we thinking of in the first place? Suddenly, the scenario seems a bit less encouraging. Pluto at this point has become a cosmic embarrassment. For instance, we know that Earth is small when compared with the Sun. But as big as it is, the Sun is far from the cosmic giant it seems here. If we pull back a little more, the picture changes dramatically, even for sun worshippers.
Keep your eye on Arcturus as we pull back just once more to take in Betelgeuse and Antares. Antares, by the way, is the fifteenth-brightest star in the sky. It is more than a thousand light-years away. Astronomers would say it is only a thousand light-years away.
Com- pare it with this final image, which is from the Hubble telescope. Scientists estimate the Magellanic Cloud to be about , light-years across. And yet. We can take away some encouraging things from this. One is a bit of perspective. I mean, really, whatever you woke up worrying about this morning, get over it. How important in the greater scheme of things can it possibly be? Make your peace and move on. The second is this. We certainly do seem to be clinging to the face of an extraordinarily small and unimportant planet.
We may well be small and insignificant. However, uniquely among all known species on Earth—or anywhere else, to our knowledge—we are able to do something remarkable.
We can conceive of our insignificance. Using the power of imagination, someone made the images I just showed you. But certainly none comes close to showing the complex abilities that flow from the human imagination. What accounts for these yawning differences in how humans and other species on our small planet think and behave?
My general answer is imagina- tion. The dynamics of human intelligence account for the phenomenal cre- ativity of the human mind. And our capacity for cre- ativity allows us to rethink our lives and our circum- stances—and to find our way to the Element. The Power of Creativity Imagination is not the same as creativity. Creativity takes the process of imagination to another level. You could be imaginative all day long without anyone noticing. But you would never say that someone was creative if that person never did anything.
To be creative you actually have to do something. It involves putting your imagination to work to make something new, to come up with new solutions to problems, even to think of new problems or questions. You can think of creativity as applied imagination.
You can be creative at anything at all—anything that involves using your intelligence. It is because human intelligence is so wonderfully diverse that people are creative in so many extraordinary ways. Let me give you two very different examples.
There are following important books for Maths Olympiad which are recommended by faculties and successful candidates in these exams and official conducting bodies of examination.
These books are intended for both students and teachers who love mathematics and want to study its various branches beyond the limits of the school curriculum. Click on Image to buy from Amazon. Book 9: Mathematical Olympiads Challenges , written by Andreescu. They explain each topics and concepts with a lots of tips and tricks and also provides questions banks for practice. Richard Lynn in his book Race Differences in Intelligence reviewed the literature on worldwide IQ testing and calculated the average IQs for different races based on earlier IQ test results citing hundreds of different studies testing the average IQ of different races.
Similarly, cognitive psychologist Robert Sternberg, PhD, has developed a triarchic "three component" theory of intelligence that includes analytical, creative and practical intelligence. We then investigate whether success in the IMO might have a causal e ect on subse-quent achievements in mathematics.
An IQ score much below 50 or above is usually not noticed. Mislav Predavec — IQ: He took four online IQ tests and selected his answers at random.
Del Siegle, Ph. Middle Level Mathematics Endorsement. The mean, or average, IQ is Average Weekly Study Hours: IQ Score is an overall score obtained on a standardized test of intelligence. With a 3. Intelligence quotient assessment IQ is done through statistics, which is a mathematical tool used to solve a psychological problem. Then you can look at the relevant populations and make a prediction as to whether a group is under-represented or over-represented.
Thirty clinical psychology graduate students from a regional, midwestern university were chosen. Trend in grade point average, by gender: This number indicates the percent of test takers that you performed better than.
The average IQ of all university students is , as we know. Rick Rosner has taken more than 30 IQ tests, revealing his IQ is between and , depending on how the tests define their scores.
Average in other academic courses foreign language and other academic courses not in the core curriculum : 3. Although May has never taken an IQ test, one can only assume it would be somewhere around to considering the quality of his papers in Astrophysics.
However, outside of the top 10 graduate schools, the average GPA for law, medical, and business graduate school are as much as 0. The average is thought to be around for PhDs in math. Math Results. On average, doctoral candidates dedicate seven to ten years of their life earning a doctorate after completing undergraduate work. For example, some studies find correlations between childhood IQ and income as an adult to be 0. Intelligence and IQ. A score above is considered as above average, while a score below is considered as a below average.
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