The role of creativity in human professional activity. Creative activity: meaning, types. Creative activities of children

Creative activity is a form of human activity aimed at creating qualitatively new social values.
Creative is mental (mental, intellectual) activity that ends in the creation of a new, creatively independent result in the field of science, technology, literature or art.
Creators are often called both workers who create new technology based on an invention, and those who cast a monument in metal based on a model made by a sculptor. However, in a special understanding, creative activity is not material and production, but spiritual activity. In the examples given, the workers, despite the importance of their work, only realize the creative results obtained by the inventor and sculptor.
Creative activity is carried out in the field of science, technology, literature, art, artistic construction (design), creation of trademarks and other types of product designations. Creativity has long been divided into artistic and scientific.

Artistic creativity does not have a direct focus on novelty and is not identified with the production of something new, although originality is usually present among the criteria artistic creativity and assessments of artistic talent.

Artistic creativity begins with keen attention to the phenomena of the world and presupposes “rare impressions”, the ability to keep 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 of a creative nature.

The creative process is unthinkable without imagination, which allows us to reproduce a chain of ideas and impressions stored in memory.

Consciousness and subconsciousness, reason and intuition participate in artistic creativity. In this case, subconscious processes play a special role here.

American psychologist F. Barron used tests to examine a group of fifty-six writers - his compatriots - and came to the conclusion that among writers, emotionality and intuition are highly developed and prevail over rationality. Of the 56 subjects, 50 turned out to be “intuitive individuals” (89%), while in the control group, which included people who were professionally far from artistic creativity, there were three individuals with developed intuition one more time less (25%). Artists themselves pay attention to the importance of intuition in creativity.

Idealistic concepts absolutized the role of the unconscious in the creative process.

In the 20th century the subconscious in the creative process attracted the attention of S. Freud and his psychoanalytic school. The artist as a creative personality was turned by psychoanalysts into an object of introspection and criticism. Psychoanalysis absolutizes the role of the unconscious in the creative process, bringing to the fore, in contrast to other idealistic concepts, the unconscious sexual principle. An artist, according to Freudians, is a person who sublimates his sexual energy into the area of creativity, which turns into a type of neurosis. Freud believed that in the act of creativity, socially irreconcilable principles are displaced from the artist’s consciousness and thereby eliminate real life conflicts. According to Freud, unsatisfied desires are the motivating stimuli of fantasy.

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.”

And although the share of creativity

30. Main problems and prospects for human development.

For more than half a century, the question of the situation of time has been increasingly raised; Each generation answered this question for its own moment. However, if previously the threat to our spiritual world was felt by only a few people, now this question arises before almost every person.

The question of the modern situation of man as a result of his formation and his chances in the future is now posed more acutely than ever. The answers foresee the possibility of death and the possibility of a genuine beginning, but a decisive answer is not given.

What made man a man is beyond the history handed down to us. Tools in constant possession, the creation and use of fire, language, overcoming sexual jealousy and male camaraderie in creating a permanent society raised man above the animal world.

Compared to the hundreds of millennia in which these inaccessible steps toward becoming a man apparently took place, the history we see of approximately 6,000 years occupies an insignificant amount of time. In it, man appears spread over the surface of the Earth in many different types, which are only very little connected or not at all connected with each other and do not know each other. Among them, the man of the Western world who conquered the globe helped people get to know each other and understand the meaning of their interconnectedness within humanity.

PSYCHOLOGY

CREATIVITY

Tutorial

Akatov L.I. Psychology of creativity (composition) – Textbook. – Kursk, 2015

The manual examines the theoretical and psychological foundations of the psychology of creativity, specific features creative activity, problems of gifted children and some features of working with them, specifics of a creative personality and ways of its formation.

The manual is addressed to students studying the psychology of creativity.

SECTION 1. THEORETICAL ASPECTS OF PSYCHOLOGY

1. Creativity. Definition of creative activity.

2. Creativity as an attribute of human activity.

3. main stages in the development of the psychology of creativity.

4. Historical aspects of the development of creativity psychology as a scientific discipline

5. The main directions of research into human creative activity.

6. Creativity as a necessity.

7. Spontaneous manifestation of creativity. Manifestation of spontaneous adaptation to the environment and creativity in childhood.

8. Types of activities and creativity.

9. Types of creativity. levels) of creativity.

10. Formation of needs as psychological stimulators of creativity.

11. Motivation for creative activity.

12. Ways to manage creativity. collective creativity and creativity in

team.

13. Factors that hinder creativity. Creativity and competence.

14. Creative productivity and age. Creativity and life expectancy.

SECTION 2. PSYCHOLOGICAL ASPECTS

CREATIVE ACTIVITY

15. Stages of the creative process

16. Insight as the central link in solving a problem.

1 7. Tcreativity as a product.

1 8. Capabilities.creativity as a personal ability to create.

19. Pconcept “ Creative skills" unit creativity analysis.

2 0. Thypology of creativity.

21. Forms of artistic and creative knowledge.

22. Cognitive processes and creativity. sensation processes.

23. Perception in creative activity. types and properties of perception.

24. INage-related characteristics of perception and their influence on visual activities children.

25. Attention in creative activity.

26. The role of memory in creative activity.

27. Imagination and creative activity.

28. Imagination as a mental activity to create new images.

29. Age characteristics imagination.

30. Thinking and creativity.

31. Creativity and emotions. The role of emotions in creativity.

32. Intellectual “emotions” or affective-cognitive complexes.

33. Surprise as a stimulant of knowledge.

34. Inspiration as a surge of creative strength.

35. Satisfaction, joy, inspiration in the creative process.

36. Doubt and anxiety. Frustration emotions: disappointment, annoyance, despair. 37. Creative personality and her life path.

