Part Two The Creative Process

Chapter 11 The Creative Cycle Three Stages of Creation The process of realizing a creative idea takes place in three stages: inception, assimilation, and completion. That's what it looks like full cycle creative process, and the stages always follow each other in a given order.

The Creative Process STEP 1. SETTING INTENT To set the right intention, you need to listen to the innermost desires of your heart. Start with the goal that resonates with you the most. Try to be as clear as possible about what you want.

Chapter 7 The Creative Process “The quality of the thoughts that we accept corresponds to the quality of the external states of the world around us. There is nothing more true than this statement. It is the Law that knows no exceptions. It is this Law on the correspondence of thought and its object, with

The Creative Process There are different approaches to defining creativity. To make the following discussion more clear, let's look at the elements that I think are part of the creative process and then try to define it. First

Repair is a creative process Repair is an energetic intervention, correction of errors, search various options. Of course, you need to be smart, because usually you have to work without precise instructions, often with a meager set of tools and sometimes

The connection between the creative process and imagination is "a special form of the human psyche, which stands apart from other mental processes and, at the same time, occupies an intermediate position between perception, thinking and memory." The specificity of this form of mental process lies in the fact that imagination is probably characteristic only of a person and is strangely connected with the activity of the organism, being at the same time the most “mental” of all mental processes and states. The latter means that the ideal and enigmatic character psyche. It can be assumed that it was imagination, the desire to understand and explain it, that drew attention to mental phenomena in antiquity, supported and continues to stimulate it today.

As for the mystery of this phenomenon, it lies in the fact that until now we know almost nothing about the mechanism of imagination, including its anatomical and physiological basis. Where is imagination located in the human brain? With the work of what nervous organic structures known to us is it associated? To these important questions, scientists have almost nothing concrete answers can.

Thanks to the imagination, a person creates, intelligently plans his activities and manages them. Almost all human material and spiritual culture is a product of the imagination and creativity of people, and what significance does this culture have for mental development and the improvement of the "homo sapiens" species, we already know quite well. Imagination takes a person beyond the limits of his momentary existence, reminds him of the past, opens the future. Possessing a rich imagination, a person can "live" in different times, which no other living being in the world can afford. The past is fixed in memory images, arbitrarily resurrected by an effort of will, the future is presented in dreams and fantasies.

22. Two types of thinking: figurative and conceptual. Comparative analysis of thinking and imagination.

Thinking is the movement of ideas, revealing the essence of things. Its result is not an image, but some thought, an idea. A specific result of thinking can be a concept - a generalized reflection of a class of objects in their most general and essential features.

Visual-figurative thinking is connected with the operation of images. This type of thinking is clearly manifested in preschoolers aged 4-6 years. The connection between thinking and practical actions, although they retain, is not as close, direct and immediate as before. In the course of the analysis and synthesis of a cognizable object, the child does not necessarily and by no means always have to touch the object that interests him with his hands. In many cases, no practical manipulation of the object is required, but in all cases it is necessary to clearly perceive and visualize this object.

Conceptual thinking does not come all at once, but through a series of intermediate stages. Thinking develops from concrete images to perfect concepts, denoted by the word. The concept initially reflects similar, unchanged in phenomena and objects. Significant changes in the intellectual development of the child occur at school age. These shifts are expressed in the knowledge of ever deeper properties of objects, in the formation of the mental operations necessary for this. These mental operations are not yet sufficiently generalized; the thinking of younger children school age is conceptually specific.

The commonality between imagination and thinking is as follows: imagination and thinking arise in a problem situation, i.e. when it is necessary to find a new solution; imagination and thinking are motivated by the needs of the individual. The real process of satisfying needs may be preceded by an illusory, imaginary satisfaction of needs, i.e. a vivid, vivid representation of the situation in which these needs can be satisfied.

The differences between imagination and thinking are as follows: the anticipatory reflection of reality, carried out in the processes of imagination, occurs in a concrete-figurative form, in the form of vivid representations, while the anticipatory reflection in the processes of thinking occurs by operating with concepts that allow one to generalize and indirectly cognize the world. ; in the process of activity, imagination appears in unity with thinking. The inclusion of imagination or thinking in the process of activity is determined by the uncertainty of the problem situation, the completeness or deficiency of information contained in the initial data of the task.

