Creativity is a process of human activity, the result of which is the creation of material and spiritual values ​​that are new in quality, distinguished by uniqueness, originality and uniqueness. It originated in ancient times. Since then, there has been an inextricable link between it and the development of society. The creative process involves imagination and skill, which a person acquires by gaining knowledge and putting it into practice.

Creativity is an active state and a manifestation of human freedom, the result of creative activity, it is a gift given to a person from above. It is not necessary to be great and talented in order to create, create beauty and give people love and kindness to everything around. Today, creative activities are available to everyone, as there are various types of arts, and everyone can choose an activity to their liking.

Who is considered a creative person?

These are not only artists, sculptors, actors, singers and musicians. Any person who uses non-standard approaches in his work is creative. It can even be a housewife. The main thing is to love your work and put your soul into it. Be sure: the result will exceed all your expectations!

decorative art

This is a type of plastic art, which includes interior decoration (decorating a room using easel painting) and exterior (using stained-glass windows and mosaics), design art (using industrial graphics and posters), and applied art.

These types of creativity provide a unique opportunity to get acquainted with the cultural traditions of their people, bring up a sense of patriotism and great respect for human work. Creating a creative product instills a love of beauty and forms technical abilities and skills.

Applied art

This is a folk decorative art designed to decorate the life and life of people in everyday life, depending on their requirements. Creating things of a certain form and purpose, a person always finds a use for them and tries to preserve the attractiveness and beauty seen in them. Art objects are inherited, from ancestors to descendants. They traced folk wisdom, way of life, character. In the process of creativity, a person puts his soul, feelings, his ideas about life into works of art. Perhaps that is why their educational value is so great.

Conducting archaeological excavations, scientists find various things, household items. According to them, it is determined historical era, relations in the society of that distant time, conditions in the social and natural environments, the possibilities of technology, financial situation, traditions and beliefs of the people. Types of creativity can tell about the lifestyle people led, what they did and were interested in, how they treated everything around them. Artistic Features works of applied art instill in a person respect for the culture and heritage of the nation.

Decorative and applied art. Types of techniques

What are the types applied art? There are a great many of them! Depending on the method of manufacturing a particular item and the material used, the following needlework techniques are distinguished:

• Associated with the use of paper: iris folding, or rainbow folding of paper, paper plastic, corrugated tubes, quilling, origami, papier-mâché, scrapbooking, embossing, trimming.
• Weaving techniques: ganutel, beading, macrame, bobbin weaving, tatting or knot weaving.
• Painting: Zhostovo, Khokhloma, Gorodets, etc.
• Types of painting: batik - drawing on fabric; stained-glass window - painting on glass; stamp and sponge printing; drawing with palms and prints of leaves; ornament - repetition and alternation of pattern elements.
• Creation of drawings and images: blowing paint through a tube; guilloche - burning a pattern on a fabric; mosaic - creating an image from elements of small sizes; thread graphics - making an image with threads on a solid surface.
• Fabric embroidery techniques: simple and Bulgarian cross stitch, straight and oblique stitch, tapestry, carpet and ribbon embroidery, gold embroidery, cutwork, hemstitch and many others.
• Sewing on fabric: patchwork, quilting, quilting or patchwork; artichoke, kanzashi and others.
• Knitting techniques: on a fork; on knitting needles (simple European); crochet Tunisian; jacquard, sirloin, guipure.
• Types of creativity associated with wood processing: burning, sawing, carving.

As you can see for yourself, there are a huge number of different types of arts and crafts techniques. Only a few of them are listed here.

Folk art

In the works of art created by the people, the main thing is selected and carefully preserved, there is no place for superfluous. Objects of folk art are endowed with the most expressive properties. This art embodies simplicity and taste. Therefore, it has become understandable, loved and accessible to people.

Since ancient times, man has sought to decorate his home with folk items. visual arts. After all, they retain the warmth of the hands of a craftsman who understands nature, skillfully selects only the most beautiful for his objects. Unsuccessful creations are eliminated, only valuable and great ones remain alive.

Each era has its own fashion for the interior of a person's home, which is constantly changing. Over time, strict lines and rectangular shapes become more and more preferable. But even today people draw ideas from an invaluable pantry - folk talents.

Folklore

This is folklore, which is reflected in the artistic collective creative activity. common man. His works reflect the life, ideals and worldviews created by the people. They then exist in the masses.

