Latishkov artistic creativity. Children's fine art: what should be understood by this? §1.1 The problem of creativity in the history of philosophy

Creativity in art is the creation of a reflection of the real world, surrounding a person. It is divided into types in accordance with the methods of material embodiment. Creativity in art is united by one task - service to society.

Classification

The modern system of division of art, as well as related to it, suggests three separate categories.

The first group includes art forms perceived visually. These include:

• Creativity is decorative and applied.
• The art of architecture.
• Creativity in the visual arts.
• The art of sculptural images.
• Painting.
• Art photography as a kind of creativity.

The second group includes types of art of a long-term nature. This:

• Fiction literature as an extensive layer of culture, consisting of numerous creative methods for creating works.
• Music in all its diversity as a reflection of creative processes in art.

Some species may be related to each other, as, for example, musical opera synthesized with literature when creating a libretto.

The third group consists of spatio-temporal types of creativity, perceived both visually and by ear:

• Theatrical art.
• Art of choreography, musical, ballet.
• Cinematography.
• circus genre.

Creativity in the art of individual forms

Comprehensive art picture cannot be created on the basis of one kind of art. Even such academic types as painting or sculpture need additional funds - the paintings must be placed in a beautiful frame, and the sculpture must be properly lit.

Therefore, a fairly wide field arises for the application of various creative processes in art, some may be fundamental, others auxiliary, but in any case, both will be useful. Examples of creativity in art can be cited ad infinitum. There are several gradations here, but they all obey one general formulation: great art requires high standards of creativity, cultural categories the smaller ones are content with a lower creative level.

The situation is different in the field of science. There is absolutely unacceptable low level of professionalism. and art are incomparable things. Science does not forgive mistakes, but art is able to turn any relative shortcomings into good.

Talent and Technology

Creativity in the art of small forms, such as small plastic arts in the arts and crafts or stage sketches in the theater, does not require high vocational training. To succeed in this kind of creativity, it is enough to have a certain talent and master the technologies for making art products or have an ability for theatrical productions. In literature, in order to write a short story or essay, it is not necessary to be a writer, it is enough to have good taste and be able to correctly express your thoughts.

One of the areas of culture where a person can successfully apply his creative potential, is Artistic value products of folk art crafts can be quite high if the masters of their craft work. In addition to the virtuoso manufacture of crafts, you must first select the right material, and only an experienced craftsman can handle this task.

Utility

Creativity in the art of an artist of arts and crafts is the creation of artistic household items. As a rule, these products belong to folklore, regardless of whether they are used for their intended purpose or placed as exhibits at an exhibition. Natural materials are used in the manufacture of decorative objects: bone, stone, wood, clay.

Raw material processing methods are also relatively simple - these are handmade using a simple tool and technique used today came in modern world from the distant past.

local affiliation

Folk arts and crafts, which form the basis of decorative and applied arts in Russia, are distributed by region, each type belongs to a specific area:

• bone carving - Kholmogory, Khotkovo;
• embroidery - Vladimir gold embroidery;
• metal art products - scarlet silver of Veliky Ustyug;
• - Pavlovo-Posad shawls;
• lace weaving - Vologda, Mikhailovskoye;
• Russian ceramics - Gzhel, Skopino, Dymkovo toy, Kargopol;
• picturesque miniatures - Palekh, Mstera, Kholuy;
• wood carving - Bogorodskaya, Abramtsevo-Kudrinskaya;
• painting on wood - Khokhloma, Gorodetskaya, Fedoskino.

Sculpture

The art of creating relief sculptures is rooted in the Middle Ages. Sculpture as a fine art embodies the real world in artistic images. The material used to create sculptures is stone, bronze, marble, granite, wood. In especially large-scale projects, concrete, steel reinforcement, and various plasticized fillers are used.

Sculptural sculptures are conditionally divided into two types: relief and volumetric three-dimensional. Both are widely used to create monuments, monuments and memorials. Relief sculptures, in turn, are divided into three subspecies:

• bas-relief - low or medium relief image;
• high relief - high relief;
• counter-relief - mortise image.

Each sculpture can be classified and categorized as easel, decorative, monumental. Easel sculptural images are, as a rule, museum exhibits. They are on the premises. Decorative are placed in in public places, parks, squares, garden plots. always stand in visited public places, in city squares, central streets and in close proximity to government institutions.

Architecture

Utilitarian architecture appeared about four thousand years ago, and signs of artistry began to acquire shortly before the birth of Christ. Architecture has been considered an independent art form since the beginning of the twelfth century, when architects began to build Gothic buildings in European countries.

Creativity in the art of architecture is the creation of buildings that are unique from an artistic point of view. A good example of creativity in the construction of residential buildings can be considered the projects of the Spanish architect Antonio Gaudi, which are located in Barcelona.

Literature

Spatio-temporal varieties of art are the most sought-after and popular categories accepted in society. Literature is a form of creativity in which fundamental factor is art word. Russian culture of the eighteenth and nineteenth centuries knew many brilliant writers and poets.

Creativity in the art of Pushkin Alexander Sergeevich, the great Russian poet, was extremely fruitful, in his short life he created a number of immortal works in verse and prose. Almost all of them are considered masterpieces of literature. Some are included in the list of brilliant creations of world significance.

Lermontov's work in art also left a noticeable mark. His works are textbook, classical in their essence. The poet also died early, at the age of twenty-six. But he managed to leave behind an invaluable legacy, masterpiece poems and many poems.

The brilliant Russian writer Nikolai Vasilyevich Gogol left his mark on Russian literature of the nineteenth century. The writer lived and worked during the heyday Russian society. Art in Gogol's work is represented by many highly artistic works included in the Golden Fund of Russian Culture.

Choreography and ballet

Dance art originated in Rus' in time immemorial. In the language of dance, people began to communicate first at festive festivities. Then the dances took the form of theatrical performances, professional dancers and ballerinas appeared. At first, the dance floor was a booth stage or a tent circus arena. Then studios began to open, in which both rehearsals and ballet performances took place. In everyday life, the term "choreography" appeared, which means "the art of dance."

Ballet quickly became popular view creativity, especially since the dances were necessarily accompanied by music, most often classical. The theatrical audience was divided into two camps: lovers of dramatic or opera performances and those who prefer to watch a dance performance on the theater stage accompanied by music.

Cinematography

most popular and massive view art is cinema. Over the past half century it has been supplanted by television, but millions of people still go to cinemas. What explains such a high demand for cinema? First of all, the versatility of this art form. Any literary work can be filmed, and it will become even more interesting in a new reading. Ballet performances, popular science stories - all this can also be shown to the moviegoer.