Of course, it is impossible to understand the nature of creative abilities without understanding the essence of creativity.

Creativity is a human activity aimed at creating some new, original product in the field of science, art, technology, production and organization. A creative act is always a breakthrough into the unknown, a way out of an impasse in such a way that new opportunities for development appear, whether it be one's own, personal development of a person, the development of art, the improvement of production or the sales market.

Creativity is the creation of something new, it is also a mechanism for the development of personality. (Ponomarev Ya.A., 1976)

The creative act is preceded by a long accumulation of relevant experience, which is consolidated in skills, knowledge and skills; formulation of the problem; elaboration of all possible solutions. The accumulation of knowledge and experience can be characterized as a quantitative approach to the problem, when an existing problem is tried to be solved by old traditional methods, with the help of habitual and stereotyped operations of thinking. The creative act itself is characterized by the transition of the number of all kinds of ideas and approaches into their new peculiar quality, which is the true solution to this problem. The famous "Eureka!" Archimedes? The discovery of the law appeared to him as if suddenly, when he was taking a bath. But it was the result of long concentrated reflections on the problem.

Creativity is a historically evolutionary form of human activity, expressed in various activities and leading to the development of the individual. Through creativity are realized historical development and the link between generations. It continuously expands the possibilities of a person, creating conditions for conquering new heights.

Creative processes are found already in early childhood - in the games of children, which always represent the creative processing of experienced impressions, their combination and the construction of a new reality from them that meets the needs and inclinations of the child himself. It is the ability to create a structure from elements, to combine the old into new combinations, that is the basis of creativity.

Creativity is not the lot of only a few chosen people, geniuses who created great works of art, made great scientific discoveries or inventing some technical improvement. Creativity exists wherever a person imagines, combines, changes and creates something new, no matter how small this new thing may seem. A huge part of everything created by mankind belongs to the unification of many grains of individual creativity.

The creative activity of L.S. Vygotsky defines it as “human activity that creates something new, whether it is created by creative activity, some thing of the outside world, or a well-known construction of the mind or feeling, which lives and is found only in the person himself.”

L.S. Vygotsky says that all human activity can be divided into two types, which have their own characteristics: reproducing, or reproductive, and combining, or creative.

Reproducing activity is the preservation of the previous experience of a person, ensuring its adaptation to habitual, stable conditions. environment. This activity is based on the plasticity of the human brain, which is understood as the ability of a substance to change and retain traces of this change.

The result of creative or combining behavior is not the reproduction of impressions or actions that were in the experience of a person, but the creation of new images or actions. The brain not only preserves and reproduces the previous experience of a person, but it also combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. Creative activity makes a person “a being turned to the future, creating it and modifying its present”.

It is this creative activity, based on the combining ability of the brain, that is called imagination or fantasy in psychology.

“Every invention,” says Ribot, “large or small, before becoming stronger, being realized in fact, was united only by imagination - a structure erected in the mind through new combinations or ratios.

Imagination as the basis of any creative activity is equally manifested in all aspects of cultural life, makes artistic, scientific and technical creativity possible. Therefore, the worldly definition of imagination is not correct, as everything that does not correspond to reality and cannot have any practical serious significance. In this sense, everything that surrounds us and that is made by the hand of man, the whole world of culture, in contrast to the world of nature, is all a product of human imagination and creativity based on this imagination.

Great role in the formation of the creative personality of fine arts. It is unthinkable to imagine fine art without creativity. Everything that a person feels, experiences, everything that excites him can be displayed in lines, spots, color. And for this it is not necessary to be a recognized artist. It is here that you can talk about the value of discoveries for yourself. It is only necessary to show the child how to express himself through visual materials.

Someone loves realistic drawing and he succeeds. And someone will suit an abstract image. "My Bad mood I will leave on paper in the form of angry, sharp, hard lines, figures, or gloomy, dark, unattractive colors.

Artistic and creative activity is perhaps the most interesting view activities of children of primary school age. It allows the child to reflect in the drawings his impressions of the world around him, to express his attitude towards it. At the same time, artistic and creative activity is of inestimable importance for the comprehensive aesthetic, moral, labor, mental development children.