Types of folk art:

• Proverbs are poetic mini-works in the form of a short rhythmic saying. It is based on conclusion, teaching and generalized morality.
• Sayings are turns of speech or phrases that reflect life phenomena. Humorous notes are often present.
• Folk songs - they do not have an author or he is unknown. The words and the music selected for them have developed in the course of the historical development of the culture of a particular ethnic group.
• Chastushki are Russian folk songs in miniature, usually in the form of a quatrain, with humorous content.
• Riddles - they are found at any stage of the development of society among all peoples. In ancient times, they were considered a means of testing wisdom.
• Pestushki - short tunes of mothers and nannies in poetic form.
• Nursery rhymes are sentence songs that accompany the game with the child's arms and legs.
• Jokes are funny short stories in poetic form.
• It is impossible to imagine the types of folk art without invocations, with the help of which people during the spread of paganism turned to various natural phenomena, asking them for protection, or to animals and birds.
• Rhyming rhymes are small rhythmic rhymes. With their help, the leader in the game is determined.
• Tongue twisters are phrases built on a combination of sounds that make it difficult to pronounce them quickly.

Creativity related to literature

Literary creativity is represented by three kinds: epic, lyrical and dramatic. They were created in ancient times, but they still exist today, as they determine the ways of solving the problems set for literature by human society.

The epic is based on the artistic reproduction of the outside world, when the speaker (the author himself or the narrator) reports the events and their details as something that has passed and is remembered, along the way resorting to descriptions of the situation of the action and the appearance of the characters, and sometimes to reasoning. Lyrics are a direct expression of the writer's feelings and thoughts. The dramatic mode combines the first two when characters with a variety of characters are presented in one play with direct lyrical self-identification.

Literary creativity, represented by epic, lyrics and drama, fully opens up endless possibilities for a deep reflection of people's lives, their consciousness. Each literary genre has its own forms:

• Epic - fable, poem, ballad, story, story, novel, essay, artistic memoir.
• Lyrical - ode, elegy, satire, epigram.
• Dramatic - tragedy, comedy, drama, vaudeville, joke, stage.

Moreover, individual forms any kind of poetry are divided into groups or types. For example, the genre of a literary work is epic. The form is a novel. Types: socio-psychological, philosophical, family, adventure, satirical, historical, science fiction.

Folk art

This is a capacious concept that includes various genres and types of artistic creativity. They are based on original traditions and original ways and forms of creative activity, which is associated with human labor and develops collectively, based on the continuity of traditions.

Folk art reflects the inner world of a person, his spiritual appearance, the living memory of the people. There are several periods in its development:

• Pagan (until the 10th century).
• Christian (X-XVII centuries).
• Domestic history (XVII-XIX centuries).
• XX century.

Folk art undergoes a long path of development, as a result of which the following types of artistic creativity were determined:

• Folklore is the worldview and moral convictions of the people, their views on man, nature and society, which are expressed in verbal-poetic, musical-choreographic, dramatic forms.
• Decorative and applied art is designed to satisfy the aesthetic needs and everyday needs of a person.
• Household amateur creativity is an artistic phenomenon in the festive and everyday life of a person.
• Amateur art is organized creativity. It is focused on teaching people artistic skills and abilities.

Creativity related to technology

The labor activity of a person is constantly improving, acquiring a creative character. Many people manage to rise to the highest level in their creations and inventions. So what is technical creativity? This is an activity, the main task of which is to create such technical solutions that will have novelty and have social significance not only in their own country, but also abroad, that is, globally. Otherwise, it is called invention, which is equivalent to the concept of technical creativity. And it is interconnected with scientific, artistic and other types.

For our contemporaries, great opportunities are open and all conditions have been created for doing what they love. There is a huge number of specialized clubs, palaces, circles, scientific societies. In these institutions, adults and children are engaged in aircraft and ship modeling, motorcycle sports, karting, auto design, programming, computer science, and computer technology. Such types of creativity as the development of designs for sports vehicles are very popular: mini-cars, autocars, equipment for fishermen, tourists and climbers.

Creation- the process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced 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 some possibilities that are not reducible to labor operations or a logical conclusion, and in the end expresses some aspects of his personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

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

Types and functions of creativity

Vitaly Tepikin, a researcher of the creative factor of a person and the phenomenon of the intelligentsia, singles out artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.S. L. Rubinstein for the first time correctly pointed out characteristics Inventive creativity: “The specificity of an invention, which distinguishes it from other forms of creative intellectual activity, lies in the fact that it must create a thing, a real object, a mechanism or a technique that solves a certain problem. This defines the originality creative work inventor: the inventor must introduce something new into the context of reality, into the actual course of some kind of activity. This is something essentially different than solving a theoretical problem in which a limited number of abstractly distinguished conditions must be taken into account. At the same time, reality is historically mediated by human activity, technology: it embodies historical development scientific thought. Therefore, in the process of invention, it is necessary to proceed from the context of reality into which something new must be introduced, and take into account the corresponding context. This determines the general direction and the specific character of the various links in the invention process.