There is a whole industry of film production, which is based on the film studios of the first size, such as Metro-Goldwyn-Mayer, 20th Century Fox, Paramount Pictures and a few others. All major film production firms are located in Hollywood, a special area of ​​the American city of Los Angeles. Hundreds of smaller film studios are scattered around the world. "Dream Factory" - this is the name of world cinema, and this is a very accurate definition.

MELIK-PASHAEV A.A., doctor psychological sciences, main Researcher Psychological Institute of the Russian Academy of Education, Chief Editor magazine "Art in School", Moscow, Russia.

ABOUT preventive value artistic creativity

The author considers creativity as a condition and manifestation of the psychological and spiritual health of a person and as a norm in the axiological sense of the word, that is, as the completeness of the actualization of really existing human capabilities. The gift of creativity as such is a generic property of man. Accordingly, creative deprivation is contrary to human nature and therefore is fraught with dangerous psychological, psychosomatic and social consequences for children. A thesis is put forward about the need for art prevention in the form of a universal, generally accessible, creatively oriented art education.

Keywords: Creativity, artistic creativity, statistical and value norm, internal activity of the soul, art prevention.

There is a wide-spread opinion that creativity is connected to some deviations from the psychic norm. However, the author of the article considers creativity exactly as a norm, as a condition for individual's psychological and even mental health and as a manifestation of it. But what is meant is not the statistic norm according to which something is normal if it is encountered often enough under given conditions, but the axiological norm which means "the best of what can be achieved", the total actualization of really existing human abilities. It is stated in the article that creative gift in a broad sense, considered as " the inner activity of the soul" (V.V. Zenkovsky), is not an elite but a generic feature of a human being, Such interpretation of creativity is based on various sources: from biblical anthropology to humanistic psychology as well as therapeutic and pedagogical practice. Therefore blockage of this inner energy, creative deprivation that is wide-spread, for particular, in traditional school education contradicts the very nature of a human and hence may cause dangerous consequences for psychic and psychosomatic health of children (depression, depersonalization, feeling of meaninglessness of life) as well as push them to so-called “risk zones" (drug addiction, alcoholism, juvenile delinquency, suicidal tendencies).

It is pointed out that the optimal way of early children "s familiarization with creative experience as it is, with generation and realization of their own ideas, is creative production in one art form or another.

The author presents data which prove that proper participation in the artistic creation provides efficient protection against many psychological deviations and social evils. It is declared that besides the art therapy that is used by those people who already need therapeutic help, it is necessary to develop art prophylaxis as general, commonly available, creation- oriented artistic education.

Keywords: Creation, artistic creation, statistic and axiological norm, inner activity of the soul, art prophylaxis

Many years ago, in one of the speeches of the famous pediatrician F. Bazarny, a catchy formula sounded: "a person is either creative or sick." It can be perceived as a paradox: after all, many tend to understand creativity in just the opposite way, as this or that deviation from the mental norm. I will not now dispute or discuss the reasons for the persistence of this prejudice, but I will try, in accordance with the topic of the article, to substantiate the understanding of creativity in general and artistic creativity in particular as a condition and manifestation of health in the psychological and even in the spiritual sense of the word.

But first we need to agree - not, of course, about “what creativity is” (that would be an exorbitant claim!), But about what we will call this word in the context of further reasoning. After all, different authors mean different things by creativity: from a workaround for the fulfillment of tabooed desires to the creation of something new that has never been before. The second point of view is the most common and, at first glance, does not raise objections. But on closer examination, the psychologist hardly recognizes it as completely satisfactory.

In order to avoid the devaluation of the term, the supporters of such an understanding of creativity themselves have to stipulate that creativity is not the product of any “new”, but only one that has an objective cultural and social significance. A reservation is undoubtedly necessary, but it is equally obvious that the criteria for this objective validity are indefinite and changeable.

Another question inevitably arises: the introduction of something new into life, and, moreover, “objectively significant”, can be both constructive and destructive. Does the value halo associated with the concept of “creativity” allow us to ignore this difference and call creativity any manifestation of human activity? Or should we talk about creativity with a plus sign and a minus sign, about creativity and “anti-creativity?”

Many thinkers and scientists have thought about this. Thus, Pavel Florensky considered unsatisfactory the definition of culture as "created by man", since it actually equalizes the great work of human genius, and, for example, a thieves' master key: both have to be recognized as a fact of culture.

Touching upon this problem, psychologist V.N. Druzhinin proposes to distinguish between adaptive and transformative human activity; while the second can be both creative, that is, creative, and maladaptive, destructive, which does not create a new environment, but destroys the existing one. But it is practically impossible to separate these two aspects of the manifestation of human activity: in any creation of the new one can see an aspect of the voluntary or involuntary destruction of the old. From my point of view, the issue under discussion is fundamentally unresolvable within the framework of understanding creativity as “creating something new”. (I confess in advance: the question is not removed by itself even with the understanding of creativity, which I will try to substantiate below.)

Further. If not every "creation of the new" can be called creativity, then not every creativity is the creation of an objectively new. It is no coincidence that in pedagogical psychology such concepts as subjective creativity arose, or - in a different scientific context - the student's quasi-research activity. They were needed to denote what is not the creation or discovery of something new for humanity, but is such subjectively, for the child himself. The brightest example in the history of science: teenager Blaise Pascal single-handedly rediscovered a number of axioms of the ancient geometer Euclid. Having done this, he did not say anything that mankind did not know, but discovered what he himself did not know and, most importantly, discovered the source of creative genius in himself.

I summarize: the criterion of objective novelty of a product is not a psychological criterion. It is legitimate from the point of view of the history of art, science or other sphere of cultural activity. The psychologist should consider, first of all, inside creative act, that which takes place in the human soul and is embodied in the forms and results of this or that activity.

It is by no means to say that scientists are not trying to penetrate into this inner realm of the creative process. There are many studies in which, empirically, on the basis of correlations with a person's achievements in any activity, certain psychological traits characteristic of a creative person were identified. Such, for example, as “androgyny”, “tolerance for uncertainty”, adherence to non-standard solutions, independence of assessments and judgments (nonconformity), and so on.

Of interest are empirical generalizations concerning the staging of the creative process (from posing a problem to verifying the solution obtained as a result of insight), the role of the conscious and the unconscious at these different stages, and so on.

Recognizing the importance of such research, I at the same time recall the deep thought expressed by someone that there are two kinds of knowledge: one can know “about something”, and one can know “something”. Knowledge of the first kind is surprisingly extensive and useful in one way or another, but it remains external and in this sense superficial; the essence of the knowable (whether it be a person, a phenomenon of nature, historical event, fact of culture) remains for the cognizer a kind of “thing in itself”, the very existence of which he may not suspect.

And to know something means to know from within, through communion, revealing something both in the object of knowledge, and, thus, in oneself.