Observations and selection of the properties of objects to be conveyed in the image (shapes, structures, color values, location in space) contribute to the development in children of a sense of form, color, rhythm of the components of an aesthetic sense. A sense of beauty can be formed only when the beauty of an object or phenomenon appears before the children (due to their concrete, figurative thinking) in a concrete expression. On this basis, in the process of visual activity, children develop imagination. The child creates an image not only on the basis of what he directly perceives from the surrounding world. The image of a newly perceived object enters into a relationship with the experience of past perceptions and established ideas. Children, for example, have never seen a fabulous bird, but they could see a wide variety of birds in the surrounding life, in illustrations, listened to fairy tales about magical birds (firebirds, bluebirds), examined clay toys, images of various decorative birds on various objects of decorative art. On this basis, the image of an unusual, fantastic bird is formed.

In the work on the image, the child acquires various knowledge, his ideas about the environment are refined and deepened, he masters new visual skills and abilities that expand his creative possibilities and learn to use them consciously. All this is very significant for his mental development, because each child, creating an image of an object, conveys the plot, includes his feelings in it, an understanding of how it should look. This is the artistic and creative activity of a school-age child, which manifests itself in him not only when he himself comes up with a theme for his drawing, but also when he creates an image on the instructions of a teacher, determining the composition, color solution, other means of expression, making interesting additions, etc.

Describing the imagination of children, L.S. Vygotsky spoke of the need to understand the psychological mechanism of imagination, and this cannot be done without clarifying the connection that exists between fantasy and reality. “The creative activity of the imagination,” writes L.S. Vygotsky, is directly dependent on the richness and diversity, the previous experience of a person, because this experience is the material from which the constructions of fantasy are created. The richer a person's experience, the more material that his imagination has at its disposal. This idea of ​​the scientist should be emphasized especially, because it is too widely and abroad, and in our country there is a widespread opinion that a child has a violent, unlimited imagination, is capable of generating bright, inorganic images from the inside. Any intervention of an adult, a teacher in this process only fetters and destroys this fantasy, wealth, which cannot be compared with the fantasy of an adult. At the same time, it is quite obvious that the poverty of the child's experience also determines the poverty of his imagination. As experience expands, a solid foundation is created for the creative activity of children.

The connection of imagination with reality allows us to conclude that the process of children's creativity does not end with the creation of souvenirs and other results of creative activity. They should be used to further enrich imagination and creativity. At the same time, it is important to remember that the child is influenced not only by his works, but also by works created by other children.

A prerequisite for the development of the imagination is creative activity, which cannot lead to success without the work of fantasy.

Visual activity, including drawing, is perhaps the most interesting activity. It allows the child to reflect in pictorial images his impressions of the environment, to express his attitude towards them. At the same time, visual activity is of inestimable importance for the comprehensive aesthetic, moral, labor, and mental development of children. Imagination development junior schoolchildren, most of all contributes to thematic and decorative drawing. Decorative drawing mainly develops reproductive imagination, as children usually study in the classroom different kinds folk paintings (Khokhloma, Gzhel, etc.) and recreate them. But still, there are tasks that require creative imagination (for example, appliqué, drawing an ornament, etc.).

Thematic drawing most of all contributes to the development of creative imagination. In thematic drawing, the child shows both artistic and creative abilities. And here, first of all, it is necessary to define the concept of the topic itself. There are common themes (" eternal themes"- good and evil, relations between people, motherhood, courage, justice, beauty and ugliness), which have many manifestations and provoke creativity, and specific topics, with a clear indication of the place and action that require precise execution. They help diagnose creative imagination.

Based on the foregoing, it can be noted following points:

The creative process includes three main stages: the accumulation of material, the processing of accumulated material (dissociation and association of impressions) and the combination of individual images, bringing them into a system, building a complex picture.

The accumulation of material includes external and internal perception, which is the basis of creativity. This is what the child sees and hears.

Imagination and creativity are closely related, imagination is formed in the process of creative activity, although creativity cannot be imagined outside the process of fantasizing.

· Creativity without imagination acts as a chain of cause-and-effect relationships, constantly varying and changing.