Creativity as an ability

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

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

Criteria for creativity

Criteria for creativity:

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

By Torrance

• Fluency - the ability to produce a large number of ideas;
• Flexibility - the ability to apply a variety of strategies in solving problems;
• Originality - the ability to produce unusual, non-standard ideas;
• Elaboration - the ability to develop in detail the ideas that have arisen.
• Closure resistance is the ability not to follow stereotypes and stay open for a long time to a variety of incoming information when solving problems.
• The abstractness of the name is the understanding of the essence of the problem of what is really essential. The naming process reflects the ability to transform figurative information into verbal form.

Creativity as a process (creative thinking)

Stages of creative thinking

G. Wallace

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

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

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

A. Poincare

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

stages

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

“For two weeks I tried to prove that there could be no function analogous to the one that I later called automorphic. I was, however, quite wrong; every day I sat down at my desk, spent an hour or two at it, examining big number combinations, and did not come to any result.

2. This is followed by a more or less long period during which the person does not think about the problem that has not yet been solved, is distracted from it. At this time, Poincaré believes, unconscious work on the task takes place. 3. And finally, there comes a moment when suddenly, without immediately preceding reflections on 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; ideas crowded together, I felt them collide until two of them came together to form a stable combination.

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

“By morning I established the existence of one class of these functions, which corresponds to the hypergeometric series; I had only to record the results, which took only 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 managed without difficulty to construct these series, which I called theta-automorphic.

Theory

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

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

The initial conscious work on the problem actualizes, "sets in motion" those elements of future combinations that are relevant to the problem being solved. Then, unless, of course, the problem is solved immediately, there comes a period of unconscious work on the problem. While the conscious mind is busy with other things, in the subconscious, the particles that have received a push continue their dance, colliding and forming various combinations. Which of these combinations enter consciousness? These are the combinations "of the most beautiful, that is, those which most affect that special sense of mathematical beauty known to all mathematicians and inaccessible to the profane to such an extent that they are often inclined to laugh at it." So, the most "mathematical beautiful" combinations are selected and penetrate into consciousness. But what are the characteristics of these beautiful mathematical combinations? “These are those whose elements are harmoniously arranged in such a way that the mind can effortlessly embrace them entirely, guessing the details. This harmony is at the same time the satisfaction of our aesthetic senses and a help for the mind, it supports it and guides it. This harmony gives us the opportunity to anticipate the mathematical law. “Thus, this special aesthetic sense plays the role of a sieve, and this explains why one who is deprived of it will never become a real inventor.”

From the history of the issue

Back in the 19th century, Hermann Helmholtz similarly, although less detailed, described the process of committing “from within” scientific discoveries. In these self-observations of his, the stages of preparation, incubation and illumination are already outlined. Helmholtz wrote about how his scientific ideas are born:

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

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

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

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

They were especially willing to come ... during the hours of a leisurely ascent through the wooded mountains, on a sunny day. The slightest amount of liquor seemed to scare them away.

It is curious to note that stages similar to those described by Poincare were singled out in the process of artistic creativity by B. A. Lezin at the beginning of the 20th century.

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

Stages of the inventive process

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

1. Desire and, the origin of the idea. This stage begins with the appearance of an intuitive glimpse of an idea and ends with the inventor's understanding of it. A probable principle of invention arises. In scientific creativity, this stage corresponds to a hypothesis, in art - to an idea.
2. Knowledge and reasoning, scheme or plan. Development of a complete detailed idea of ​​the invention. Production of experiments - mental and real.
3. Skill, constructive implementation of the invention. Assembly of the invention. Doesn't require creativity.

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

P. M. Jacobson (1934) distinguished the following stages:

1. The period of intellectual readiness.
2. Perception of the problem.
3. The origin of the idea - the formulation of the problem.
4. Search for a solution.
5. Obtaining the principle of the invention.
6. Turning a principle into a scheme.
7. Technical design and deployment of the invention.