From this point of view, everything that has been said above should be attributed to the knowledge of the first type. These are some kind of labels, identifying signs of creative talent or the creative process, associated with them rather correlatively than meaningfully. They look quite plausible, they should be taken into account, but it seems to me that they do not help to understand the power that generates creativity and its existential meaning for the person himself.

In order to try to see the problem of creativity from the inside, it is necessary, first of all, to determine how we understand the essence of man. Indeed, at the base of any psychological concept, no matter how rational it may look, one can find some axiomatic, logically unprovable and experimentally unverifiable, but a supposed idea of ​​what, or rather, who a Man is. Or, as they used to say in the past, “who we are, where we come from and where we are going? This representation predetermines the vector, possibilities and limits of possibilities. this direction research. It may not be realized by the author himself, mimicking something taken for granted and the only possible one, or it may be relied upon consciously and responsibly.

We will proceed from the fact that man is a creator by nature. As was said, the original axiom is not subject to proof, but a variety of sources testify in favor of its truth.

• Biblical and patristic anthropology: man is not only created, but animated by the creative spirit, and this is precisely his likeness to the Creator.
• Humanistic psychology, which sees the task of a person and the guarantee of the health of an individual and society in self-actualization, that is, in the full disclosure of a person's potential.
• Modern psychotherapy (in particular, the diverse branches of art therapy) and its direction as creative self-expression therapy: creativity in its various forms gives strength to live and restores health.
• Good practice in teaching different types of arts (perhaps not only arts): in favorable psychological and pedagogical conditions, almost all students general education schools go to the level of creativity:
  - creation of complete artistic images. In Russian pedagogy, an example is the teaching of fine arts according to the system of B.M. Nemensky, literature
  - according to the Z.N. Novlyanskaya and G.N. Kudina, many theatrical and pedagogical practices, etc. (This does not mean that children are equal in this respect, but that is another matter.)

The general psychological substantiation of the thesis about creative nature I find a person in the fundamental work of a remarkable scientist, and later also a teacher, theologian and clergyman V.V. Zenkovsky, published over a hundred years ago. In this work, the Author shows that, contrary to appearances, the inner life of a person is not subject to causal logic; it is directed not by certain objective, independent factors to which a person reacts and to which he adapts, but by his inherent inner activity, or the inner energy of the soul, which acts teleologically, selectively transforming the material of all objective influences and impressions.

This internal energy characterizes a person as a creative being who needs, in the words of the great preacher of our time, Metropolitan Anthony of Surozh, “to live from the inside out”, and not just respond to outside influences.

I emphasize: we are not talking about individual prominent people, but about the person as such, in generic meaning words. In other words, creativity, creative self-realization is the norm of human existence. This claim seems to be hopelessly opposed by the data from test studies, which collectively limit the number of "creative people" to a tiny percentage of the total sample. I will not now discuss the validity of the methods, nor the criteria for evaluating the results of these studies. More fundamental is the question of what is considered normal.

Usually, the norm is understood statistically, when, simply speaking, what is considered normal is that which occurs quite often in actual conditions. But I proceed from a fundamentally different, value-based understanding of the norm, when the highest possible, the fullness of a person's potentialities, is recognized as normal. (Let me remind you, in connection with what has been said above, of the above data on the creative achievements of "ordinary" children under adequate psychological and pedagogical conditions.)

Understanding creative self-realization as a norm human life sharply raises the question of what happens to us, first of all - to children, when the manifestation of the internal energy of the soul is blocked, as it often happens in the traditional conditions of schooling. V. Bazarny, mentioned at the beginning of the article, says that without creative inspiration, children find themselves in the grip of oppressive, almost unbearable experiences of emptiness, the meaninglessness of life, and the unbearable malleability of time. The development of this situation is possible in two directions, one worse than the other. The first can be likened to the death of grass sprouts rolled under the asphalt and not finding the strength to break it. The consequences of this are the lack of meaning in life, the feeling of unreality of oneself in the world, depersonalization, depression, suicidal tendencies.

The image of the second direction is a boiling sealed kettle, which at some point explodes. Consequences - deviant, criminal, self-destructive behavior, the so-called unmotivated crimes, the "complex of Herostratus", who finds no other way to prove that he lived on earth, how to destroy what others have created. Considering all this, one can modify the aphorism of V. Bazarny, given at the beginning of the article, and say: a person deprived of creativity is either a potential patient or a potential criminal.

Speaking of creativity as a necessary and healing form of human existence, I mean, of course, not only artistic creativity. As said great philosopher BUT. Lossky, the creative potential inherent in man is initially “super-quality”, that is, universal in nature. It is no coincidence that the method of creative self-expression therapy we mentioned, developed and successfully practiced by M.E. Stormy and his followers, extends to almost all spheres of our activity, communication and leisure, in each of which actualization of the "internal energy of the soul" is possible.

But in childhood, art has an undeniable priority, as an area in which a child can early and most successfully acquire the experience of creativity as such: the generation, embodiment and presentation of his own ideas. On what is this assertion based?

We have already said that in favorable conditions for learning, the artistic and creative potential, to a greater or lesser extent, lesser degree, is revealed in almost all children. Add to this that in no other area is the child of preschool and younger school age does not create anything that would be recognized as valuable and even tried to partially adopt the professional elite, as has been happening in art for more than a hundred years. And the point is not that children are seen as future professionals who will bring something valuable to the artistic culture of mankind - this just may well not be - but that what they create is already an undoubted, albeit marked by age originality, artistic value.

This originality is connected with another argument in favor of the priority of art in the early creative development of children. Achievements of small (but still closer to adolescence) children in any scientific field are attracted by the fact that they are ahead of their age and think in principle in the same way as adult scientists. There is no "children's science", but children's art exists, and a person who has at least a little pedagogical experience will determine with sufficient accuracy the age of the author of a drawing or composition. (A convincing example: everyone will say that the author of the brilliant children's quatrain "May there always be sunshine!" is about four years old.)

This combination of full-fledged artistry and age originality speaks, from my point of view, of the maximum "environmental friendliness" of this type of creativity for young children.

The foregoing allows us to assert that early initiation into artistic and creative experience is an almost indispensable condition and the best means of educating psychologically, morally and socially prosperous generations. And there are numerous confirmations of this.

Art therapy as a branched field of correction of mental disorders is too well known to once again confirm its significance. But it is worth mentioning the facts that go beyond the usual ideas about its capabilities.

Everyone will agree that choral singing is a useful thing both from the physical and from the mental, psychological point of view. But there is, for example, evidence that in one of the Chinese colonies, a police commissioner began to treat drug addiction with regular choral singing. And he got a result that was 10 times higher than that achieved in special institutions with the help of pharmacological agents and special psychotechnics, and in fact approaching one hundred percent. Of course, this requires verification in other conditions, but I will put emphasis on the word requires.

