Creativity involves creating something of high quality. What is creativity and how to develop it? Creative professions for girls

Types and functions of creativity

There are different types of creativity:

• production and technical
• inventive
• scientific
• political
• organizational
• artistic
• everyday life, etc.

in other words, types of creativity correspond to types of practical and spiritual activity.

Vitaly Tepikin, a researcher of the human creative factor and the phenomenon of the intelligentsia, identifies artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.

Creativity as an ability

Creativity as a process (creative thinking)

Stages of Creative Thinking

G. Wallace

The best known description today is the description of the sequence of stages (stages) of creative thinking, which was given by the Englishman Graham Wallace in 1926. He identified four stages of creative thinking:

1. Preparation- formulation of the problem; attempts to solve it.
2. Incubation- temporary distraction from the task.
3. Insight- emergence of an intuitive solution.
4. Examination- testing and/or implementation of the solution.

However, this description is not original and goes back to the classic report of A. Poincaré in 1908.

A. Poincare

They came especially willingly... during the hours of a leisurely climb through the wooded mountains, on a sunny day. The slightest amount of alcohol seemed to scare them away.

It is interesting to note that stages similar to those described by Poincaré were identified in the process of artistic creativity by B. A. Lezin at the beginning of the 20th century.

1. Work fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.
2. Unconscious work represents a selection of the typical; “But how that work is done, of course, cannot be judged, it is a mystery, one of the seven world mysteries.”
3. Inspiration there is a “transfer” of a ready-made conclusion from the unconscious sphere into consciousness.

Stages of the inventive process

In the most acute form, the connection between the personal and the creative is revealed by N. A. Berdyaev. He's writing:

Motivation for creativity

V. N. Druzhinin writes:

The basis of creativity is the global irrational motivation of human alienation from the world; it is directed by a tendency to overcome and functions as a “positive feedback”; a creative product only spurs the process, turning it into a pursuit of the horizon.

Thus, through creativity, a person’s connection with the world is realized. Creativity stimulates itself.

Mental health, freedom and creativity

N. A. Berdyaev adheres to the following point of view:

The creative act is always liberation and overcoming. There is an experience of power in it.

Thus, creativity is something in which a person can exercise his freedom, connection with the world, connection with his deepest essence.

see also

Notes

Literature

• Hadamard J. Study of the psychology of the invention process in the field of mathematics. M., 1970.
• Ananyev B. G. Psychology and problems of human knowledge. Moscow-Voronezh. 1996.
• Ananyev B.G. Man as an object of knowledge. - St. Petersburg: Peter, 2001.
• Berdyaev N. A. Experience of eschatological metaphysics // Creativity and objectification / comp. A. G. Shimansky, Yu. O. Shimanskaya. - Mn.: Econompress, 2000.
• Berdyaev N. A. The meaning of creativity // Philosophy of creativity, culture and art. - M.: Art, 1994.
• Winnicott D. Game and reality. M.: Institute of General Humanitarian Research, 2002.
• Druzhinin V. N. Psychology of general abilities. St. Petersburg: Peter, 2002.
• May R. The Courage to Create: An Essay on the Psychology of Creativity. - Lviv: Initiative; M.: Institute of General Humanitarian Research, 2001.
• Petrova V. N. Formation of a creative personality in the process of studying at a university // Electronic magazine “Knowledge. Understanding. Skill ». - 2009. - No. 9 - Complex research: thesaurus analysis of world culture.
• Rubinstein S. L. Fundamentals of general psychology, - St. Petersburg: Peter, 2005.
• Sabaneev L. L. Psychology of the musical creative process // Art, 1923. - No. 1. - P. 195-212.
• Jung K. G. Psychological types.
• Yakovlev V. Philosophy of creativity in Plato's dialogues // Questions of philosophy. - 2003. - No. 6. - P. 142-154.
• Psychology and poetry Carl Gustav Jung
• On the psychology of inventive creativity // Questions of psychology, No. 6, 1956. - P. 37-49 © Altshuller G. S., Shapiro R. B., 1956
• Psychology of children's creativity (part 1) Ella Prokofieva

Links

• Technical creativity. Publishing house of the Komsomol Central Committee "Young Guard". M., 1955, - 528 p., ill.
• Creative thinking: origins, stages, evaluation criteria. Diagnosis of creativity. (Russian) . Archived from the original on February 4, 2012.