38. Development of the creative potential of the individual in ontogenesis.

39. Early manifestation of talent (child prodigies).

40. Awakening creative potential and targeted development of creative abilities.

41. Methods for developing creative potential.

42. Personal self-realization. The individual's need for self-realization.

CREATION. DEFINITION OF CREATIVE ACTIVITY

IN general definition creativity is the creation of a new, original product. Creativity is the only activity that makes a person human.

The driving force of humanity is creative individuals. Identifying such individuals is an urgent task for psychology, as is the development of the theoretical foundations of creativity.

Psychologists, both domestic and foreign, have been interested in the problem of creativity for a long time. However, the peak of studying this problem came in the first third of the 20th century. During this period, such authors as E. Ribot (1901) and A. Poincaré (1910) published their works abroad, D. N. Ovsyaniko-Kulikovsky (1902), B. A. Lezin (1907, 1927), PC. Engelmeyer (1910),1 A. M. Evlakhov (1910, 1912, 1929), I. A. Zatulenyev (1915), P. I. Walden (1916), A. M. Blokh (1920), I. I. Lapshin (1922), V. L. Omelyansky (1922, 1923), A. G. Gornfeld (1923), S. O. Gruzenberg (1923, 1924), V. Ya. Kurbatov (1923), F. Yu. Levinson -Lessing (1923), V. M. Bekhterev (1924), 2 P. I. Karpov (1926), G. I. Markelov (1926), A. P. Nechaev (1929), P. M. Yakobson (1934), V. P. Polonsky (1934), physiologist V. V. Savich (1921, 1922, 1923) and many others. other.

Basically, these works were devoted either to a natural-philosophical understanding of the role of creativity as a mechanism for the development of nature and humanity, or to scientific and technical creativity. They were not determined by the needs of society in managing creativity, but by the curiosity of individual researchers. Then, until the middle of the 20th century. creativity research was not given significant importance.

Scientific and technological revolution, which occurred in the middle of the 20th century, gave impetus to the study by psychologists of the laws of creativity in science, which turned into a productive force that significantly influences the economy. On the agenda was the question of finding people capable of scientific and technical creativity. This gave rise in the 1950s, primarily in the USA, to numerous studies aimed at finding criteria for creative abilities, which was creativity, ways of its development, and identifying creative individuals. All these aspects can be combined into the problem of creativity management.

Another direction was the desire to create algorithms for solving creative problems. For example, G.S. Altshuller (1961, 1973) tried to develop an algorithm for solving inventive problems - ARIZ - for inventors. However, the creative process, although subject to certain laws, still bears the stamp of individuality. Great inventions are born not from schemes, but from the mighty flow and ebullience of life.

Creativity, especially scientific and artistic creativity, is associated with the creation of some new product, which is evaluated by society. Therefore, for the sake of benefit to society, as well as personal satisfaction and prestige, the creator strives to create a product of the best possible quality. But does everyone succeed? “Korolenko, Prishvin, even Kuprin - what prevented these wonderful, intelligent, passionately creative people

stand on a par with Tolstoy, Chekhov, Bunin? – asks P. Popov (1998).

Even the least free art, completely regulated and subordinate to the canon - icon painting - makes it possible to feel the colossal difference between the boards of an unknown bogomaz and the creation of Andrei Rublev or Theophanes the Greek.”

Therefore, V. M. Bekhterev (1924) wrote that for any creativity, in addition to appropriate training, one or another degree of talent is necessary. Hence: the psychology of creativity is inextricably linked with another psychological problem– abilities, talents of creative figures.

Introduction

Creativity in the general sense is a process of human activity that creates qualitatively new material and spiritual values or the result of the creation of a subjectively new one. Without creativity, there would be no advancement in science on earth.

Creativity covers all cultural aspects of human activity, this includes the art of representation, music, literature, sculpture, as well as design and architecture... there is not a single object on earth that was not created without a creative idea for its creation.

It may be reasonable to believe that everyone can create, but the degree of creativity varies within very wide limits. The work of people like Pablo Picasso, or Buckminster Fuller, or Wolfgang Mozart, or Thomas Jefferson is not only a manifestation of great talent; other than that, it is well known. There are, of course, other creative geniuses, but they remain unknown.

We will rely on the definition of creativity as a cognitive activity that leads to a new or unusual vision of a problem or situation. This definition does not limit creative processes to utilitarian actions, although the creators of some useful invention, manuscript or theory are almost always cited as examples of creative people.

Creation

Creativity is a sequence of the following mental states of an individual:

1) preparation of motives for discovery or invention;

2) incubation period or the expression of a motive by a silent inner state;

3) activity of three components open system Man: organism, individuality and the relationship between Personality and Nature;

4) “insight” or psychological resonance, which is characterized by “illumination”, contemplation and similar states;

5) product awareness. An additional step that can be included in the sequence of mental states is experimental testing of the product. The result of creativity is the creation of new material and spiritual values in any field of activity: scientific, industrial, technical, artistic, political, etc.

Types of creativity

1. Unconscious creativity. Natural inclinations of creative abilities are inherent in every person. Under certain objective and subjective conditions, such as education, creative climate, volitional qualities of the individual (persistence, efficiency, courage, dissatisfaction, learning from mistakes, etc.), lead to the peak of the creative act - “insight”, when ( generated) a new idea - scientific, philosophical, technical or artistic. Usually, this often leads to a long path of preliminary work, during which the prerequisites for the birth of something new are created.

2. Conscious creativity. For creative thinking, an important ability is to break away from a consistent logical and figurative consideration of facts and go beyond the associations of acquired experience. This allows you to see something new in the old that has long been familiar. To do this, there is the possibility of expressing the motive with a silent internal state. In this case, creativity is carried out as a result of the work of both hemispheres of the brain, the feedback of the nerve currents of the brain, the main of which are the parietal, frontal and temporal part. Finally, control of peripheral functions nervous system and knowledge of their influence on the psyche adds a rich spectrum of qualities to the creative process: from beauty to value.