And here is evidence from the criminal sphere. An outstanding teacher V.V. Sukhomlinsky wrote: "The more serious the crime, the more inhumanity, cruelty, stupidity in it, the poorer the intellectual, aesthetic, moral interests of the family." And further: “None of those who committed the crime could name a single work of symphony, opera or chamber music." But here the inverse relationship is also guessed, and it is confirmed by scientific data. In our time, the American scientist M. Gardiner studied life experience thousands of young people who were registered with the police. And he became convinced that the more actively a teenager is engaged in music, the less likely he is to have friction with the law, and of those capable of playing from a sheet, no one came to the attention of the police. The author concludes that a child’s serious music lessons “completely rule out criminal experience”

The initiative of the Venezuelan musician and public figure HA. Abreu, which involves children from the age of two in music lessons - not in search of geeks, but for the sake of social adaptation millions of children from the most disadvantaged sections of society, and calls this movement a program of national salvation.

It is possible to give examples of the equally beneficial influence of theater and other types of artistic creativity, but what has been said is enough to, summarizing, return to the idea expressed in the title of the article.

When a child has reached nervous exhaustion, lost sleep, fell into depression or, God forbid, thought about suicide, that is, when he is already ill, we turn to art therapy and attract the forces of art and artistic creativity to help. But is it worth waiting for trouble? Why not engage in arttrophilaxis, which requires only what, it would seem, should already exist in school: a universal, generally accessible, full-fledged, creatively oriented art education?

Moreover, as we see, it can not only warn psychological problems of varying severity, but also to protect the growing child from falling into those circles of self-destructive and criminal hell, which we correctly call "risk zones". Because it does not act with fruitless and cruel prohibitions, restrictions and punishments (remember the soldered teapot!), but from childhood it opens a positive, socially approved way out of the locked “inner energy of the soul” of a growing person.

Because it allows you to feel like an author who is really present in this world, who has the right to creatively change it, but also bears the author's responsibility for what he freely, on his own initiative, creates. All this fills the daily life of a person with meaning and makes obviously uninteresting and unattractive everything that can only destroy it.

Much more can be said, and many times it has been said about the indispensable role of art education and creativity in the formation of a child's personality, and, therefore, in the life of society. This is the development of the sensory sphere, which is so significant for children, which remains unclaimed in the conditions of a one-sidedly rationalized education. This is the development of spiritual responsiveness, and familiarization with the enduring values ​​of humanity, without which any knowledge and “competencies” can be easily turned to harm. This is an increase in general mental abilities, intellectual activity, and a more successful development of other school disciplines, which is observed in any educational institution where art is given its due place. But long experience shows that, for reasons that are difficult to explain, these rather well-known facts do not lead to a change in the state cultural and educational policy, which stubbornly keeps art on the margins of general education and, in fact, more and more reduces it to nothing.

But art education also brings opportunities that cannot be brushed aside, and it is to them that I draw attention. Introduction to art is a powerful means of preventing many social disasters and mental disorders, the growth of which among new generations is a formidable danger to national culture and, in the foreseeable future, for the very existence of society, people and state.

List of sources used:

1. Florensky P.A. From the theological heritage. / Theological works. Issue 9. M.: Edition of the Moscow Patriarchy, 1972. pp. 85-248.
2. Druzhinin VN Psychodiagnostics of general abilities. M.: Academy, 1996, 216 S.
3. Maslow A. Far limits of the human psyche. St. Petersburg: Eurasia, 1997.
4. A Practical Guide to Creative Expression Therapy. Ed. M.E. Stormy. M.: Academic project OPPP, 2002.
5. Zenkovsky V.V. The problem of mental causation. Kyiv, 1914.
6. Slobodchikov V.V. Theory and diagnostics of development in psychological anthropology. // Psychology of learning, 2014, No. 1, pp. 3-14.
7. Bazarny V.F. Neuro-psychic fatigue of students in the traditional school environment. - Sergiev Posad .: Min. arr. RF, 1995.
8. Bazarny V.F. Interview. "Soviet Russia", 10/23/2004.
9. Sukhomlinsky V.V. Selected pedagogical works. Volume 1. 1979.
10. Kirnarskaya D.K. Musical ability. - M.: Talents-XX Century, 2004

TRANSLITERATION OF RESOURCES:

1. Florenskiy P.A. From bogoslovskogo naslediya. / Bogoslovskie trudyi. Vyip.9. iVf: Izdanie Moskovskoy patriarhii, 1972. str.85-248.
2. Druzhinin V.N. Psychodiagnostika obschih sposobnostey. Moscow: Akademiya, 1996, 216 S.
3. Maslou A. Dalnie predelyi chelovecheskoy psihiki. SPb.: Evraziya, 1997.
4. Prakticheskoe rukovodstvo po terapii tvorcheskim samcrvyirazheniem. Under red. M.E. Burno. M.: Akademicheskiy project OPPP, 2002.
5. Zenkovskiy V.V. Problema psihicheskoy prichinnosti. Kiev, 1914.
6. Slobodckikov V.V. Teoriya i diagnostika razvitiya v psihologicheskoy antropologii. // Psychology obucheniya, 2014, #1, s. 3-14.
7. Bazarnyiy V.F. Nervno-psihicheskoe utomlenie uchaschihsya v traditsionnoy shkolnoy srede. - Sergiev Posad.: Min.obr.RF", 1995.
8. Bazarnyiy V.F. Interview. "Sovetskaya Rossiya", 10/23/2004.
9. Suhomlinskiy V.V. Izbrannyie pedagogicheskie sochineniya. Tom 1.1979.
10. Kirnarskaya D.K. Muzyikalnyie sposobnosti. - M.; Talantyi-HH Vek, 2004.

Melik-Pashaev, A.A. On the preventive significance of artistic creativity / A.A. Melik-Pashaev // Thematic issue "International Chelpanivska psychological and pedagogical reading", - K .: Gnosis, 2016. - 354 p. - T. 3. - VIP. 36. - S. 20-28. - 0.8 p.l. – ISBN 978-966-2760-34-7.

Plan

Introduction

Chapter 1. The problem of creativity in the history of philosophy and psychology

§1.1. The problem of creativity in the history of philosophy

§1.2. The problem of creativity in foreign psychology of the 19th-20th centuries

Chapter 2. Development of the Problem of Scientific Creativity in Russian Philosophy and Psychology of the 20th Century

§2.1.Potebnitskaya concept of artistic creativity

§2.2. Reflexological theory of creativity

Conclusion

Introduction

The problem of creativity has long been of interest to philosophers; and attitudes towards him have always been ambiguous. Traditionally, there are 2 approaches to understanding creativity:

Philosophical - it can be divided into philosophical and methodological and its manifestation in the field of creative thinking. This method views human thought as high form reflection of the surrounding world by a person, and creativity in this case is understood as the formation of micro, through the reflection and transformation of the surrounding world.