Wikimedia Foundation. 2010.

Synonyms:

To create means to transform internal experience into external reality. R. Nusbaum

Primary definition of creativity: « Creativity is an activity that results in the creation of a product that is original.”

Versions of definitions of creativity:

McKellar: creativity is a fusion of perceptions realized in a new way

Kyuubi: the ability to make new connections

Rogers: the emergence of new relationships

Murray: the emergence of new works

Lasquel: the disposition to make and learn innovations

Gerard: the activity of the mind leading to new insights

Taylor: Transforming Experience into a New Organization

Approaches to understanding creativity:

Creativity is defined through the product. Supporter - K. Taylor

The essence of creativity is revealed through process.

R. Arnheim: “Creativity cannot be judged by the object it reproduces...Creativity is the full development of knowledge, actions and desires”

The emphasis in creativity must be placed on the qualities of a creative person.

J. Guilford: “Creativity can be defined as a set of abilities and other traits that contribute to successful creative thinking”

So, we actually have three approaches to understanding creativity: as a product, as a process, and as a person and its characteristics.

In a broad sense, creativity is defined as creation by man of an actively transformed reality .

In a narrow sense, creativity is an activity whose result is creation of new material or spiritual values . (G. Girginov)

Signs of creativity:

The presence of a contradiction: a problematic situation or a creative task

Social and personal significance and progressiveness, i.e. it contributes to the development of society and the individual

Availability of objective prerequisites, conditions for creativity (social, material)

The presence of subjective prerequisites for creativity (personal qualities - knowledge, skills, positive motivation, creative abilities of the individual)

Novelty and originality of the process or result

Discussions about the sign of “progressiveness”

The essence of creativity is incompatible with activities hostile to man. When analyzing creativity, along with the signs of “novelty” and “social significance”, it is necessary to highlight the sign of “progressiveness”. Otherwise, we will get “anti-creativity” or barbarism, which is inhumane at its core.

Creativity can be aimed not only at good deeds, not only at creation, but also at destruction, and find a way out in mischief, hooliganism and crime. How much ingenuity and talent criminals show!

F.D. Kondratenko

WITH compare these opinions and express yours on the issue of “progressiveness” as a sign of creativity:

Types of creativity. They differ in the degree of correlation between the elements, the basic aspects of the psyche: figurative sensory reflection; conceptual logical thinking and emotions.

Types of creativity.

Depending on the dominance of intuitive or logical procedures of activity:

A) intuitive-heuristic, B) normative-logical creative activity.

Depending on the specific content of creative tasks:

A) inventive activity; B) research activities;

C) artistic creativity (literary, musical, etc.);

D) applied arts, for example, folk crafts.

Depending on the ratio of empirical and theoretical procedures of creative activity:

A) empirical; B) theoretical.

Depending on the degree of initiative when setting and solving a creative problem:

A) independent creativity; B) forced creativity.

Depending on the ratio of logical procedures of activity:

A) inductive-creative; B) deductive-creative.

Depending on the field of activity and the ratio of the objective or subjective significance of the novelty of the result:

A) educational and creative; B) scientific (or simply creative).

Depending on the subject area:

A) mathematical creativity; B) physical creativity; C) literary creativity, etc.

Depending on the profession:

A) pedagogical; B) engineering; C) creativity of a journalist, etc.

Depending on the form of organization of communicative relations:

A) individual; B) pair; B) group; D) collective.

activity, the result of which is the creation of new, original and more advanced material and spiritual values ​​that have objective and/or subjective significance. (3)