3. Unlimited conscious creativity. The pathos of man's limitless creative abilities is

a) unlimited expansion of the spectrum of “insight”, the criterion of which is the interaction of the field of the nervous system with the external environment;

b) awareness of the relationship between Personality and Nature;

c) development of individuality (“I am”). In the first case, the biofield of the nerve centers and the ability to control them develop. In the second case, there is an expansion of the Human-Nature connection or an expansion of the boundaries of the conscious energy of the physical organism, the soul. In the third case, the monad “I am” accumulates energy, generates a new world, or expresses itself as an internal engine of expediency for a specific part of Nature. These abilities open up for a person new and new horizons for creativity, both in breadth and depth of matter, when there is no break in the MAN-NATURE system.

Creativity as a process of creative thinking

Creativity as the spirit of human freedom; freedom as creativity of the human spirit; spirit as freedom of human creativity. 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.

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:

Preparation - formulation of the task; attempts to solve it.

Incubation is a temporary distraction from a task.

Insight is the emergence of an intuitive solution.

Validation - testing and/or implementation of a solution.

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

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.

1. First, 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 a person does not think about the still unsolved task 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 appears 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 messages of this kind, Poincaré describes here not only the moment when a decision appeared in consciousness, but also what seemed to be a miracle visible work unconscious, immediately preceding it; Jacques Hadamard, paying attention to 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.”

Continuity

Creativity, as a process, was initially considered based on the self-reports of artists and scientists, where a special role was given to “illumination”, inspiration, contemplation, insight and similar states that replace the preliminary work of thought. The English scientist G. Wallace identified four stages of creative processes: preparation, maturation, insight and verification. The central, specific creative moment was considered insight - an intuitive grasp of the desired result. Experimental studies have shown that a new solution arises in objective activity that can be deciphered on the basis of previous experience. Highlighting the specifics of mental regulation of the creative process, K.S. Stanislavsky put forward the idea of human superconsciousness as highest concentration spiritual forces of the individual during the generation of something new.

Vedic culture approached Creativity as an act of human interaction through lotuses (another name is chakras) with Nature. In modern understanding, the physical projection of the chakras are nerve centers and their currents.

The present definition of Creativity combines and develops these traditions.

The most important aspect of creativity is motives. Motives are divided into external and internal. The first includes the desire for material benefits, to ensure one’s position. This also includes “pressure of circumstances”, the presence of problematic situations, the presentation of a task, competition, the desire to surpass rivals, etc. Following such motives always leads to clashes of interests of an individual, a group of people, a community and leads, to one degree or another, to social defeat. The main importance for Creativity are internal motives, which are based on the innate need for search activity, the tendency towards novelty and innovation, the need for new impressions. For creatively gifted people, the search for something new brings much more satisfaction than material benefits. The leading motive for creativity is a personal inclination inherent from birth.

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 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

Representative of the psychoanalytic direction D.V. Winnicott makes the following assumption:

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

Creativity is linked to 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.V. Winnicott, creative activity is what provides healthy condition person. Confirmation of the connection between play and creativity can also be found in C. G. Jung. He's writing:

Creating something new is not a matter of intellect, but of the desire to play, acting out of inner 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 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.

Conclusion

I believe that creativity is an inseparable part of human activity. Without the creative process, it would be impossible for humanity to develop, there would be no new discoveries and inventions, no treasures of art that any culturally developed person would be proud of.

The process of creative thinking is inherent in everyone from birth, the only difference is that not every person wants to develop their creative potential.

Creativity does not necessarily mean the creation of masterpieces and grandiose discoveries; creativity, to a greater extent, in my understanding, is the development of a person, human inner talents and capabilities, the search for oneself.

In my opinion, not every person can call themselves a creative person, since some are accustomed to using other people’s abilities and knowledge, while others achieve everything themselves, while always having their own view of what is happening. Creative people are characterized by receptivity, these people experience all events in the depths of their soul, so they are more vulnerable, but on the other hand, it is much easier for creative people to experience difficult situations, due to the fact that they can pour out all their negative or positive emotions through their creation, for example, a musician will play a melody and with it will pour out everything that is in his soul, an artist will take certain colors and lay them on a sheet of paper, leaving on it everything that is in his soul, the same thing with writers, poets...

I agree that creativity has four stages, but sometimes it gets by with smaller stages. This happens in cases where a person is not fixated on a task, because creating a picture or solving a problem does not always require abstraction from it.

Yes, creativity is the spirit of human freedom, it is the relationship of the human soul with the outside world, it is a process of human activity, the result of which is the creation of something new.

In conclusion of all that has been said, I would like to add: “Create, because if you turn off the creative processes in your head, then life will pass not interesting and boring!”

Literature and sources used

1. Rubinshtein S. L. Fundamentals of general psychology. 1946. P. 575.

2. Poincaré A. Mathematical creativity // Hadamard J. Study of the psychology of the process of invention in the field of mathematics. M., 1970. Appendix III

3. Ananyev B.G. Psychology and problems of human knowledge. Moscow-Voronezh. 1996.

4. Berdyaev N.A. Experience of eschatological metaphysics // Creativity and objectification / comp. A.G. Shimansky, Yu.O. Shimanskaya. – Mn.: Ekonopress, 2000. P. 20.

5. Druzhinin V.N. Psychology of general abilities. St. Petersburg: Peter, 2002. P. 166.

6. Winnicott D. Game and reality. M.: Institute of General Humanitarian Research, 2002. P. 99.

7. May R. The courage to create: An essay on the psychology of creativity. Lviv: Initiative; M.: Institute of General Humanitarian Research, 2001. P. 43.

8. Jung K. G. Psychological types.

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Introduction

3. Creative personality

Introduction

The word "creative" is often used both in scientific language and in colloquial language. Often we talk not just about initiative, but about creative initiative, not about thinking, but about creative thinking, not about success, but about creative success. But we don’t always think about what needs to be added so that initiative, thinking and success deserve the definition of “creative”.