1. Logical - considers creativity from a scientific - psychological point of view, as a way of expressing personal qualities, and not as a transformation of the universe.

In this paper, I want to build research on the consideration and comparison of these methods, as they are complementary.

The topic of my work is “The Role of Creativity in the History of Philosophy”, from my point of view, this topic is relevant due to the fact that philosophy itself is scientific creative, focused on the constant search for something new and more perfect. The relationship between philosophical and creative thinking is obvious. In addition, at the moment, a rather biased opinion has developed in society towards creativity, perhaps due to the fact that modern education is one-sided and highly specialized. I believe that such an attitude and creativity in the future can lead to the spiritual degradation of society and therefore it is necessary to pay great attention to the creative development of the individual.

The purpose of my work is to consider the problems inherent in the understanding of creativity, from the point of view of philosophical and psychological approaches; to determine the philosophical essence of creativity, to explore the influence of creativity on personality.

To achieve my goals, in the first part of my work I explore the problem of the creative process in the framework of the development of philosophy and psychology, and in the second I explore the development and change in attitudes towards creativity in world and Russian philosophy.

According to its structure, my work consists of an introduction, two chapters, divided in pairs into paragraphs, a conclusion and a list of references.

Chapter 1. The problem of creativity in the history of foreign philosophy and psychology.

§1.1 The problem of creativity in the history of philosophy

Philosophical consideration of creativity involves answers to the questions:

a) how creativity is possible at all, as the generation of something new;

b) what is the ontological meaning of the act of creation?

In different historical epochs, philosophy answered these questions in different ways.

1. Antiquity.

The specificity of ancient philosophy, as well as the ancient worldview in general, lies in the fact that creativity is associated in it with the sphere of finite, transient and changeable being (existence), and not with being eternal, infinite and equal to itself.

Creativity comes in two forms:

a) as divine - the act of birth (creation) of the cosmos and

b) as human (art, craft).

Most of the ancient thinkers are characterized by the belief in the eternal existence of the cosmos. Greek philosophers various directions claimed:

Heraclitus with his doctrine of true being as eternity

changes.

Eleatics, who recognized only eternally unchanging being;

Democritus, who taught about the eternal existence of atoms;

Aristotle, who proved the infinity of time and thereby, in fact, denied the divine act of creation.

Creativity as the creation of something new and unique is not involved in the sphere of the divine. Even Plato, who teaches about the creation of the cosmos, understands creativity in a very peculiar way:

1. The demiurge creates the world "... in accordance with what is known by the mind and thinking and what is not subject to change."

This pattern of creation is not something external to the creator, but is something that awaits his inner contemplation. Therefore, this contemplation itself is the highest, and the ability to create is subordinate to it and is only a manifestation of that fullness of perfection, which is contained in divine contemplation.

This understanding of divine creativity is also characteristic of Neoplatonism.

Similarly, in the sphere of the human, ancient philosophy does not assign a dominant value to creativity. True knowledge, that is, the contemplation of eternal and unchanging being, is put forward by her in the first place. Any activity, including creative activity, in its ontological significance is lower than contemplation, creation is lower than cognition, because a person creates the finite, transient, and contemplates the infinite, the eternal.

This general formulation of the question has also found its expression in the understanding of artistic creativity. Early Greek thinkers did not distinguish art from the general complex of creative activity (crafts, cultivation of plants, etc.).

However, unlike other types of creative activity, the artist's work is carried out under the influence of divine influx. This idea found a vivid expression in Plato in his doctrine of eros. Divine creativity, the fruit of which is the universe, is a moment of divine contemplation.

Similarly, human creativity is only a moment in reaching the highest "intelligent" contemplation accessible to man. The desire for this higher state, a kind of obsession, is "Eros", which appears both as an erotic obsession of the body, the desire for birth, and as an erotic obsession of the soul, the desire for artistic creativity, and, finally, as an obsession of the spirit - a passionate craving for pure contemplation of beauty. .

2. Christianity.

A different understanding of creativity arises in the Christian philosophy of the Middle Ages, in which two trends intersect:

1) theistic, coming from the Hebrew religion, and

2) pantheistic - from ancient philosophy.

The first is connected with the understanding of God as a person who creates the world not in accordance with some eternal pattern, but completely freely. Creativity is the evocation of being from non-being by means of a volitional act of a divine personality.

Augustine, in contrast to the Neoplatonists, also emphasizes the importance of the moment of will in the human personality, the functions of which differ from the functions of the mind:

The will is characterized by motives for decision, choice, consent or disagreement, which do not depend on reasonable discretion (which, apparently, is connected with the body - B.S.). If the mind deals with what is (the eternal being of ancient philosophy), then the will rather deals with what is not (the nothingness of Eastern religions), but which is first brought to life by an act of will.

The second trend, towards which almost the majority of representatives of medieval scholasticism gravitate, including its largest representative, Thomas Aquinas, comes closer to the ancient tradition in the matter of creativity. The God of Thomas is goodness in its completeness, it is the eternal mind contemplating itself, it is "... the most perfect nature, rather than the will that makes itself perfect" (Windelband V. History of Philosophy. St. Petersburg, 1898, p. 373) . Therefore Thomas' understanding of divine creativity is close to Plato's understanding of it.

(One gets the impression that this understanding is transitional to pantheistic, because it comes from "self-improving nature, the product of which is the human will - B.S.)

However, regardless of the predominance of one or another tendency among Christian philosophers, they evaluate human creativity in a completely different way than it was estimated by ancient philosophy. It appears in Christianity primarily as the "creativity of history." It is no coincidence that the philosophy of history first appears on Christian soil ("On the City of God" by Augustine): history, according to the medieval notion, is the sphere in which finite human beings take part in the implementation of God's plan in the world. Since, further, it is not so much the mind as the will and volitional act of faith that primarily connect a person with God, a personal act, a personal, individual decision becomes important as a form of participation in the creation of the world by God. This turns out to be a prerequisite for understanding creativity as the creation of something unprecedented, unique and inimitable. At the same time, the sphere of creativity turns out to be predominantly the area of ​​historical deeds, deeds of moral and religious.

Artistic and scientific creativity, on the contrary, act as something secondary. In his work, man is, as it were, constantly turned to God and limited by him; and therefore the Middle Ages never knew that pathos of creativity, which pervaded the Renaissance, modern times and modernity.

3. Revival.

This kind of "limitation" of human creativity is removed in the Renaissance, when a person is gradually freed from God and begins to consider himself as a creator.

The Renaissance understands creativity primarily as artistic creativity, as art in broad sense word, which in its deepest essence is regarded as creative contemplation. Hence the cult of genius characteristic of the Renaissance as the bearer of creativity par excellence. It was during the Renaissance that interest arose in the very act of creativity, and at the same time in the personality of the artist, that reflection on the creative process arose, which was unfamiliar to either antiquity or the Middle Ages, but was so characteristic of modern times.