We call creative activity such activity of a person that creates something new, no matter whether it is created by creative activity, some thing of the external world or a certain construction of the mind or feeling, living and manifesting itself only in the person himself. If we look at the behavior of a person, at all his activities, we can easily see that in this activity two main types of actions can be distinguished. One type of activity can be called reproducing, or reproductive; it is connected in the closest way with our memory; its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior or resurrects traces of previous impressions.

It is easy to understand what great significance this preservation of his former experience has for the whole life of a person, how much it facilitates his adaptation to the world around him, creating and developing permanent habits that are repeated under the same conditions.

The organic basis of such reproducing activity or memory is the plasticity of our nerve matter. Plasticity is the property of a substance, which consists in its ability to change and retain traces of this change. Our brain and our nerves, which have great plasticity, easily change their finest structure under the influence of various influences and retain a trace of these changes if these excitations were strong enough or repeated often enough. In our brain, strong or frequently repeated excitations produce a similar blazing of new paths. Thus, the brain turns out to be an organ that preserves our previous experience and facilitates the reproduction of this experience. However, if the activity of the brain were limited only to the preservation of previous experience, a person would be a creature that could adapt mainly to habitual, stable environmental conditions. Any new and unexpected changes in the environment that were not encountered in the previous experience of a person, in this case, could not cause a proper adaptive reaction in a person.

Along with this function of preserving past experience, the brain has another function, no less important. In addition to reproducing activity, it is easy to notice another kind of this activity in human behavior, namely, combining or creative activity. Any such activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior. The brain is not only an organ that preserves and reproduces our previous experience, it is also an organ that combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. If man's activity were limited to a mere reproduction of the old, then man would be a being turned only to the past, and would be able to adapt to the future only insofar as it reproduces this past. It is the creative activity of a person that makes him a being, facing the future, creating it and modifying its present.

This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy. Usually, imagination or fantasy does not mean exactly what is meant by these words in science. In everyday life, imagination or fantasy is called everything that is unreal, that does not correspond to reality, and that, therefore, cannot have any serious practical significance. In fact, imagination, as the basis of all creative activity, manifests itself equally in all decisively aspects of cultural life, making artistic, scientific and technical creativity possible. In this sense, everything that surrounds us and that is made by the hand of man, the whole world of culture, in contrast to the world of nature, is all a product of human imagination and creativity based on this imagination.

Our everyday idea of ​​creativity also does not quite correspond to the scientific understanding of this word. In the usual view, creativity is the lot of a few selected people, geniuses, talents who created great works of art, made great scientific discoveries or invented some kind of improvement in the field of technology. We readily recognize and easily recognize creativity in the activities of Tolstoy, Edison and Darwin, but it usually seems to us that this creativity does not exist at all in the life of an ordinary person. However, as already mentioned, this view is incorrect. Compared by one of the Russian scientists, how electricity acts and manifests itself not only where there is a majestic thunderstorm and dazzling lightning, but also in a light bulb of a pocket torch, so it is true that creativity actually exists not only where it creates great historical works, but also everywhere where a person imagines, combines, changes and creates something new, no matter how small this new thing may seem compared to the creations of geniuses.

If we take into account the presence of collective creativity, which combines all these often insignificant grains of individual creativity, it becomes clear what a huge part of everything created by mankind belongs precisely to the nameless collective creative work of unknown inventors. The vast majority of inventions are made by unknown people. The scientific understanding of this issue leads us, therefore, to look at creativity more as a rule than as an exception. Of course, the highest expressions of creativity are still available only to a few selected geniuses of mankind, but in everyday life around us there is creativity. necessary condition existence, and everything that goes beyond the routine and contains at least an iota of new, owes its origin to the creative process of man.

If creativity is understood in this way, then it is easy to see that creative processes are revealed in all their strength already in early childhood. One of the very important questions of child psychology and pedagogy is the question of creativity in children, the development of this creativity, and the significance creative work For general development and maturation of the child. Already in the early age we find creative processes in children that are best expressed in children's games. All these playing children are examples of the most genuine, most genuine creativity. Of course, in their games they reproduce a lot of what they saw. Everyone knows what a huge role imitation plays in children's games. The child's games very often serve only as an echo of what he saw and heard from adults, and yet these elements of the child's previous experience are never reproduced in the game in exactly the same way as they were presented in reality. A child's play is not a simple recollection of what he has experienced, but a creative processing of the experienced impressions, combining them and constructing from them a new reality that meets the needs and inclinations of the child himself. Just as precisely, the desire of children to write is as much an activity of the imagination as is play.