Factors hindering creative thinking

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

Creativity and personality

Creativity can be viewed not only as a process of creating something new, but also as a process that occurs during the interaction of a person (or the inner world of a person) 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

“The personality is characterized by activity, the desire of the subject to expand the scope of his activity, 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. Rubinshtein, by making changes in the surrounding world, a person changes himself. Thus, a person changes himself by carrying out creative activity.

B. G. Ananiev believes that creativity is the process of objectifying the inner world of a person. 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.

Creativity Motivation

V. N. Druzhinin writes:

Creativity is based on the global irrational alienation of man from the world; it is directed by a tendency to overcome, it functions according to the type of "positive feedback»; a creative product only spurs the process, turning it into a pursuit of the horizon.

Thus, through creativity, a person is connected with the world. Creativity stimulates itself.

Mental health, freedom and creativity

Representative psychoanalytic direction D. W. Winnicott puts forward the following assumption:

In the game, and perhaps only in the game, a child or an adult has the freedom of creativity.

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

The creation of a new one is not a matter, but an attraction to the game, acting on internal compulsion. The creative spirit plays with the objects it loves.

R. May (a representative of the existential-humanistic trend) 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 is carried out ...

N. A. Berdyaev adheres to the following point:

The creative act is always liberation and overcoming. It has an experience of power.

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

Psychological aspects of the process of artistic creation

Additional observations and explanations of the processes of the creative act are offered by modern natural-science psychology, those experimental developments and studies that are carried out in the field of neurodynamics of creative activity. This approach to the study of creative activity has a fairly long history. Scientists are interested in what happens in the structures of the brain at the time of creative activity, which prompts a person to choose the profession of an artist, musician, writer. Are there physiological foundations that allow us to talk about a person's predisposition to art? A number of researchers answer this question in the negative. In other works (Auerbach, Tandler) one can find observations about some features of the structure of the brain of musicians and writers (significant development of the temporal gyrus of the brain, the transverse gyrus, in some cases - the frontal lobes of the brain).

Studies of neurodynamic processes have shown that the same sounds evoke stronger responses in musicians than in the average person. As is known, all processes of higher nervous activity are based on the mechanisms of excitation and inhibition. The different configurability of the mechanisms of excitation and inhibition determines different types of temperaments, which were identified by Hippocrates. Sanguine in this regard is distinguished by a strong, mobile, balanced type of higher nervous activity. Choleric - strong, mobile, unbalanced. Phlegmatic - strong, balanced, calm. Melancholic is a weak type.

The mechanisms of excitation and inhibition underlie the formation and tying of reflex connections, which, in fact, act as an instrument of professional skills, skills, and methods of creative activity. The ratio of the forces of excitation and inhibition determines the success of the creative act. Their imbalance even in one person in different time leads to the fact that the creative act is carried out at different rates, with different intensity, etc. The tying of reflex connections between the cells of the auditory and visual analyzer is not carried out at any level of excitation. If this level is minimal, then the excitation will not be able to overcome the inertia of the environment and spread to the proper extent through the brain tissues, therefore, it will not be able to create new conditioned reflex closures. Such a state during creativity is subjectively assessed as unsatisfactory. In one of the letters to N.F. von Meck P.I. Tchaikovsky talks about close condition: "It is very convenient to study here, but so far I have not yet been able to enter that phase of the state of mind when one writes by itself, when one does not need to make any effort on oneself, but obey the inner impulse to write."

If at the moment of creativity the excitation is too strong, then the waves of the irritable process will spread freely, providing a full opportunity for the implementation of nervous closures. As a result of such "reflex freedom", the restoration of sound, musical, visual traces will be carried out chaotically, without leading to the creation of a finished work of art. musical works. The curbing of excitation, cutting off everything superfluous, unnecessary, random is carried out with the help of the braking mechanism. Therefore, on the one hand, the productivity of the creative process depends on the ability to achieve strong excitement, leading to the rapid formation of reflex connections, new "nerve patterns"; on the other hand, it depends on the orderly action of braking mechanisms, which fix the developing canvas, allow to balance the part and the whole, to create a complete fragment or the whole work at once. A frequent misfortune of the choleric temperament, when the action of the mechanisms of excitation exceeds the mechanisms of inhibition - unstructured creative activity, in essence - endless. Choleric temperament is more than others inherent in graphomaniacs in literature, music, and fine arts. Thoughts get confused and jump, feelings overwhelm and flood the artist, but he does not control them, he cannot put himself in the framework necessary for this. Such over-excitation has a negative effect on the achievement of a creative effect.