This interest in the process of creativity as a subjective process in the soul of the artist gives rise in the Renaissance to an interest in culture as a product of the creativity of previous eras. If for the medieval worldview history is the result of the joint creation of God and man, and therefore the meaning of history is something transcendent, then, starting from the end of the 15th-16th centuries. the tendency to consider history as a product of human creativity and to look for its meaning and the laws of its development in itself is becoming more and more clear. as a history maker.

4. Reformation.

In contrast to the Renaissance, the Reformation understands creativity not as an aesthetic (creative) content, but as an action. Lutheranism, and to an even greater extent Calvinism, with their harsh, rigorous ethics, placed emphasis on subject-practical, including economic activity. The success of an individual in practical undertakings on earth is evidence of his being chosen by God. Ingenuity and sharpness in the introduction of affairs were sanctified by religion and thus took over the entire burden of moral and religious deeds.

The understanding of creativity in modern times bears traces of both tendencies. The pantheistic tradition in modern philosophy, starting with Bruno, and even more so with Spinoza, reproduces the ancient attitude towards creativity as something less essential compared to knowledge, which, in the final analysis, is the contemplation of the eternal god-nature. On the contrary, the philosophy that was formed under the influence of Protestantism (primarily English empiricism) tends to interpret creativity as a successful - but largely random - combination of already existing elements: in this respect, the theory of knowledge of Bacon is characteristic, and even more so of Hobbes, Locke and Hume. Creativity, in essence, is something akin to invention.

5. German classical philosophy.

The completed concept of creativity in the 18th century is created by Kant, who specifically analyzes creative activity under the name of the productive ability of the imagination. Kant inherits the Protestant idea of ​​creativity as an object-transforming activity that changes the face of the world, creates, as it were, a new, previously non-existent, "humanized" world, and philosophically comprehends this idea. Kant analyzes the structure of the creative process as one of the most important aspects of the structure of consciousness. The creative ability of the imagination, according to Kant, turns out to be a connecting link between the diversity of sensory impressions and the unity of the concepts of the mind, due to the fact that it has both the visibility of impressions and the synthesizing, unifying power of the concept. "Transcendental" imagination is thus, as it were, the identity of contemplation and activity, the common root of both. Creativity therefore lies at the very foundation of cognition - such is Kant's conclusion, the opposite of Plato's. Since there is a moment of arbitrariness in creative imagination, it is a correlate of invention, since there is already a moment of necessity (contemplation) in it, it turns out to be indirectly connected with the ideas of reason and, consequently, with the moral world order, and through it with the moral world.

The Kantian doctrine of the imagination was continued by Schelling. According to Schelling, the creative ability of the imagination is the unity of conscious and unconscious activities, because whoever is most gifted with this ability - a genius - creates, as it were, in a state of inspiration, unconsciously, just as nature creates, with the difference that this objective, that is, the unconscious character of the process nevertheless takes place in the subjectivity of man and, therefore, is mediated by his freedom. According to Schelling and the Romantics, creativity, and above all the creativity of the artist and philosopher, is the highest form of human life. Here man comes into contact with the Absolute, with God. Together with the cult of artistic creativity, the interest in the history of culture as a product of past creativity among the Romantics is growing.

This understanding of creativity largely led to a new interpretation of history, different from both its ancient and medieval understanding. At the same time, history turned out to be a sphere for the realization of human creativity, regardless of any transcendental meaning. This conception of history was most profoundly developed in Hegel's philosophy.

6. Philosophy of Marxism.

The understanding of creativity in German classical philosophy as an activity that gives birth to the world had a significant impact on the Marxist concept of creativity. Materialistically interpreting the concept of activity, eliminating from it those moral and religious prerequisites that Kant and Fichte had, Marx considers it as an object-practical activity, as "production" in the broad sense of the word, transforming the natural world in accordance with the goals and needs of man. and humanity. Marx was close to the pathos of the Renaissance, which put man and humanity in the place of God, and therefore creativity for him acts as the activity of a person who creates himself in the course of history. History appears, first of all, as the improvement of the subject-practical methods of human activity, which determine themselves and different kinds creativity.

(We cannot agree with Marxism that the main thing in creativity is the object-practical transformation of the natural world, and at the same time of oneself. After all, here, indeed, the "essential" - "instinct of humanity" in the individual is overlooked. According to Marx, it turns out that the level of humanity is determined by the level of development of the production of material goods.We believe that this "instinct of humanity" was realized by man and humanity somewhere in primitive society, for it is not for nothing that the same Marxism claims that the main ways of managing the ancient human morality was the community. Therefore, the task of the survival of man and mankind is to consciously strengthen the moral foundation of human existence and protect it from the infatuations of the body and from the absolutization of the subject-practical determinants of B.S.)

7. Foreign philosophy of the late XIX - early XX century.

In the philosophy of the late 19th and 20th centuries, creativity is considered, first of all, in its opposition to mechanical and technical activity. At the same time, if the philosophy of life opposes the creative bionatural principle to technical rationalism, then existentialism emphasizes the spiritual and personal essence of creativity. In the philosophy of life, the most developed concept of creativity is given by Bergson ("Creative Evolution", 1907, Russian translation, 1909). Creativity, as the continuous birth of the new, is, according to Bergson, the essence of life; creativity is something objectively taking place (in nature - in the form of processes of birth, growth, maturation; in consciousness - in the form of the emergence of new patterns and experiences) as opposed to the subjective technical activity of design. The activity of the intellect, according to Bergson, is not capable of creating something new, but only combines the old.

Klages, even more sharply than Bergson, contrasts the natural-spiritual principle as creative with the spiritual-intellectual as technical. In the philosophy of life, creativity is considered not only by analogy with natural biological processes, but also as the creativity of culture and history (Dilthey, Ortega y Gaset). Emphasizing in line with the traditions of German romanticism the personal-unique nature of the creative process, Dilthey in many ways turned out to be an intermediary in understanding creativity between the philosophy of life and existentialism.

In existentialism, the bearer of creativity is a person, understood as an existence, that is, as some irrational principle of freedom, a breakthrough of natural necessity and reasonable expediency, through which "nothing comes into the world."

In the religious version of existentialism, through existence, a person comes into contact with some transcendent being; in irreligious existentialism - with nothing. It is existence as an exit beyond the limits of the natural and social, in general "this-worldly" world - as an ecstatic impulse that brings into the world something new, which is usually called creativity. The most important areas of creativity in which the creativity of history appears are:

religious,

philosophical,

Artistic and

Moral.

Creative ecstasy, according to Berdyaev ("The Meaning of Creativity", 1916), early Heidegger, is the most adequate form of existence or existence.