Excellent definition

Incomplete definition ↓

Creation

an activity in which human development is limitless. It is creativity that provides him with the opportunity to activate himself. T. active interaction between a subject and an object, during which the subject changes the world around him, creates something new, socially significant in accordance with the requirements of objective laws. T. begins where it ceases to be only an answer, only a solution to a pre-set problem. At the same time, it remains both a solution and an answer, but at the same time there is something “beyond that” in it, which determines its qualitative status. T. everything created by man. Everything that causes the transition from non-existence to being is T. and, therefore, the creation of any works of art and craft can be called T., and all creators can be called their creators (Plato). This approach to teaching was typical for ancient pedagogy in its best examples. The maieutic art of Socrates was based precisely on the offer of the opportunity for the student to “remember” any true thought. This proposal has great pedagogical value, because it comes from the organic integrity of the student’s personality. The process of thinking really represents “remembering” the ability that was formed in the child in an objective way. Psychologically, this is perceived as surprise, indicating a collision with a contradiction. If in ancient philosophy and pedagogy technology is understood as the discovery of something new, and novelty is present in everything created by man, then “novelty” in the interpretation of I. Kant is something rare and kept secret. “Novelty” here becomes a source and means of reviving attention. T. is increasingly subjectified and turns from a universal into a partial human ability. T. constructive activity to create something new. T. potential is inherent in a person, but the level of its realization is determined by value orientations, motives, orientation of the individual, his abilities, and the conditions in which he develops. The view of man as an evolving being, creatively self-determining and self-transcending, as a subject of planetary and cosmic transformative action determines the essence of the anthological approach to the study of technology as a mechanism of development; as one of the forms of metamorphic renewal of matter based on psychic forces (V.N. Nikolko, A.P. Tryapitsyna); as a driving force in the development of society and its environment, the creation of the noosphere (A.G. Shumilin); as a manifestation of the need to live in situations with uncertain decisions, unpredictable and unexpected results (V. S. Shubinsky), as the basis of development, movement, change (Ya.I. Ponomarev and others). T. is one of the forms of renewal of the world (A. Bergson, V.I. Vernadsky), closes the pyramid of innovative movements in nature, the most important generation-forming factor of humanity. Man as a species cannot exist if he does not create, since his ability to create is born of the need to maintain his human existence (A.L. Nikiforov, V.A. Panturin). Consequently, the absence of this need in an individual, its “attenuation” leads to degradation. Only in T. and through T. will a person rise above his natural state. A person capable of training is original and unique (V.D. Gubin, V.A. Karakovsky). T. serves as the basis for development, acts as a type of determination, complements labor and includes activity as a form of human participation in it (V.I. Nikolko). At the level of an individual personality, T. acts as a dialectical unity of “internal” (the creation of oneself) and “external” (creativity of surrounding activity). Each individual is a blithely open potentiality with an enormous degree of freedom. T. thinking in its highest form, going beyond what is required to solve the problem that has arisen using already known methods. T., when dominant in the thinking process, manifests itself as imagination. Being a component of the goal and method of activity, it raises it to the level of creative activity as a prerequisite for mastery and initiative. T., with varying degrees of its severity, can manifest itself in any type of activity and is associated with a hierarchy of experiences - from interest through fascination and inspiration to insight. With the highest manifestation of T., inspiration dominates in the consciousness, up to inspiration, in the personality - the need for activity, and in activity - the desire to achieve new, previously unset goals by new, previously untested means.

Ministry of Culture of the Russian Federation

Kemerovo State University of Culture and Arts

Faculty of Folk Art

Department of Pedagogy and Psychology

The concept of artistic creativity

test

Executor:

Rogova Nina,

3rd year student, Physics and Technology Institute,

gr. RLT-071

Teacher:

Akhmetgameeva Z. M.,

Ph.D. ped. Sciences, Associate Professor

Kemerovo 2010

Introduction…………………………………………………………………………………3

Main part………………………………………………………4

Conclusion……………………………………………………………..8

References……………………………………………………9

Introduction

In this work I distinguish between the concepts of “creativity” and “artistic creativity”. I consider this work relevant, because at present these two concepts have the same meaning and are often equated with each other, although in fact they have a huge difference.

In order to understand what artistic creativity is, let’s find out what creativity is in general. To do this, I turned to the Internet encyclopedia Wikipedia.

"Creation in a general sense - a process of human activity that creates qualitatively new material and spiritual values ​​or the result of the creation of a subjectively new one.

The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly derived from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material certain possibilities that are not reducible to labor operations or logical conclusion, and expresses in the final result some aspects of his personality. It is this fact that gives creative products additional value in comparison with manufactured products.