Creative activity is amateur activity that embraces changing reality and self-realization of the individual in the process of creating material and spiritual values, expanding the limits of human capabilities. Creative activity is a special form of sensory-emotional perception of the world. In his mind there is no clear line between the real world and the ideal world. The world for a person as a subject of creativity is the only possible reality, in which all the sharp corners are smoothed out, where everything is extremely clear. Creative activity for him is a kind of explanation of the world, even if it has no connection with reality.

Creative thinking and creative activity are a human characteristic. Without this quality of our behavior, the development of humanity and human society would be unthinkable. Everything that surrounds us in Everyday life, is associated with the products of creative thinking and human activities: tools and machines, houses, household items, clothing, shoes, television and radio, watches and telephones, refrigerators and cars.

But the public and even private lives of people are historically based on creative achievements. This is absolutely true for both the current and future development of social life. At any stage of development of society and in any field, people are faced with tasks, the solution of which requires an informal creative approach.

Probably every person has the ability to think creatively to some extent. In childhood, when imaginative thinking predominates, this ability often manifests itself in drawings, modeling, constructions from scrap materials, adolescence many write poetry, and in adulthood it usually helps solve applied problems different levels from everyday to scientific and technical. However, we cannot call every person a creative person.

What characterizes creativity? Fundamentally, the creative process is a process that results in something not contained in the original conditions. In the most significant manifestations of the development of human intelligence, it can be seen that certain patterns underlie the creative process.

1. Theoretical and methodological approaches of psychologists to the study of individual creative abilities

Creative is usually called a person who has made a scientific discovery, a brilliant invention or created a work of art, that is, who has performed a creative act that was highly appreciated by the majority, as well as a person who is extraordinary in his perception of reality and reaction to it.

The last formulation is quite incorrect, because this definition also includes people with mental disabilities. However, the presence of mental illness does not exclude the possibility of demonstrating high creative abilities, which is confirmed by the examples of Napoleon, Gogol and other famous creative personalities. At one time, a hypothesis was even put forward about the existence of a direct relationship between genius and madness by C. Lombroso and D. Carlson, but later studies, for example, by T. Simonton, did not confirm it.

For a long time, the ability to intellectual creativity was studied as suggested by common sense: The higher the level of mental abilities, the greater the creative output of a person.

The founder of the empirical approach to the study of the individual qualities of a creative personality is F. Galton, who, together with C. Pearson, laid the foundations of psychometrics and psychodiagnostics. And for the first time, the psychometric method was used to study creativity by J. Guilford and E.P. Torrance. They conducted a series of studies on the relationship between intelligence and creativity using tests, where creativity was understood primarily as the ability for divergent thinking. As a result of empirical research by J. Guilford and E.P. Torrens concluded that there is a positive correlation between IQ and creativity levels. At the same time, they argued that a higher level of intelligence makes it more likely that the subject will have higher scores on creativity tests, although individuals who have demonstrated highly developed intelligence may also have low scores on creativity. At the same time, their research showed that high divergent productivity was never found with low IQ. E.P. Torrance even proposed the theory of the intellectual threshold, which is that with an IQ below 115 - 120 points, intelligence and creativity are indistinguishable and form a single factor, and with an IQ above 120, creativity and intelligence become independent factors. However, the results of studies by Getzels and Jackson, published soon, provided data indicating that there is no correlation between indicators of intelligence and creativity.

More later studies M. Wollach and N. Kogan, who also used a test method to study the dependence of creative thinking on the level of intelligence, but at the same time modified it in accordance with their understanding of the conditions favorable for the manifestation of creativity: they removed time restrictions, minimized the competitiveness of participants during test execution and removed the restriction of the only criterion for the correctness of the answer. As a result of testing, they came to the conclusion that if the conditions closest to normal were observed during the study, life situations, the correlation between creativity and test intelligence will be close to zero.

2. Creativity and activity, the main qualities of a creative personality

Indeed, a person can be an intellectual and not be creative, and vice versa. For example, Levinson-Lessing distinguished between creatively unproductive erudite scientists, calling them “walking libraries,” and creatively productive scientists, not burdened by an overabundance of operational knowledge, who have powerful developed imagination and brilliantly responding to all kinds of hints.

Don't be limited, blinded by habits;

Do not simply and slavishly repeat what you have been taught;

Do not act mechanically;

Do not take a partial position;

Do not act with attention focused on a limited part of the problem structure;

Do not act with partial operations, but freely, with a mind open to new ideas, operate with the situation, trying to find its internal relationships.

Guilford identified four main qualities inherent in a creative person:

* Originality, non-triviality, unusual ideas expressed, a pronounced desire for intellectual novelty. A creative person almost always and everywhere strives to find his own solution, different from others.

* Semantic flexibility, that is, the ability to see an object from a new angle, discover its new use, and expand its functional application in practice.

* Figurative adaptive flexibility, that is, the ability to change the perception of an object in such a way as to see its new, hidden sides.

* Semantic spontaneous flexibility, that is, the ability to produce a variety of ideas in an uncertain situation, in particular in one that does not contain guidelines for these ideas.

Guilford later identified six dimensions of creativity:

Ability to identify and pose problems;

Generating ability large number ideas;

Flexibility - the ability to produce a variety of ideas;

Originality - the ability to respond to stimuli in a non-standard way;

The ability to improve an object by adding details;

The ability to solve problems, that is, the ability to synthesize and analyze.

According to Sternberg, a creative person must have the following individual traits:

Ability to take reasonable risks;

Willingness to overcome obstacles;

Tolerance of uncertainty;

Willingness to confront the opinions of others.