Common to the philosophy of life and existentialism in the interpretation of creativity is the opposition to its intellectual and technical aspects, the recognition of its intuitive or ecstatic nature, the acceptance of organic mental processes or ecstatic spiritual acts as carriers of the creative principle, where individuality or personality manifests itself as something integral, indivisible and unique. .

Creativity is understood differently in such philosophical directions as pragmatism, instrumentalism, operationalism, and variants of neopositivism close to them. The sphere of creative activity here is science in the form in which it is realized in modern production. Creativity is considered, first of all, as invention, the purpose of which is to solve the problem posed by a certain situation (see J. Dewey "How We Think" - 1910). Continuing the line of English empiricism in the interpretation of creativity, considering it as a successful combination of ideas leading to the solution of a problem, instrumentalism thereby reveals those aspects of scientific thinking that have become a prerequisite for the technical application of the results of science. Creativity acts as an intellectually expressed form of social activity.

Another version of the intellectualistic understanding of creativity is represented partly by neorealism, partly by phenomenology (Alexander, Whitehead, E. Husserl, N. Hartmann). The majority of thinkers of this type, in their understanding of creativity, are oriented towards science, but not so much towards natural science (Dewey, Bridgman) as towards mathematics (Husserl, Whitehead), so that their field of vision is not so much science in its practical applications, but the so-called "pure science". The basis of scientific knowledge is not activity, as in instrumentalism, but rather intellectual contemplation, so that this direction is closest to the Platonic-antique interpretation of creativity: the cult of the genius gives way to the cult of the sage.

Thus, if for Bergson creativity appears as a selfless deepening into the subject, as self-dissolution in contemplation, for Heidegger - as an ecstatic going beyond one's own limits, higher voltage human being, then for Dewey, creativity is the ingenuity of the mind, faced with the strict necessity of solving a certain problem and getting out of a dangerous situation.

§ 1.2 The problem of creativity in foreign psychology of the 19th-20th centuries

1. The problem of creative thinking in associative psychology.

Associative psychology was almost unable to explain the regularities not only of creative thinking, but even of the process of conscious thinking, since it did not take into account the important circumstance that this process is regulated at every step by the appropriately reflected content of the problem for the solution of which it proceeds.

The process of interaction of the content of the problem reflected in the mind and the process of thinking until the moment of its solution is becoming more and more complicated.

Typically, such difficulties occur when the solution to a complex problem is achieved in a sudden, that is, intuitive way.

In simpler cases, by the middle of the process of solving the problem, this relationship becomes more complicated, but then it begins to simplify when the subject consciously trusts the solution (or participation in the solution) to the subconscious and unconscious levels of the psyche.

Intuition (from lat. intueri - closely, carefully look) - knowledge that arises without awareness of the ways and conditions of its acquisition, due to which the subject has it as a result of "direct discretion".

Intuition is interpreted both as a specific ability to "holistically grasp" the conditions of a problem situation (sensory and intellectual intuition), and as a mechanism for creative activity.

Representatives of associative psychology could not perceive the dialectical relationship between the reflected content of the problem being solved and the process of thinking, which is essentially a feedback. However, it should be noted that the laws of associations established by associationists is the greatest achievement of psychological science X! X century. The problem is just how these laws are interpreted.

Let us dwell briefly on the main provisions of associative psychology.

The defining reason for its inability to solve the problems of thinking correctly is the absolutization of the rational side of thinking, or intellectualism.

The basic law of the association of ideas in its psychological formulation says that "every idea causes behind itself either such an idea that is similar to it in content, or one with which it often arose at the same time, the principle of external association is simultaneity. The principle of the internal is similarity."

When explaining complex mental processes, this representative of associative psychology notes four factors that determine the course of ideas in a person:

1) Associative affinity - all types of associations and the laws of their functioning;

2) the distinctness of the various recollection images that come into conflict (in associations by similarity);

3) sensual tone of representations;

4) a constellation (combination) of representations, which can be extremely variable.

Ziegen, erroneously absolutizing the associative function of the brain, states: "Our thinking obeys the law of strict necessity," because the previous state of the cerebral cortex determines its subsequent state.

Associationists deny psychophysical unity, arguing that only physiological processes can occur under the threshold of consciousness, which are in no way connected with mental ones. Significant shortcomings of associateists should also be indicated:

Lack of general correct installation:

Determination of the thought process; that is, "The problem of determination, which is characteristic of the psychology of thinking, is replaced by another problem: how the connections between the already given elements determine the reproduction of these elements" (Rubinshtein S.L. On thinking and ways of its research. M., 1958, p.16).

Roles in this process of the problem situation;

Roles of analysis and synthesis;

The associative principle of explaining mental phenomena (including thinking), if it is not absolutized, can play a big role in understanding the patterns of thinking, especially the "subconscious", when the subject no longer has direct dialectical interaction with the content of the problem situation.

So, for example, the associateist A. Ben expressed valuable (for understanding creativity) thoughts:

a) For creative thinking, a radical change in the point of view on the subject under study is necessary (the struggle against established associations);

b) that the well-known fact of the successful creative work of young scientists who do not yet have encyclopedic knowledge in this area can be rationally explained.

However, the initial principles of traditional empirical associative psychology did not give her the opportunity to study complex mental phenomena, in particular intuition. She recognized only "conscious thinking" (induction, deduction, the ability to compare, relations), subject to associative laws. So, the contribution of associative psychology to the study of creative thinking is insignificant.

2. The problem of creativity in Gestalt psychology.

Each psychological direction, one way or another, answers the question: how a person through thinking comprehends something new (a phenomenon, its essence, as well as thoughts that reflect them).

Historically and even logically, Gestalt psychology occupies the first place among the psychological doctrines of thinking. It was she who initiated the systematic study of the mechanisms of creative or productive thinking. The main installations of Gestalt psychology:

1) the principle of integrity and direction of thinking;

2) distinction between hastalts:

physical,

physiological,

Intellectual - as a way to solve a psychophysical problem.

This school arose as an antithesis to the psychological atomism (elementarism) of the associationists. Initially, the very indication of the fact of integrity was important: if the problem is solved, then the gestalt turned out to be good (holistic); if not solved, then the gestalt is bad. Since the actual decision always includes both successful and unsuccessful moves, it was natural to assume a change of hastalts or wholes. Integrity itself can be interpreted as functional, that is, as a certain structure, characterized through a function. Thus, an understanding of thinking as an activity of sequential restructuring was formed, continuing up to finding the gestalt (structure) necessary for the situation, which was called "insight" or "enlightenment".

Empirical "atomistic" psychology absolutizes the associative principle.

Gestalt - the principle of consistency, integrity (which is especially important for studying the problem of creative thinking, since the process of creativity is the process of synthesizing a holistic picture of a certain part of the material or spiritual world.