Creativity is an activity that generates something qualitatively new, something that has never existed before.”

Artistic creativity is one of the types of creativity.

Types and functions of creativity.

Type of creativity	Function(target)	Item(result)
Artistic creativity	Creating new emotions	works (of art)
Scientific creativity	Creation of new knowledge	Theories, Discoveries, Inventions
Technical creativity	Creation of new means of labor	Processes, Mechanisms
Sports creativity	Creating[achieving] new results	Strength, Speed, Endurance

Thus we can conclude that artistic creativity is a type of creativity, the result of which is the creation of a work of art, that is, a specific reflection of objective reality in the form of artistic images.

Artistic creativity is carried out through the creative process, which is a set of stages of the artist’s work to translate a certain ideological concept into a finished work of art. To do this, certain factors of creative activity are identified, such as abilities.

G.L. Ermash classifies as abilities labor, will, inspiration, feelings, memory, thinking, intuition, imagination, fantasy, talent, etc.

Artistic creativity begins with keen attention to the phenomena of the world and presupposes “rare impressions”, the ability to retain them in memory and comprehend them. An important psychological factor in artistic creativity is memory. For an artist, it is not mirror-like, selective and is of a creative nature. The creative process is unthinkable without imagination, which allows the combinational and creative reproduction of a chain of ideas and impressions stored in memory. Consciousness and subconsciousness, reason and intuition participate in artistic creativity. At the same time, subconscious processes play a special role here. Artists themselves pay attention to the importance of intuition in creativity.

Thus, in the creative process the unconscious and the conscious, intuition and reason, natural gift and acquired skill interact. V. Schiller wrote: “The unconscious, combined with reason, is what makes a poet-artist.”

The creative process is especially fruitful when the artist is in a state of inspiration.

This is a specific creative psychological state of clarity of thought, intensity of its work, richness and speed of associations, deep insight into the essence of life’s problems, powerful
“release” of life and artistic experience accumulated in the subconscious and its direct inclusion in creativity. In a state of inspiration, an optimal combination of intuitive and conscious principles in the creative process is achieved.

Creative activity is the main component of culture, its essence.
Culture and creativity are closely interconnected, moreover, interdependent.
It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize his task only by interacting with the spiritual experience of humanity, with the historical experience of civilization. Creativity as a necessary condition includes the adaptation of its subject to culture, the actualization of some results of past human activities.

Everyone knows the human desire for self-knowledge.

It is known that the fullest development of a person’s abilities is possible only in socially significant activities. Moreover, it is important that the implementation of this activity is determined not only from the outside (by society), but also by the internal need of the individual himself. The activity of the individual in this case becomes amateur activity, and the realization of his abilities in this activity acquires the character of self-realization. The need, the desire for self-realization is a generic human need. The peculiarity of the need for self-realization is that by satisfying it in single acts of activity (for example, writing a novel, creating a work of art), a person can never satisfy it completely.

Satisfying the basic need for self-realization in various types of activities, a person pursues his life goals and finds his place in the system of social connections and relationships.

“Flaubert believes that the highest achievement of art is not to evoke laughter or tears, passion or rage, but to awaken a dream, as nature itself does.”».

Conclusion

As a result of the work done, we can conclude that creativity is a generalized concept, and artistic creativity is only one of its types.

Bibliography

http://www.xserver.ru

http://www.coposic.ru/suschnost-tvorchestva/tvorchestvo

Ponomarev Ya. A. Psychology of creativity. M., 1976.

http://ru.wikipedia.org

Berdyaev N. A. The meaning of creativity // Philosophy of creativity, culture and art. – M.: Art, 1994.

Druzhinin V. N. Psychology of general abilities. St. Petersburg: Peter, 2002.

E.N. Kamenskaya. Ethics. Aesthetics. Lecture notes. //Textbook for university students. M. 2001.

Creation- a process of human activity that creates qualitatively new material and spiritual values ​​or the result of the creation of a subjectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly derived from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material certain possibilities that are not reducible to labor operations or logical conclusion, and expresses in the final result some aspects of his personality. It is this fact that gives creative products additional value in comparison with manufactured products.