It is this ability to create a structure from elements, to combine the old into new combinations, and this is the basis of creativity. With full justice, many authors point out that the roots of such creative combination can be seen even in the games of animals.

The play of an animal is also very often a product of motor imagination.

However, these rudiments of creative imagination in animals could not receive any stable and strong development under the conditions of their life, and only man developed this form of activity to its true height.

Imagination and creativity

Imagination plays an essential role in every creative process. Its importance is especially great in artistic creativity. Any work of art worthy of this name has an ideological content, but unlike scientific treatise it expresses it in concrete-figurative form. If an artist is forced to deduce the idea of ​​his work in abstract formulas so that the ideological content of the work of art appears along with his images, without receiving adequate and sufficiently vivid expression within them, his work loses its artistry. The visual-figurative content of a work of art, and only it, should be the bearer of its ideological content. The essence of artistic imagination lies primarily in being able to create new images capable of being a plastic carrier of ideological content. The special power of artistic imagination is to create a new situation not by violating, but by maintaining the basic requirements of life reality.

Fundamentally erroneous is the idea that the more bizarre and outlandish the work, the greater the power of imagination it testifies. The imagination of Leo Tolstoy is no weaker than that of Edgar Allan Poe. It's just another imagination. In order to create new images and draw a broad picture on a large canvas, observing the conditions of objective reality as much as possible, special originality, plasticity and creative independence of the imagination are needed. The more realistic a work of art, the more strictly life reality is observed in it, the more powerful the imagination must be in order to make the visual-figurative content that the artist operates with a plastic expression of his artistic intention.

Observance of the reality of life does not, of course, mean photographic reproduction or copying of what is directly perceived. The immediate given, as it is commonly perceived in everyday experience, is largely accidental; it does not always distinguish the characteristic, essential content that determines individual person person, event, phenomenon. A real artist not only has the technique necessary to depict what he sees, but he also sees differently than an artistically unreceptive person. And the task of a work of art is to show others what the artist sees, with such plasticity that others can see it. Thus, the portrait of Anna Karenina, painted by a real artist, first revealed to Vronsky that very sweet expression of hers, which, as it seemed to Vronsky after he saw the portrait, he always knew and loved in her, although in fact it was only thanks to the portrait that he really saw it for the first time. .

There is no better way to express what the essence is artistic creativity. Even in a portrait, the artist does not photograph, does not reproduce, but transforms what is perceived. The essence of this transformation lies in the fact that it does not remove, but approaches reality, that it, as it were, removes random layers and external covers from it. As a result, its main pattern is revealed deeper and more accurately. The product of such an imagination often gives an essentially truer, deeper, more adequate picture or image of reality than a photographic reproduction of the immediate given is able to do.

The image, internally transformed by the idea of ​​a work of art so that in all its life reality it turns out to be a plastic expression of a certain ideological content, is the highest product of creative artistic imagination. A powerful creative imagination is recognized not so much by the fact that a person can invent, ignoring the real requirements of reality and the ideal requirements of artistic design, but rather by how he knows how to transform the reality of everyday perception, burdened with random strokes devoid of expressiveness, in accordance with with the requirements of reality and artistic design. Imagination creates in visual images, so similar and at the same time not similar to our perceptions that have faded and erased in everyday life, miraculously revived, transformed, and yet, as if more authentic world than given to us in everyday perception. That is why, looking at him, it seems to us, like Vronsky, when he saw the portrait of Anna, that we always saw and knew him just like that, although only the imagination of the artist, who transforms the world of our everyday perception, showed him to us like that.