A. Olah points out the following personal traits inherent in creative people:

Independence - personal standards are more important than group standards, non-conformity of assessments and judgments;

Openness of mind - willingness to believe one’s own and others’ fantasies, receptivity to the new and unusual;

High tolerance to uncertain and insoluble situations, constructive activity in these situations;

Developed aesthetic sense, desire for beauty.

This cannot be ignored special form human psyche as imagination.

Imagination is especially vivid in children's games. They build a car, an airplane or something else from chairs and scrap materials and go on a trip. In a dark room, in a pantry, they have unprecedented animals with whom they are friends or, on the contrary, afraid of them. In adulthood, thanks to the imagination, a person creates, creates something new. Almost all human material and spiritual culture is the result of people's imagination and creativity.

Imagination can be of four main types: active, passive, productive and reproductive. Active imagination is characterized by the fact that, using it, a person, of his own free will, by an effort of will, evokes in himself the corresponding images. With passive imagination, images arise against the will of a person, that is, spontaneously. Productive imagination consciously constructs reality, and does not simply copy it, but at the same time it is creatively transformed in the image. In the reproductive imagination, reality is reproduced as it is. Such imagination is more like perception or memory, although it also contains an element of fantasy.

The process of artistic creativity is primarily associated with imagination in the practical life of people. So naturalism, realism in the art of artists can be attributed to the reproductive imagination, and abstraction, modernism, impressionism to the productive imagination.

Most often, the creative process in art is associated with active imagination. By exerting volitional efforts, the master creates an image of his creation, first mentally in his imagination, in order to then bring it to life. Less often, the impulse of the creative process becomes passive imagination. Spontaneous images appear to the creator regardless of his will and are rather a product of the subconscious. So many creative people clearly see in their dreams the final result of their work or the image of the plot of a painting, or do something in their dreams scientific discoveries. So Mendeleev saw his table of chemical elements in a dream.

According to Ya.A. Ponomarev’s creativity is associated with two personal qualities, namely: the intensity of search motivation and sensitivity to by-products that arise during the thinking process (since Ponomarev believes that thinking is initially logical, he considers the creative product of thinking as a by-product). In particular, Ya.A. Ponamarev considers the main feature of activity as a form of activity to be the potential correspondence of the goal of the activity to its result. Whereas the creative act is characterized by the opposite: a mismatch between the goal (plan, program, etc.) and the result. Creative activity, in contrast to activity, can arise in the process of implementation of the latter and is associated with the generation of a “by-product”, which is ultimately the creative result. The essence of creativity as a psychological property comes down, according to Ya.A. Ponamarev, to intellectual activity and sensitivity (sensitivity) to the by-products of his activities. For a creative person, the most valuable are the by-products of an activity, something new and unusual; for a non-creative person, the results of achieving a goal (expedient results), and not novelty, are important.

Many philosophers and psychologists have paid attention to the fundamental difference between creativity and objective activity. Creativity, unlike various forms of adaptive behavior, occurs not according to the principles “because” or “in order to,” but “in spite of everything,” that is, the creative process is a reality that spontaneously arises and also ends.

Attitudes towards creativity have changed radically in different eras. In Ancient Rome, only the material and the work of the bookbinder were valued in a book, and the author had no rights. Copyright was not protected, neither plagiarism nor forgery was prosecuted. IN Ancient Greece Outstanding people were considered those whose activities covered many areas of application of the mind at once. The universality of the genius personality in early period history was due to the fact that the science of antiquity was developed mainly by single geniuses, who were equally strong “specialists” in various sciences. The sages, famous in ancient times, left in the centuries not only a trace of their discoveries and prophecies, but also gave the world an example of versatile talent. The universal ideas of Greek thinkers gave rise to an integrated approach that is experiencing a rebirth in the modern era. The desire of early Greek thinkers to understand the essence of nature, space and the world as a whole led the development of various sciences parallel to each other, and the discoveries of antiquity were intuitive insights of approximately the same time. In Greece there was not a single major philosopher who, in addition to philosophy, did not also manifest himself in ethics, education, oratory, and mathematics. The universality of the thinking of Plato and his brilliant student Aristotle still amazes the imagination. But, apparently, the most unique case in world history is the incomprehensible universality of the talents of Leonardo da Vinci, whose genius left creations for humanity in art, science, architecture, medicine, and even in the invention of military equipment .

In the Middle Ages, as well as much later, the creator was equated with a craftsman, and if he dared to show creative independence, then it was not encouraged in any way. The creator had to earn a living in a different way:

Spinoza polished lenses, and the great Lomonosov was valued for his utilitarian products - court odes and the creation of festive fireworks.

Exist different approaches to determine the origins of creativity. Let's name three of them:

1. Most often, creativity is identified with intellectual achievements. Creativity is considered by many authors (F. Barron, E.P. Torrance, D. Guilford, S. Mednik, etc.) to be one of the components intellectual talent, but the spectrum of intelligence.

2. A personality-oriented approach is identified as a separate area of creativity research, within which the characterological, emotional, motivational, and communicative personality traits of creative people are studied. The works of K. Taylor, K. Koss, E. Rowe and others can be attributed to this direction.

3. B modern conditions an attempt is being made to overcome the limitations of these approaches and recognize creativity as a “multifaceted” phenomenon, including both intellectual and non-intellectual (personal, social) factors.

This approach to creativity as an integral phenomenon was carried out by A.M. Matyushkin, L.V. Finkevich, O.S. Tikhonovich, who put forward the concept of creativity as a general psychological and pedagogical prerequisite for creative development. In accordance with this concept, the following are distinguished: structural components creativity: dominant role intrinsic motivation; the ability to achieve original decisions and actions; the ability to create standards that provide high aesthetic, moral, intellectual assessments; research creative activity, expressed in posing and solving problems.