Creativity is an activity that generates something qualitatively new, something that has never existed before. Creativity is the creation of something new, valuable not only for this person, but also for others.

Types and functions of creativity

A researcher of the human creative factor and the phenomenon of the intelligentsia, Vitaly Tepikin, identifies artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.S. L. Rubinstein was the first to correctly point out the characteristic features of inventive creativity: “The specificity of an invention, which distinguishes it from other forms of creative intellectual activity, is that it must create a thing, a real object, a mechanism or a technique that solves a certain problem. This determines the uniqueness of the creative work of the inventor: the inventor must introduce something new into the context of reality, into the actual course of some activity. This is something essentially different from solving a theoretical problem in which a limited number of abstractly identified conditions need to be taken into account. Moreover, reality is historically mediated by human activity and technology: it embodies the historical development of scientific thought. Therefore, in the process of invention, one must proceed from the context of reality into which something new is to be introduced, and take into account the corresponding context. This determines the general direction and specific nature of the various links in the process of invention.”

Creativity as an ability

Creativity(from English create- create, English. creative- constructive, creative) - the creative abilities of an individual, characterized by a readiness to create fundamentally new ideas that deviate from traditional or accepted patterns and are included in the structure of giftedness as an independent factor, as well as the ability to solve problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative orientation that is innately characteristic of everyone, but is lost by the majority under the influence of the environment.

At the everyday level, creativity manifests itself as ingenuity - the ability to achieve a goal, find a way out of a seemingly hopeless situation using the environment, objects and circumstances in an unusual way. Wider is a non-trivial and ingenious solution to the problem. Moreover, as a rule, with scarce and unspecialized tools or resources, if material. And a bold, non-standard, what is called a non-cliched approach to solving a problem or satisfying a need located on an intangible plane.

Creativity criteria

Creativity criteria:

• fluency - the number of ideas arising per unit of time;
• originality - the ability to produce unusual ideas that differ from the generally accepted ones;
• flexibility. As Ranko notes, the importance of this parameter is determined by two circumstances: firstly, this parameter allows us to distinguish individuals who show flexibility in the process of solving a problem from those who show rigidity in solving them, and secondly, it allows us to distinguish individuals who are original solve problems from those who demonstrate false originality.
• receptivity - sensitivity to unusual details, contradictions and uncertainty, willingness to quickly switch from one idea to another;
• metaphoricality - readiness to work in a completely unusual context, a penchant for symbolic, associative thinking, the ability to see the complex in the simple, and the simple in the complex.
• Satisfaction is the result of creativity. With a negative result, the meaning and further development of the feeling are lost.

According to Torrance

• Fluency is the ability to produce a large number of ideas;
• Flexibility - the ability to use a variety of strategies when solving problems;
• Originality - the ability to produce unusual, non-standard ideas;
• Elaboration is the ability to develop emerging ideas in detail.
• Resistance to closure is the ability not to follow stereotypes and to “stay open” for a long time to a variety of incoming information when solving problems.
• The abstractness of the name is an understanding of the essence of the problem of what is truly essential. The naming process reflects the ability to transform figurative information into verbal form.

Creativity as a process (creative thinking)

Stages of Creative Thinking

G. Wallace

The most famous description today of the sequence of stages (stages) was given by the Englishman Graham Wallace in 1926. He identified four stages of creative thinking:

1. Preparation- formulation of the problem; attempts to solve it.
2. Incubation- temporary distraction from the task.
3. - emergence of an intuitive solution.
4. Examination- testing and/or implementation of the solution.

However, this description is not original and goes back to the classic report of A. Poincaré in 1908.

A. Poincare

Henri Poincaré, in his report to the Psychological Society in Paris (in 1908), described the process of making several mathematical discoveries and identified the stages of this creative process, which were subsequently identified by many psychologists.

Stages

1. At the beginning, a problem is set and attempts are made to solve it for some time.

“For two weeks I tried to prove that there could not exist any function similar to the one that I later called automorphic. I was, however, completely wrong; Every day I sat down at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result.”