The optimal condition for creativity is when both excitation and inhibition act as equivalent quantities. In this case, this is the prerogative of a sanguine person - a strong type. Subjectively, such a state is assessed as the best for creative activity, it becomes possible to focus on the main thing, the ability to remove unnecessary thoughts and unnecessary sensations. Creative excitement can be quite fleeting - some motives, stylistic devices flash in the mind of a musician, writer, artist, but in general they do not fit into a single artistic fabric. In order for the birth of a work to take place, long-term support of excitement is necessary, that is, the presence of the so-called creative dominant. Dominant is a specific concept of the psychology of creativity. The physiological dominant acts as a focus of stationary excitation. With the existence of different dominants in people, we constantly encounter in life. Every fanatic, enthusiast, devoted to a certain idea, has his own expressed predilections; when starting a conversation in society, he always sits on his "horse". The dominant is the result of the presence in the structures of the brain of strong connections formed during life, which, being usually in a dimmed state, flare up brightly under certain conditions.

With the formation of professional and artistic dominants, a person begins to notice such aspects of the natural and artistic world that were previously inaccessible to him. Every artist knows how difficult it is to warm up the creative dominant and achieve a state where the creative process goes by itself. “Sometimes I watch with curiosity the continuous work that by itself, regardless of the subject of the conversation that I have, from the people with whom I am, takes place in that area of ​​\u200b\u200bmy head that is devoted to music,” Tchaikovsky writes. Sometimes this happens some kind of preparatory work, that is, the details of the voicing of some previously designed piece are finished off, and at another time a completely new, independent musical idea appears, and you try to keep it in your memory. All these self-observations confirm the view of the creative process, which is not a fenced-off sphere. In the moments of wakefulness and sleep, walks and conversations, an already launched creative process is implicitly active in the artist.

Some types of artistic temperament lead to such a strong process of excitement that the artist is often not even able to have time to fix on paper the thoughts and ideas that arise. So, for example, it was with Handel, whose pace of work required shorthand. Working on large choral works, he first wrote down the sketches of all parts, then gradually lost them, coming to the finish line with only one. The energy of the constantly reproduced dominant maintains the creative tone. That is why systematic creative work, even begun with great effort, can bring the entire creative apparatus into an active state. "Inspiration is such a guest who does not like to visit the lazy" - this well-known maxim of artists is thus experimentally confirmed. With systematic work, when reflex connections are constantly tied up, updated and trained, the initial impetus to creativity may be insignificant. The weakest impact is sometimes enough to set in motion the entire most complex creative apparatus. Conversely, with prolonged inactivity, shift from dead center its "rusted" parts are much more difficult. If there were long breaks, a significant push from the outside is required, because. the strengthened inhibition within the brain does not immediately allow itself to be overcome by excitation.

Features of higher nervous activity - the degree of its strength, mobility, balance - underlie the different requirements for the environment. Thus, authors with weak excitation and inhibition, who are difficult to form physiological dominants, are extremely demanding on the conditions of creative work, need "greenhouse" conditions. A favorable environment during creativity acquires exceptional significance for them, activating the nervous processes that are taking place at the moment. Artists of another type, for example, M. Bulgakov, noted from their own experience that "the best works are written on the edge of the kitchen table."

A special problem in the psychology of creativity is the problem of wear and tear of the psyche as a result of prolonged creative efforts. The effectiveness of the prevention of creative work, which is important for both the artist and the scientist, depends on its development. The main thing is the ability to calculate your strength and dose the tension. Some tend to make periods between loneliness and communication at the moment of intense creativity, others alternate the creative process with walks in nature, the work regime is very important for the third, the fourth can compose only at certain periods of the year, etc. Some artists, aware of the nature of their temperament, in the peculiarities of individual psychology, even took some preventive measures aimed at protecting the creative process. Mozart, for example, in a letter to his father asks: "do not write sad letters to me, I need to remain calm, clear, free of thought, and disposition to work. Every sad news deprives me of all this." And another time: "My life here is full of worries and sorrows, I will not read plaintive and tearful letters." The process of establishing strong reflex connections paves familiar paths, which are manifested in the almost automatic possession of some techniques of artistic writing. Over time, these practices become ossified. Each artist can find this kind of stylistic turns, only his inherent leitmotifs, which over time can turn into language clichés. At the physiological level, this means that reflex connections turn into "hardened stereotypes." Here it is important that the strength of the new creative attacks be such that it makes it possible to constantly destroy and change these stereotypes, to protect them from becoming a stereotype. Breaking the background stereotype is most successfully carried out in choleric people, who are more capable of creating than others, systematically changing the original basis. The choleric artist is marked by extravagant impulses in his work; having mastered one genre, he seeks to test himself in unfamiliar ones, etc.

