The information was used to create a test that would discern students' levels of knowledge, designed so that a score of 100 would indicate an average intelligence.
The idea that intelligence could be objectively measured and reported by a single score took hold.
Being smart is no longer determined by a score on a test; being smart is determined by how well students learn in a variety of ways.
We, as humans, have a penchant for measuring things. In Paris in the early 1900s, Alfred Binet was asked to develop an instrument that would identify youngsters who were mentally deficient and in need of extra help.
A logical, musical learner stays engaged when they learn about math through music production.
In fact, Gardner's colleagues at Project Zero at Harvard University spent years researching the habits of artists at work in their studios to discover how artistic processes may inform best practices in teaching and learning.
Educators sometimes lament a lack of partnership with families and note that unless the theory extends to learning at home, the methods don’t always hold in the classroom and learners continue to struggle against stacked expectations.
Gardner also warns against labeling learners with any given intelligence over another or implying unintended hierarchies of value among the eight types of intelligence.
A student may dread learning vocabulary through test-taking but lighten up when asked to dance, paint, sing, plant, or build.
The theory invites a great deal of creativity in teaching and learning and over the last 35 years, arts educators, in particular, have used the theory to develop arts-integrated curricula that acknowledge the power of artistic processes to produce and share knowledge across core subject areas.