2. This is followed by a more or less long period during which the person does not think about the still unsolved problem and is distracted from it. At this time, Poincaré believes, unconscious work on the task occurs. 3. And finally there comes a moment when suddenly, without immediately preceding thoughts about the problem, in a random situation that has nothing to do with the problem, the key to the solution arises in the mind.

“One evening, contrary to my habit, I drank black coffee; I couldn't sleep; the ideas pressed together, I felt them collide until two of them came together to form a stable combination.”

In contrast to usual reports of this kind, Poincaré describes here not only the moment the decision appeared in consciousness, but also the work of the unconscious that immediately preceded it, as if miraculously becoming visible; Jacques Hadamard, drawing on this description, points out its complete exclusivity: “I have never experienced this wonderful feeling and I have never heard anyone except him [Poincaré] experience it.” 4. After this, when the key idea for the solution is already known, the solution is completed, tested, and developed.

“By morning I had established the existence of one class of these functions, which corresponds to the hypergeometric series; All I had to do was write down the results, which only took a few hours. I wanted to represent these functions as a ratio of two series, and this idea was completely conscious and deliberate; I was guided by the analogy with elliptic functions. I asked myself what properties these series should have if they exist, and I easily managed to construct these series, which I called theta-automorphic.”

Theory

Theorizing, Poincaré depicts the creative process (using the example of mathematical creativity) as a sequence of two stages: 1) combining particles - elements of knowledge and 2) subsequent selection of useful combinations.

Poincaré notes that combination occurs outside of consciousness - ready-made “really useful combinations and some others that have signs of useful ones, which he [the inventor] will then discard,” appear in consciousness. Questions arise: what kind of particles are involved in unconscious combination and how the combination occurs; how the “filter” works and what are these signs by which it selects certain combinations, passing them into consciousness. Poincaré gives the following answer.

Initial conscious work on a task actualizes and “sets in motion” those elements of future combinations that are relevant to the problem being solved. Then, if, of course, the problem is not solved immediately, a period of unconscious work on the problem begins. While the consciousness is occupied with completely different things, in the subconscious the particles that have received a push continue their dance, colliding and forming various combinations. Which of these combinations come into consciousness? These are the combinations “the most beautiful, that is, those which most affect that special sense of mathematical beauty, known to all mathematicians and inaccessible to the profane to such an extent that they are often inclined to laugh at it.” So, the most “mathematically beautiful” combinations are selected and penetrated into consciousness. But what are the characteristics of these beautiful mathematical combinations? “These are those whose elements are harmoniously arranged in such a way that the mind can, without effort, embrace them entirely, guessing the details. This harmony serves both to satisfy our aesthetic feelings and to help the mind, it supports it and it is guided by it. This harmony gives us the opportunity to anticipate a mathematical law.” “Thus this special aesthetic sense plays the role of a sieve, and this explains why anyone who is deprived of it will never become a real inventor.”

From the history of the issue

Back in the 19th century, Hermann Helmholtz described the process of making scientific discoveries “from the inside” in a similar way, although in less detail. In these introspections of his, the stages of preparation, incubation and insight are already outlined. Helmholtz wrote about how scientific ideas were born in him:

These happy inspirations often invade the head so quietly that you do not immediately notice their meaning, sometimes it will only indicate later when and under what circumstances they came: a thought appears in the head, but you don’t know where it comes from.

But in other cases, a thought strikes us suddenly, without effort, like inspiration.

As far as I can judge from personal experience, she is never born tired and never at a desk. Each time, I first had to turn my problem around in every possible way, so that all its twists and tangles would lie firmly in my head and could be learned again by heart, without the help of writing.

It is usually impossible to get to this point without continuous work. Then, when the onset of fatigue passed, an hour of complete bodily freshness and a feeling of calm well-being was required - and only then did good ideas come. Often... they appeared in the morning, upon awakening, as Gauss also noticed.

They came especially willingly... during the hours of a leisurely climb through the wooded mountains, on a sunny day. The slightest amount of alcohol seemed to scare them away.

It is interesting to note that stages similar to those described by Poincaré were identified in the process of artistic creativity by B. A. Lezin at the beginning of the 20th century.