Thus, developments in the field of applied (natural-science) psychology help to detail and explain a number of observations accumulated by the general theoretical psychology of creativity. The complementarity of these scientific spheres is obvious, it allows shedding light on the difficult-to-explain processes of birth, gestation, and the implementation of an artistic concept.

Different people are predisposed to artistic creativity to varying degrees: ability - giftedness - talent - genius high merit.

Artist's abilities

The ability of the artist, according to the American psychologist Guilford, involves six tendencies: fluency of thinking, associativity, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility, the ability to give the necessary shape to the art form. Abilities ensure the creation of artistic values ​​of public interest.

giftedness

Giftedness presupposes sharp attention to life, the ability to choose objects of attention, to fix in memory the theme of associations and connections dictated by creative imagination. An artistically gifted person creates works that have sustainable significance for a given society for a significant period of its development. Giftedness is the ability to focus attention on objects worthy of selective attention, to extract impressions from memory and include them in the system of associations and connections dictated by creative imagination. Talent generates artistic values ​​that have enduring national and sometimes even universal significance. “Most prefer the middle ground between mediocrity and genius - talent. Not everyone wants to change their whole life for art. And how many times does a genius regret his choice at the end of his career! “It was better not to surprise the world and live in this world,” says Ibsen in his last drama. (Shestov, 1991, pp. 72-73).

Genius fully expressing the essence of his time, most often, as it were, does not fit in his era. It can be said that he pulls the thread of tradition from the past to the future, and therefore part of his work belongs to the past, and part to the future. And only mediocre contemporaries see only what is in genius from the present, and even that they see incompletely. Hateful, boring, irritating labor is the condition for the development of genius. That is why people so rarely achieve anything. A genius must agree to cultivate a donkey in himself - this condition is so humiliating that a person goes for it only as a last resort ... A genius is a miserable and blind maniac who is forgiven all his oddities in view of the benefits he brings. And yet we all worship perseverance and genius - the only god in whom modernity still believes" (Shestov. 1991, pp. 72-73). Genius creates the highest universal human values ​​that are significant for all time. The genius of the artist is manifested both in the power of perception of the world, and in the depth of the impact on humanity. “There is no genius without will, but there is still more, there is even less - without inspiration” (Tsvetaeva. 1991, p. 74). There are many mysterious legends and theoretical speculations around the figure of a genius. There is a "deviation from the norm" in genius. “Genius is rarely found in alliance with the prevailing rationality; on the contrary, individuals of genius are often subject to strong affects and unreasonable passions” (Schopenhauer, 1900, p. 196). However, artistic genius is not a form of mental pathology, and according to Gogol's fair judgment, "art is the instillation of harmony and order in the soul, and not embarrassment and disorder" (Gogol, vol. 6, p. 382). This applies both to the impact of the work on the public, and to the process of artistic creation.

Principles of interpretation of creativity (philosophical, sociological, cultural aspect)

Creativity is an attribute of human activity, its “necessary, essential, inalienable property”. It predetermined the emergence of man and human society, and underlies the further progress of material and spiritual production. Creativity is the highest form of activity and independent activity of a person and society. It contains an element of the new, involves original and productive activity, the ability to solve problem situations, productive imagination, combined with a critical attitude towards the achieved result. The scope of creativity covers actions from non-standard solution of a simple problem to the full realization of the unique potentials of an individual in a certain area.

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

A precondition for creative activity is the process of cognition, the accumulation of knowledge about the subject that is to be changed.

Creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, new more progressive forms of management, education, etc. and pushing the limits of human capabilities.

Creativity is based on the principle of activity, and more specifically, labor activity. The process of practical transformation of the surrounding world by a person, in principle, determines the formation of the person himself.

Creativity is an attribute of the activity of only the human race. The generic essence of a person, his most important attributive property, is objective activity, the essence of which is creativity. However, this attribute is not inherent in a person from birth. At this time, it is present only as a possibility. Creativity is not a gift of nature, but a property acquired through labor activity. It is transformative activity, inclusion in it that is a necessary condition for the development of the ability to be creative. The transforming activity of a person educates him, the subject of creativity, instills in him the appropriate knowledge, skills, educates the will, makes him comprehensively developed, allows you to create qualitatively new levels of material and spiritual culture, i.e. create.