Imagination in artistic creativity, of course, also allows for a significant departure from reality, a more or less significant deviation from it. Artistic creativity is expressed not only in the portrait; it includes both a fairy tale and a fantasy story. In a fairy tale, in a fantastic story, deviations from reality can be very great. But both in a fairy tale and in the most fantastic story, deviations from reality must be objectively motivated by a plan, an idea that is embodied in images. And the more significant these deviations from reality, the more objectively motivated they should be. Creative imagination comes to work of art to fantasy, to deviation from certain aspects of reality, in order to give figurative clarity to reality, to the main idea or idea, indirectly reflecting some essential aspect of reality.

Certain subtle and fragile experiences—significant facts of inner life—are often, as it were, obscured and obscured by the actual conditions of everyday life. The creative imagination of the artist in a fantastic story, deviating from reality, transforms its various aspects, subordinating them to the internal logic of this experience. This is the meaning of those methods of transforming reality that are used by artistic imagination. Creating a picture of reality that deviates from the ordinary up to the most extreme fantasy, the artist’s imagination illuminates all the brighter and more convexly reveals some aspect of reality that is especially significant for him. To move away from reality in order to penetrate into it - such is the logic of creative imagination. It characterizes the essential side of artistic creativity.

No less necessary is imagination - in other forms - in scientific creativity.

Another great English chemist of the XVIII century. J. Priestley, who discovered oxygen, argued that really great discoveries, which "a sensible, slow and cowardly mind would never have thought of," can only be made by scientists who "give full play to their imagination." T. Ribot was even inclined to assert that if we "take stock of the amount of imagination expended and embodied, on the one hand, in the field of artistic creativity, and on the other, in technical and mechanical inventions, then we will find that the second is much larger than the first" . 113

The role of imagination in scientific creativity was also highly regarded by V.I. Lenin. He wrote: "... it is absurd to deny the role of fantasy in the most rigorous science." 114 "In vain do they think," he remarks elsewhere, "that she (fantasy. - S.R.) is needed only by the poet. This is stupid prejudice. Even in mathematics, it is needed, even the discovery of differential and integral calculus would be impossible without imagination. Fantasy is the quality of the greatest value ... ". 115

Participating together with thinking in the process of scientific creativity, imagination performs a specific function in it, different from that which thinking performs in it. The specific role of the imagination is that it transforms the figurative, visual content of the problem and thereby contributes to its resolution. And only insofar as creativity, the discovery of the new, is accomplished through the transformation of visual-figurative content, it can be attributed to the imagination. In a real thought process, in unity with the concept, to one degree or another, in one form or another, a visual image also participates. But the figurative content of perception and the representation of memory that reproduces this content sometimes does not provide sufficient reference points for resolving the problem that confronts thinking. Sometimes you need to transform visual content in order to advance problem resolution; then the imagination comes into its own.

This role of the imagination appears very clearly in experimental research. The experimenter, contemplating the setting up of an experiment, must, based on his theoretical hypotheses and taking into account already established laws of this scientific field, to imagine, to imagine such a situation that is not immediately given, which, satisfying all these conditions, would make it possible to test the initial hypothesis. This construction of a specific situation of the experiment in the mind of the experimenter, which precedes the experiment, is an act of imagination operating in scientific research. For such a master of experiment as E. Rutherford was, real progress is possible only with the amalgamation of experiment based on fantasy and fantasy based on experiment.

The imagination necessary for the transformation of reality and creative activity was formed in the process of this creative activity. The development of the imagination took place as more and more perfect products of the imagination were created. In the process of creating poetry, fine arts, music and their development, new, higher and more perfect forms of representation were formed and developed. In the great works of folk art, in epics, sagas, in the folk epic, in the works of poets and artists - in the Iliad and the Odyssey, in the Song of Roland, the Tale of Igor's Campaign - the imagination not only manifested itself, but and formed. The creation of great works of art that taught people to see the world in a new way opened up a new field for the imagination.

Not to a lesser extent, but only in other forms, the imagination is formed in the process of scientific creativity. The infinity revealed by science in big and small, in worlds and atoms, in the innumerable variety of concrete forms and their unity, in continuous movement and change, provides for the development of the imagination in its own way no less than the most rich imagination artist.

Finally, the imagination is formed in practical activities - especially in revolutionary eras when the practical activity of people breaks the established norms and routine ideas, revolutionizing the world.

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