This concept most fully represents all the important aspects contained in the structure of creativity. With all the available diversity of approaches to studying, its overall characteristics are the following:

1. “Creativity is a person’s ability to create something new, opposite to the stereotyped, frozen, stereotyped one. At the same time, a person masters and processes existing information and experience in his own way, creating himself as a person” (Kirnos D. Individuality and creative thinking. - M., 1992.).

2. “The starting point of creativity is activity and independence, originality and flexibility, the tendency and ability to fantasize, a person’s ability to direct his internal energy to solve any problematic problems, the ability to independently set new tasks.” (Ershov A. A psychologist’s view of human activity. - M., 1991.).

3. Creativity is manifested in any activity. Without activity there can be no creativity. S. Rubinstein notes: “The subject in his actions, in acts of his creative initiative, is not only revealed and manifested, he is created and defined in them. Therefore, by what he does, one can define what he is; by the direction of his activity, one can define and shape him. In creativity, the creator himself is created” (Rubinstein S. Principles of creative amateur performance // Questions of psychology. - 1997. - No. 4).

3. Creative personality

Many of the researchers reduce the problem human abilities to the problem of creative personality. They believe that there is no special creative ability, but rather an individual with certain motivations and traits. However, when considering any historical period, a scientist, no matter from what angle he studies a particular era, first of all analyzes the activities of specific individuals, individuals who were the creators of a given era. The idea of the era, both at the scientific and everyday levels, is based on the results of this analysis. Thus, antiquity is strongly associated with Plato and Aristotle, Homer and Sophocles, Socrates and Pythagoras. The Middle Ages are the geniuses Omar Khayyam, Dante Alighieri, Francesco Petrarca. The Renaissance, as a period of creative universalism, is the brightest time period when a special type of personality, the “Renaissance man,” is formed. The era when Leonardo da Vinci, Michelangelo, Shakespeare, Erasmus of Rotterdam, Nicolaus Copernicus and Giordano Bruno worked. Thus, it is possible to “illustrate” any era; the entire world history is created by such brilliant individuals, the presence of multifunctional talents in which ensures the development of human society. A talented personality is a vector directed to the future, so it is of particular interest to consider the phenomenon of a talented personality as a multifunctional manifestation of talents from historical, cultural and psychological-social perspectives.

In the psychology of creativity, it is conventionally believed that various degrees of development of abilities can be arranged in the form of a hierarchy: genius ( highest degree); talent; giftedness; capabilities; natural inclinations.

General abilities that provide relative ease and productivity in mastering knowledge in various types of activities are often called giftedness. One of the dominant points of view, dating back to Plato, argues that abilities are biologically determined and their manifestation depends entirely on the inherited gene pool. Training and education can only change the speed of their appearance, but they will always manifest themselves in one way or another. Facts are usually cited as evidence of innate abilities. individual differences, manifested in childhood, when the influence of training and upbringing, it would seem, could not yet be decisive. For example, Mozart’s musical talent was discovered at three years old, Haydn at four years old. Talent in painting and sculpture manifests itself somewhat later: for Raphael - at the age of eight, for Van Dyck - at ten, for Dürer - at fifteen.

The existing numerous dynasties of artists, painters, sailors, and doctors also testify in favor of the heredity of abilities. Giftedness can manifest itself in various fields activities: intellectual, academic (educational), artistic, in the field of communication (leadership) and psychomotor skills. Gifted people are distinguished, first of all, by attentiveness, composure, and constant readiness for activity; They are characterized by persistence in achieving goals, an indefatigable need to work, as well as intelligence that exceeds the average level. Gifted people show tremendous persistence in their areas of interest. Therefore, one of the earliest indicators of giftedness is the time during which a two to three year old child can concentrate on one activity. Gifted children are absorbed in their work for several hours at a time and return to it within a few days, unlike a normal child of the same age. Giftedness is not the only factor determining the choice of activity, just as it is not the only factor determining the success of the activity. In addition to talent, a person, at a minimum, must have the appropriate knowledge and skills.

Talent is a high level of a person’s ability to perform a specific activity. This is a combination of abilities that give a person the opportunity to successfully, independently and originally perform certain complex work activities. The word “talent” itself comes from the weight measure “talent”. In the New Testament there is a parable about three slaves who were given a coin called “talent” by their master. One slave buried his talent in the ground, the second slave exchanged it, and the third slave multiplied his talent. Hence the three expressions: buried, exchanged and multiplied (developed) his talent. From the Bible, the word “talent” has spread in a figurative sense: as a gift of God, that is, the ability to create, and create something new, without neglecting it.

The combination of abilities, which are the basis of talent, in each case is special, characteristic only of a certain person. The presence of talent should be inferred from the results of a person’s activities, which should be distinguished by their fundamental novelty and originality of approach. Human talent is directed by the need for creativity. thinking creative talent

The highest level of individual talent is embodied in creativity, which has historical meaning for the life of society is called genius. A genius, figuratively speaking, creates a new era in his field of knowledge. A genius is characterized by creative productivity, mastery cultural heritage past and at the same time a decisive overcoming of old norms and traditions. The etymology of the word “genius” goes back to the ancient cultural tradition. Each Roman had his own genius - a deity that accompanied him throughout his life - from cradle to grave, prompting a person to take the actions that he performed along the path of life. Hence the modern interpretation of genius - as the maximum permissible demonstration of the creative potential of an individual. Traditionally expressed in new and unique creations, belatedly recognized as “masterpieces”. Sometimes genius is explained by a new and unexpected methodological approach to the creative process. But one thing is certain: a brilliant personality, through his creative activity, contributes to the progressive development of society.

Indeed, if intellectual talent does not directly affect a person’s creative success, if during the development of creativity the formation of certain motivation and personality traits precedes creative manifestations, then we can draw a conclusion about a special type of personality - “A creative person.”

Psychologists owe their knowledge of the characteristics of a creative personality not so much to their own efforts as to the work of writers, historians of science and culture, and art historians, who in one way or another touched on the problem of a creative personality, for there is no creation without a creator.