Thus, the principle of activity, the unity of labor and creativity reveal the sociological aspect of the analysis of the foundations of creativity.

The culturological aspect proceeds from the principle of continuity, the unity of tradition and innovation.

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

The interaction that arises in the creative process between different qualitative levels of culture raises the question of the relationship between tradition and innovation, because it is impossible to understand the nature and essence of innovation in science, art, technology, to correctly explain the nature of innovation in culture, language, and in various forms of social activity outside of dialectics. development of the tradition. Consequently, tradition is one of the internal determinations of creativity. It forms the basis, the original base of the creative act, instills in the subject of creativity a certain psychological attitude that contributes to the realization of certain needs of society.

18.12.2013 08:57:29

Good time Tamara. Ability, this quality is not constant, it can change with the help of our efforts, practice and desire, to change something in ourselves. I think so. I don’t know, Tamara, whether my note reached you, but the data of my first page was lost when the computer crashed and the program changed, then I tried to restore it, but failed, now I figured out the reasons, but I don’t want to restore it, let it remain for memory. It will be possible to drag some of your works to this page, or just make a link that that page is mine. I don’t need points, I don’t need a rating either, and I haven’t chased them in stichera and I don’t chase them, but I gave about 16-17 thousand points, I didn’t count them. It is much more interesting there, and there are more readers on the site. There are at least 2.5 - 3 thousand registered authors and readers within an hour. Lyudmila V "Dolchev" something is not visible here. Over time, I will publish my aphorisms here, as I figure out the program of the site, it is still not clear to me, neither with the font, it happens in verse, jumps, nor with the design of the page. It's easier in verse, but maybe I'm used to it. Alina helped me arrange my photo, I don’t want to change it, as a token of gratitude as my teacher, she helped me in many ways, now I don’t see her on the sites, I can see my problems. Fish with an aquarium fit well with my zodiac sign, she didn’t even know about it. With respect and warmth to you, Peter.

The psychoanalytic method is also used by Freud in the analysis of the specific features of artistic creation and the problems of art. Here he also starts from the postulates he originally put forward, and above all from the idea of ​​the "oedipal complex", in which, according to Freud, historically "the beginning of religion, morality, society and art coincide." The origins of art are seen by him in fantasy, with the help of which sons who have abandoned their intentions to become deputies of their father in real life, put themselves in his place in the imagination, trying in this way to satisfy their unconscious desires. The one with the most highly developed imagination became the first poet who was able to clothe his unconscious desires in such a mythical form, thanks to which they ceased to be asocial and turned into a means of self-satisfaction both in the imagination of the poet himself and in the fantastic pictures of other people who listen his poetic voice. The power of poetic imagination, capable of captivating and capturing the masses into a fantastic, imaginary world, acquires, as Freud argues, great importance because it is based on a universal feeling of affective attachment to the primitive father.

Thus, fantasy and myth-making are endowed in Freud's teaching with the function of sublimating the unconscious inclinations of a person. Such an understanding of the causes of the emergence of art leaves its mark on Freud's psychoanalytic concept. artistic creativity, and on a specific analysis of individual works of art.

In both cases, a psychoanalytic procedure is proposed to decipher the "language" of the unconscious, which in symbolic form seems to acquire its independence in fantasies, myths, fairy tales, dreams, works of art. Art, thus, is considered by Freud as a peculiar way of reconciling the oppositional principles of "reality" and "pleasure" by ousting socially unacceptable impulses from human consciousness. It helps to eliminate real conflicts in a person's life and maintain mental balance, that is, it acts as a kind of therapy leading to the elimination of painful symptoms. In the psyche of the artist, this is achieved through his creative self-purification and the dissolution of unconscious drives in socially acceptable artistic activity. In its meaning, such therapy resembles the "catharsis" of Aristotle. But if for the latter only tragedy acts as a means of spiritual purification, then the founder of psychoanalysis sees in this the specificity of all art.

He erroneously considers compensation for the artist's dissatisfaction with the real state of affairs to be the main function of art. Yes, not only an artist, but also people who perceive art, because in the process of familiarizing with beauty works of art they are involved in the illusory satisfaction of their unconscious desires, carefully hidden from others and from themselves. Art undoubtedly includes the function of compensation.