1. Work fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.
2. Unconscious work represents a selection of the typical; “But how that work is done, of course, cannot be judged, it is a mystery, one of the seven world mysteries.”
3. Inspiration there is a “transfer” of a ready-made conclusion from the unconscious sphere into consciousness.

Stages of the inventive process

P. K. Engelmeyer (1910) believed that the work of an inventor consists of three acts: desire, knowledge, skill.

1. Desire and the origin of the idea. This stage begins with an intuitive glimpse of an idea and ends with its understanding by the inventor. A probable principle of the invention emerges. In scientific creativity this stage corresponds to a hypothesis, in artistic creativity it corresponds to a plan.
2. Knowledge and reasoning, scheme or plan. Developing a complete, detailed idea of ​​the invention. Production of experiments - mental and actual.
3. Skill, constructive execution of the invention. Assembly of the invention. Doesn't require creativity.

“As long as there is only an idea from the invention (Act I), there is no invention yet: together with the scheme (Act II), the invention is given as a representation, and Act III gives it real existence. In the first act the invention is assumed, in the second it is proven, in the third it is carried out. At the end of the first act there is a hypothesis, at the end of the second there is a performance; at the end of the third - a phenomenon. The first act defines it teleologically, the second - logically, the third - factually. The first act gives the idea, the second the plan, the third the action.”

P. M. Yakobson (1934) identified the following stages:

1. The period of intellectual readiness.
2. Discretion of the problem.
3. The origin of an idea is the formulation of a problem.
4. Finding a solution.
5. Obtaining the principle of the invention.
6. Transforming a principle into a scheme.
7. Technical design and deployment of the invention.

Factors that interfere with creative thinking

• uncritical acceptance of someone else's opinion (conformism, agreement)
• external and internal censorship
• rigidity (including the transfer of patterns, algorithms in solving problems)
• desire to find an answer immediately

Creativity and personality

Creativity can be considered not only as a process of creating something new, but also as a process that occurs through the interaction of personality (or a person’s inner world) and reality. At the same time, changes occur not only in reality, but also in personality.

The nature of the connection between creativity and personality

“Personality is characterized by activity, the desire of the subject to expand the scope of his activities, to act beyond the boundaries of the requirements of the situation and role prescriptions; orientation - a stable dominant system of motives - interests, beliefs, etc...." Actions that go beyond the requirements of the situation are creative actions.

In accordance with the principles described by S. L. Rubinstein, by making changes in the world around him, a person changes himself. Thus, a person changes himself by carrying out creative activity.

B. G. Ananyev believes that creativity is a process of objectification of a person’s inner world. Creative expression is an expression of the integral work of all forms of human life, a manifestation of his individuality.

In the most acute form, the connection between the personal and the creative is revealed by N. A. Berdyaev. He's writing:

Personality is not a substance, but a creative act.

Motivation for creativity

V. N. Druzhinin writes:

The basis of creativity is the global irrational alienation of man from the world; it is directed by a tendency to overcome and functions as a “positive feedback”; a creative product only spurs the process, turning it into a pursuit of the horizon.

Thus, through creativity, a person’s connection with the world is realized. Creativity stimulates itself.

Mental health, freedom and creativity

The representative of the psychoanalytic school, D. W. Winnicott, puts forward the following assumption:

In play, and perhaps only in play, a child or adult has freedom of creativity.

Creativity is about play. Play is a mechanism that allows a person to be creative. Through creative activity, a person strives to find his self (himself, the core of personality, the deepest essence). According to D. W. Winnicott, creative activity is what ensures a healthy state of a person. Confirmation of the connection between play and creativity can also be found in C. G. Jung. He's writing:

The creation of something new is not a matter of activity, but of the desire to play, acting out of internal compulsion. The creative spirit plays with the objects it loves.

R. May (a representative of the existential-humanistic movement) emphasizes that in the process of creativity a person meets the world. He's writing:

...What manifests itself as creativity is always a process... in which the relationship between the individual and the world takes place...

N. A. Berdyaev adheres to the following point:

The creative act is always liberation and overcoming. There is an experience of power in it.

Thus, creativity is something in which a person can exercise his freedom, connection with the world, connection with his deepest essence.