The relationship between intelligence and language is complex, and there are varying perspectives on how intelligence should be defined and measured. Of course, language is a significant aspect of human intelligence. Still, it’s not the sole indicator or measure of intelligence, but one of the multiple intelligences identified by psychologist Howard Gardner.
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Gardner’s theory of multiple intelligences suggests that intelligence is multifaceted and encompasses various abilities, including musical, logical-mathematical, spatial, bodily-kinaesthetic, interpersonal, intrapersonal, and naturalistic intelligence, in addition to linguistic intelligence. Linguistic intelligence involves proficiency in language-related activities, such as reading, writing, speaking, and understanding spoken and written words.
Psychologist Daniel Goleman introduced the concept of emotional intelligence, which involves understanding and managing one’s emotions and the emotions of others. This form of intelligence is not solely dependent on language but involves interpersonal skills and emotional awareness.
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Non-verbal intelligence, including spatial reasoning, pattern recognition, and problem-solving skills, does not necessarily rely on language. People can demonstrate high intelligence through actions, problem-solving abilities, and non-verbal communication. Different cultures may express intelligence differently, which may not always align with a standardised linguistic framework. Cultures may value different forms of intelligence, including practical skills, social intelligence, or creative problem-solving.
I would argue that the experience of art is inherently non-linguistic and that the aesthetic impact of a painting or sculpture is felt on a sensory and emotional level. The appreciation of beauty, emotional resonance, and the impact of an artwork can be immediate, and it does not always require verbal interpretation. Art can also transcend linguistic and cultural boundaries. Paintings, sculptures, and other art forms can evoke emotions, communicate cultural ideas, or express abstract concepts without relying on linguistic symbols. Colour, form, composition, and symbolism can convey meaning directly to the viewer. While language can provide context and interpretation, people from different linguistic backgrounds can still appreciate and interpret visual art meaningfully.
Semantics is the study of meaning, and it primarily deals with how words and symbols convey meaning in a language. It examines the relationships between words, their meanings, and how these meanings are structured and conveyed in sentences. However, although semantics is a key aspect of language study, it doesn’t exclusively apply to spoken or written language. It can also be relevant to other symbolic systems, including non-verbal communication, such as gestures, symbols, or visual elements in art.
As demonstrated above, semantics doesn’t exclusively apply to spoken or written language.
It is generally accepted that, although the development of writing was not a linear process, early forms of communication likely involved simple symbols and gestures before evolving into more complex linguistic systems. Before the advent of written language, human communication likely relied on gestures, facial expressions, vocalisations, and possibly simple symbolic representations. Early humans used symbols and signs to convey basic information about their environment, such as the presence of food or the location of a threat.
Over time, human societies began to develop systems of proto-writing, which involved symbolic representations that may not have had a standardised or fully developed syntax. These early symbols could have served as mnemonic devices, recording important information or events. The transition from proto-writing to fully developed writing systems marked a significant leap in linguistic sophistication. Ancient civilisations, such as the Sumerians, Egyptians, and Chinese, independently developed writing systems to record complex information, stories, and administrative details. These early writing systems used symbols or characters to represent words or syllables.
Some civilisations, such as the Phoenicians and later the Greeks, made significant advancements by developing alphabets representing individual phonemes or sounds. This innovation greatly enhanced the expressiveness and efficiency of written communication. As writing systems evolved and became more standardised, they played a crucial role in developing complex societies, preserving knowledge, and communicating sophisticated ideas. Writing allowed for the transmission of information across time and space.
But you are putting the interpretation first, not the non-verbal impression a scene makes, which is deemed worth representing. Beauty is often ineffable, and all attempts to reproduce it are emotional responses. Beauty is often perceived as a subjective and complex experience beyond simple description. People may encounter beauty in various forms, such as nature, art, music, or even human relationships, and find it challenging to capture or articulate that experience’s essence fully. Artists, writers, musicians, and creators often grapple with the challenge of representing beauty in their work. They may use their respective mediums to evoke emotions, stir the senses, and create an aesthetic experience that resonates with others. That may be semantics, but it is not necessary language.
But here we are talking about art, and linguistic or semiotic signs are not always necessary for art. Art can encompass a wide range of expressive forms that go beyond the use of words or explicit symbols. While language can be a powerful tool in artistic expression, many art forms rely on visual, auditory, tactile, or other non-linguistic elements to convey meaning and evoke emotions.
A child’s first “re-presentation” of what presents itself, is often awe. The gaping mouth is expression enough for the impression made by the beauty that presents itself.