A creative personality has the following traits:

1) independence - personal standards are more important than group standards, non-conformity of assessments and judgments;

2) openness of mind - willingness to believe one’s own and others’ fantasies, receptivity to the new and unusual;

3) high tolerance to uncertain and insoluble situations, constructive activity in these situations;

4) highly developed aesthetic sense, desire for beauty.

Creativity is going beyond the generally accepted. This is only a negative definition of creativity, but the first thing that catches your eye when you get to know a gifted person closely is the analogy between the behavior of a creative person and a person with mental disorders.

There are two points of view: talent is a disease and talent is maximum health.

Caesar Lombroso characterizes geniuses as lonely, cold people, indifferent to family and social responsibilities.

A person of genius is always painfully sensitive, in particular, he does not tolerate weather fluctuations well. They experience sharp declines and rises in activity, sudden changes in mood from irrepressible cheerfulness to gloomy ones. depressive states. They commit actions and actions that are understandable only to them, strange and unacceptable to others. They find reasons for thought in everything, they are hypersensitive to social reward and punishment, and so on. List of geniuses, patients mental illness, psychopaths and neurotics is endless.

If we proceed from the above interpretation of creativity as a process, then a genius is a person who creates on the basis of unconscious activity, who can experience the widest range of states due to the fact that the unconscious creative subject goes beyond the control of the rational principle and self-regulation.

Surprisingly, this is exactly what is consistent with modern ideas about the nature of creativity, the definition of genius was given by C. Lombroso: “The features of genius compared to talent are in the sense that it is something unconscious and manifests itself unexpectedly.” Consequently, genius primarily creates unconsciously, or more precisely, through the activity of the unconscious creative subject. Talent creates rationally, on the basis of an invented plan. Genius is primarily creative, talent is intellectual, although both have a common ability. There are also other signs of genius that distinguish it from talent: originality, versatility, longevity.

Research has shown that gifted children whose actual achievements are below their capabilities experience serious problems in personal and emotional sphere, as well as in the field of interpersonal relationships.

Similar conclusions about high anxiety and low adaptability of creative people are presented in a number of other studies. A specialist like F. Barron argues that in order to be creative, you need to be a little neurotic. The consequence of this is emotional disturbances that distort the “normal” vision of the world, creating the preconditions for a new approach to reality.

A creative person is in constant struggle with the world around him and with himself. Perhaps this struggle predetermines the characteristics of the creative path: the victory of the unconscious principle means the triumph of creativity and death.

Features of the interaction between consciousness and the unconscious determine the typology of creative individuals and the features of their life path.

Conclusion

Personality is the ultimate and, therefore, the most complex object of psychology. In a certain sense, it unites all of psychology into one whole, and there is no research in this science that does not contribute to the knowledge of personality. Anyone who studies personality cannot ignore other areas of psychology. There are a huge number of approaches to studying personality. You can consider personality through structure, from the point of view of physiological reactions, or through the connection between the physical and mental aspects of personality. In my work, I tried not to rely on any specific approach to considering personality, but tried to summarize all the thoughts that arose in me while studying a variety of techniques. It is likely that my approach was initially incorrect, it is possible that I misunderstood the problem, but nevertheless, for myself I came to certain conclusions and they look something like this: an initially born individual, having only natural mental functions, gradually, through entry into society, starting with family and friends, he is socialized and becomes an individual. At the same time, the sociocultural environment influences the development of the individual, instills in him social norms, values, moral and spiritual accepted in this society. That is why children in families of doctors often grow up to become doctors, in families of artists and painters, respectively, they become artists and painters, etc. And, finally, the individual who himself begins to influence society is an individual. The entry of an individual into society and his formation there as an individual can be called “survival” or adaptation. Depending on how easily an individual manages to overcome the difficulties of the adaptation period, we get a self-confident or conforming personality. At this stage, the individual chooses motivation and responsibility, his locus of control becomes either external or internal. If during this period an individual, presenting to his reference group the personal properties that characterize his individuality, does not find mutual understanding, this can contribute to the formation of aggressiveness, suspicion, otherwise - trust and justice. A person either becomes an internal “artificer of his own happiness,” or an external person who believes that nothing depends on him.

The age-specific stages of personality development are quite interesting. The body has an amazing memory and, problems that arose in infancy and early childhood remain in the subconscious all their lives, that is, everything that was “not given” to the child after birth will definitely appear later.

A particularly significant period in age development The period of personality is adolescence and early youth, when the individual begins to distinguish himself as an object of self-knowledge and self-education. At this age, the judgments of other people, and above all the assessment of parents, teachers and peers, play a significant role. The young man determines his capabilities and needs, and if there is a large discrepancy between them, acute experiences arise. Next and in my opinion the last stage The formation of personality is the age of generativity, when a person learns to deny himself something in favor of children. It seems to me that throughout one’s life, a person, while remaining practically unchanged, acquires more and more individual traits.

In my opinion, the practical goal of psychology as a science is the education of a highly moral and highly moral integral personality, an “ideal” person. The task of psychology is to cultivate individuality in a person and develop the abilities received at birth. Talent, inspiration, skill are the most important factors in creative activity.

General human abilities, such as intelligence and creativity, determine the productivity of the corresponding types of activity that a creative person exhibits. However, life observations and special studies indicate that it is impossible to deny the natural prerequisites of abilities. Without recognizing the innateness of abilities, psychology does not deny the innateness of the structural features of the human body, which may turn out to be conditions for the successful performance of certain activities. These innate anatomical and physiological features of the structure of the brain, sensory organs and movement, which form the natural basis for the development of abilities, are called inclinations. In fact, natural differences between people are differences not in ready-made abilities, but in inclinations. Since inclinations are only a prerequisite for the development of abilities that influence the process of personal development.