The compensatory function of art under certain conditions can even come to the fore, as often happens in modern bourgeois culture, the spiritual products of which are designed to reconcile a person with social reality, which is achieved by distracting him from everyday worries, the real problems of life. And yet compensation is not the main and, moreover, not the only function of art.

The compensatory function of art becomes the main one only when artistic creativity turns into a craft for the fulfillment of a social order that does not meet the inner needs of the artist, and works of art into mass production designed for a consumer who is internally tuned in for entertainment.

Turning to the problems of art, Freud seeks to reveal the essence of artistic, and above all poetic, creativity.

The first traces of this type of human spiritual activity, according to

Freud, should be sought already in children. Both the poet and the child can create their own fantastic world, which does not fit into the framework of the ordinary ideas of a person devoid of poetic imagination. The child during the game rearranges existing world according to his own taste, and he takes the fruit of his imagination quite seriously. In the same way, the poet, thanks to the ability of creative imagination, not only creates a new beautiful world in art, but often believes in its existence. Freud notes this fact. But, passing through the prism of his psychoanalytic thinking, he receives a false interpretation that both children's games and fantasies and poetic creativity are based on hidden unconscious desires, mainly of a sexual nature. Hence the equally false conclusion that the motives and stimuli of people's fantasies, including poetic creativity, are either ambitious desires or erotic inclinations. These same unconscious drives, according to Freud, constitute the hidden content of the works of art themselves.

Freud does not consider the relationship between consciousness and the unconscious in the process of the creative act. Perhaps he considers this redundant, since when analyzing the mental structure of the personality and the principles of functioning of its diverse layers, he has already made an attempt to comprehend the interactions between the conscious "I" and the unconscious "It". However, then it was about the principles of the functioning of the human psyche as a whole, regardless of the specific manifestations of human life. Freud automatically transfers the abstract scheme of relations between consciousness and the unconscious that he created to specific types of human activity - to scientific, artistic, sexual, everyday behavioral activities. At the same time, the specific features of each of these types of human activity remain unidentified.

Freud failed to determine the specifics of poetic creativity. And this is far from accidental. The fact is that within the framework of psychoanalysis, with its emphasis on the unconscious motivation of human activity, this problem seems fundamentally unsolvable. However, Freud himself is forced to admit that psychoanalysis is by no means always able to penetrate into the mechanisms of the creative work of the individual. According to him, the ability to sublimate, which underlies the formation of fantasies, including artistic ones, is not amenable to deep psychoanalytic dissection. And this means that "the essence of artistic creativity is also inaccessible to psychoanalysis."

Considering the motives of poetic creativity, Freud simultaneously raises the question of psychological impact works of art per person. He correctly notices the fact that a person receives genuine pleasure from the perception of works of art, in particular from poetry, independently. on whether the source of this pleasure is pleasant or unpleasant impressions.

Freud believes that the poet achieves this result by translating his unconscious desires into symbolic forms that no longer cause indignation of the moral personality, as might be the case with an open depiction of the unconscious: the poet softens the nature of egoistic and sexual drives, obscures them and presents them in the form poetic fantasies, causing aesthetic pleasure in people.

In the psychoanalytic understanding, the real pleasure of a poetic work is achieved because in the soul of every person there are unconscious drives, similar to those that are characteristic of the poet.

Comprehension of the hidden meaning and content of works of art Freud connects with the "decoding" of unconscious motives and incestuous desires, which predetermine, in his opinion, the artist's intentions. Psychoanalysis, with its dismemberment of a person's spiritual life, the identification of intrapsychic conflicts of the individual and the "decoding" of the language of the unconscious, seems to Freud, if not the only, then at least the most appropriate method for studying works of art, the true meaning of which is determined on the basis of an analysis of the psychological dynamics of the individual-personal activity of creators and the characters in these works. If we take into account that in the masterpieces of world art Freud seeks only confirmation of the assumptions and hypotheses underlying his psychoanalytic teaching, then it is not difficult to predict the direction of his thinking in a specific analysis of artistic creativity.

Along with the wide popularity of Freud's ideas in the West, his psychoanalytic views on the essence of artistic creation caused internal protest and critical objections from the realistic intelligentsia. Many of them were disgusted not only by the sexual underpinnings that the founder of psychoanalysis always tried to find in the artist’s work, but also by the trend in the study of artistic creativity, according to which an exceptional role in this process is assigned to the unconscious desires of a person, and conscious motives in creativity are not taken into account. From these positions, Freud's views on art were subjected to fair criticism not only in Marxist, but also in progressive bourgeois aesthetic and art history thought.