The development of inclinations is a socially conditioned process, and if in society there is a need for such professions where a subtle ear for music is needed, and if this particular person has the corresponding innate inclinations, then it is easier for him than for anyone else to develop the corresponding abilities.

Creative achievements in the modern world are possible only by mastering knowledge and skills in the area where the individual is active. The success of mastering this knowledge determines general intelligence. The further humanity develops, the greater will be the role of intellectual mediation in creativity.

List of used literature

1. V.M. Bekhterev “Objective psychology” Moscow “Science”, 1.

2. L.S. Vygotsky, Collected Works vol. 6 Moscow “Pedagogy”, 1982.

3. J. Godefroy “What is psychology” Moscow “Mir”, 1992.

4. B.F. Lomov “Methodological and theoretical problems of psychology.” Moscow "Science", 1984.

5. Karl Leonhard “Accented personalities” Kyiv “ graduate School", 1989.

6. R.S. Nemov, “Psychology”, volume 1, Moscow, 1995.

7. Orlov Yu.M. “Ascent to Individuality”, Moscow, 1991.

8. Psychological Dictionary. Moscow "Pedagogy-press", 1996.

9. V.I. Slobodchikov, G.A. Tsukerman “Periodization of general mental development.”

10. E.T. Sokolov “Self-awareness and self-esteem in personality anomalies.” Moscow, MSU, 1989.

11. Paul Fresse, Jean Piaget “Experimental Psychology” Moscow “Progress” 1975.

12. G.V. Shchekin “Fundamentals of psychological knowledge” Kyiv, MAUP, 1996.

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What is creativity?

Creativity is the process of creating something new, never seen before in the world. We are talking not only about works of art or architectural masterpieces. This is definitely creativity, but the definition of this concept is much broader. After all, even a couple of lines written on a schoolgirl’s blog is already something new for this world.

Creativity can be considered both globally and at the everyday level.

There are the following types of creativity:

Artistic – visualizes a person’s inner experiences;
Arts and crafts – transforms the world around us;
Musical – allows you to feel the rhythm and reproduce beautiful sounds;
Scientific and technical – makes scientific discoveries and unexpected inventions;
Philosophical – accompanies the search for thinkers and sages;
Social – improves legal, cultural and other relationships in society;
Entrepreneurial – helps in successful business development;
Spiritual – provides the ideological foundations of society;
Everyday life – increases a person’s ability to adapt to emerging circumstances;
Sports and gaming - associated with non-standard implementation of the necessary tactical and technical elements.

There is a similar concept of creativity. Many consider her and creativity synonymous. Since these two words exist in the Russian language, it would be more correct to allocate each of them its own ecological niche. Trying to separate creativity and creativity, the definition of the latter sounds like the process of creating something new. And creativity is a person’s ability to create new things. In the first case, we are talking about an action, in the second – about a property.

You can also find a classification where creativity is a broader concept, and creativity is considered as directed creativity, that is, in response to a specific need.

For example, if a girl is abandoned by a young man, and she writes poetry, sobbing into her pillow, this will be an act of creativity. If a creative at an advertising agency is tasked with coming up with a new toothbrush, then tears and poetry will not be useful to him. It should be a finished product, which is where creativity will help.

What is a creative person?

A creative person is a creative person who creates something new. Moreover, “new” means not only creation, but also destruction, because creative work is sometimes associated with the destruction of existing forms.

For example, a game of bowling, when an athlete uses a ball to destroy the lined pins, but the approach to the game itself can be very creative.

The inclinations for certain types of activity arise even at the stage of human embryonic development, but creative abilities appear directly after birth. It is advisable to ensure the child’s harmonious development, including creative work. Drawing, dancing, arts and crafts, etc. The more multifaceted a person develops, the easier it will be for him to adapt in adulthood.

Creativity in psychology occupies a special place, because thanks to it it is possible to correct a number of psychosomatic disorders. There is even such a direction as art therapy - the use of elements of creativity for therapeutic purposes. This once again emphasizes the importance of this topic.

But how do you understand that a person has creative abilities? Are there signs by which one can identify a creative person?

Signs of a creative person

We can recognize that we have a creative personality in front of us by at least seven distinctive features:

The ability to see more than others;
Striving for beauty;
Free expression of your emotions and feelings;
Ability to fantasize;
Tendency to take risks and act rashly;
A reverent attitude towards your works;
Following your dream.

A creative person will not put material wealth above his fantasies and goals. Many authors spend years of their lives creating their works, without even understanding whether they will ultimately be able to make money from them. The psychology of creativity is rather based on satisfaction with the result or with the creative process than the opportunity to get rich.

Although, you shouldn’t think that a creative person will go penniless. Talented people can achieve recognition among their contemporaries. And by doing what you love, you can earn money.

An important property that determines creativity is the ability to see what is hidden from other people. After all, in order to create something new, you need to imagine it, see it in your fantasies. Some look at the sky and see clouds, while others see white-maned horses. Everyone hears the noise of the engine, and someone recognizes it as the beginning of their new musical composition.

The ability and desire to fantasize determines creativity in all its forms and manifestations. Before the master creates another sculpture, it must appear in his head. And even a new original wrestling technique is often carried out mentally, and only then performed on the mat.

How to develop creativity?

Like any other skills, creative abilities can also be strengthened and developed. First, you should understand your skills and interests. Secondly, practice more in this activity. For example, it’s stupid to go to dances if you want to learn how to draw, or vice versa. Thirdly, never stop there and improve all the time. Fourth, surround yourself with equally passionate people. Fifthly, believe in your strength and your talent.

Creativity helps people become more fulfilled, cope with daily tasks more effectively, and differentiate themselves from others. A creative person will always achieve success, no matter what type of activity she chooses. That is why you should always develop your creative abilities, without neglecting them in favor of other life priorities. A person must develop harmoniously and creativity is an important part of this process.

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