Modern psychologists see the truth in the synthesis of both. Gestaltists convincingly believe that in learning it is much more important not to accumulate correct rules and proven knowledge, but to develop the ability to "grasp", understand the meaning, essence of phenomena. Therefore, in order to think, it is not enough to fulfill the usual three conditions:

a) Get the right solution to the problem;

b) reach a solution with the help of logically correct operations;

c) the result is universally correct.

Here the reality of thinking is not yet felt, because:

a) Each logical step is taken blindly, without a sense of the direction of the whole process;

b) when a decision is received, there is no "insight" of thought (insider), which means a lack of understanding (Wertheimer, Dunker, etc.).

In the process of creative thinking, all structural transformations of ideas and thoughts are carried out as an adequate reflection of the structure of the problem situation, determined by it.

Gestaltism recognizes the role of the former cognitive experience of the subject, but refracted through the actual problem situation, its gestalt.

He rightly emphasizes the need for a preliminary conscious deep analysis of the problem (or "re-centering of the problem situation" by Wertheimer).

The process of thinking and its result, from the standpoint of Gestaltism, are essentially determined by the properties of the cognizing subject.

Requirements for the mental warehouse of the creator:

Not to be limited, blinded by habits;

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

Do not act mechanically;

Do not take a partial position;

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

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

The most significant shortcomings of the Gestaltist understanding of the process of thinking are:

a) In the system of interaction between the "problem situation" and the subject (even in the second scheme), the subject is predominantly passive, contemplative).

b) He ignores the natural hierarchy of connections that exist in a problem situation, i.e. essential and non-essential connections between the elements of the problem are equalized.

Gestaltists note the following stages of the creative process:

1) The desire to have a real understanding leads to the posing of questions, and the investigation begins.

2) Some part of the "mental field" becomes critical and focused, but it does not become isolated. A deeper structural point of view on the situation is developed, including changes in the functional meaning, groupings of elements. Guided by what the structure requires of the critical part, the individual arrives at a rational foresight that requires direct and indirect verification.

3) Various, successive stages of solving the problem, firstly, reduce the "incompleteness of its analysis"; secondly, - the result is achieved at each stage through the "enlightenment" of thought (insight).

4) Discovery (insight) can take place only as a result of a scientist possessing certain abilities of perceiving facts, conscious discretion and posing problems, a sufficiently powerful subconscious thinking that complements the analysis and "incubates" the solution.

5) If the development of science does not allow the scientist to consciously study a certain set of facts sufficient to detect at least a partial regularity in the phenomena under study, then no "objective structural integrity" of the phenomena can lead to complete self-discovery.

6) From the moment when the subconscious picture of the phenomenon was formed, it necessarily directs the process of thinking already because it exists as an active mental experience of the subject or "intellectual intuition".

7) A purely logical approach to solving scientific problems is hopeless.

8) In order for a scientist to retain a "sense of direction" of mental activity, he must continuously work on scientific problems (in this case, apparently, close problems are preferable) in order to acquire those logical and objective elements that are necessary and sufficient for preparing a discovery. The presence of mental tension associated with the incompleteness of knowledge of a certain phenomenon leads to the formation of a kind of desire for mental balance.

Creative personalities constantly yearn for the harmony of their spiritual forces, therefore, for them there is no limit to the processes of cognition.

Thus, the Gestalt approach to the study of the creative process in science, despite serious shortcomings of a methodological nature, in a certain sense touches on the very essence of the problem and has great importance for the development of this area of ​​psychology.

Modern foreign and Russian psychology of creativity continues to develop a positive legacy of associative and gestalt psychology, trying to find answers to cardinal questions:

What are the intimate psychological mechanisms of the creative act;

The dialectic of external and internal conditions that stimulate and inhibit the creative process;

What are creative abilities and how to develop them, whether they are hereditary or acquired; and if both factors play a role, then what is their relative importance;

What is the role of chance in creativity;

What are the psychological relationships in small groups of scientists and how they affect the process of creativity.

Chapter 2. Development of the problem of scientific creativity in Russian philosophy and psychology of the twentieth century.

§ 2.1. Potebnist concept of artistic creativity:

The pioneers of the emerging psychology of creativity in Russia were not psychologists, but theorists of literature, literature and art.

The philosophical and linguistic works of A.A. Potebni. Potebnya considered the semantic principle to be the main approach to the consideration of grammatical categories and studied the grammatical form mainly as meaning.

In terms of developing the beginnings of the psychology of artistic creativity, the most famous potebniks are: D.N. Ovsyaniko-Kulikovskiy, B.A. Lezin and others.

Artistic creativity was interpreted by them in accordance with the principle of "economy of thought".

The unconscious, in their opinion, is a means of thought that saves and accumulates forces.

Attention, as a moment of consciousness, spends the most mental energy. Grammatical thought, carried out in the native language unconsciously, without wasting energy, allows you to spend this energy on the semantic aspect of thought and gives rise to a logical thought - the word turns into a concept.

In other words, language spends much less energy than it saves; and this saved energy goes to artistic and scientific creativity.

The principle of potebnik Ovsyaniko-Kulikovsky: Give, perhaps, more with the least waste of thought.

Lezin-potebnist names important, in his opinion, qualities of an individual that allow him to become a creative subject. The first sign of the genius of a writer, artist is an extraordinary ability of attention and perception.

Goethe: Genius is only attention. It is stronger than his talent.

Genius is a great worker, only economically distributing forces.

Newton: Genius is stubborn patience. Talent sees things in their essence, is able to grasp the characteristic details, has a great susceptibility, impressionability.

Expressed ability of fantasy, fiction;

Exceptional, involuntary observation;

Evasion away from the template, originality, subjectivity;

Extensiveness, knowledge, observations;

The gift of intuition, foreboding, foresight.

According to Lezin, one can judge the qualities of a creator's personality only through self-observation.

He distinguishes the following stages of the creative process:

1. Labor. (Lezin does not share the point of view of Goethe and Belinsky, who downplay the role of labor in relation to intuition).

2. Unconscious work, which, in his opinion, amounts to selection. This stage is unknowable.

3. Inspiration. It is nothing else than "shifting" from the unconscious into the sphere of consciousness of an already prepared conclusion.

In 1910 a book by P.K. Engelmeyer was published. The "Theory of Creativity", in which its author deals with the problems of the nature of creativity, its manifestations, looks for essential features of the concept of "human creativity", considers the staging of the creative process, classifies human talents, explores the relationship of "eurylogy" to biology and sociology. He opposes creativity to the routine as new to the old and names its specific features:

Artificiality;

expediency;

Surprise;

Value.

The creativity of man is a continuation of the creativity of nature. Creativity is life, and life is creativity. The creativity of an individual is determined by the level of development of society.

Where there is conjecture, there is creativity.

He indicates a number of stages in the creative process:

1) The first stage of creativity: - intuition and desire, the origin of the idea, hypotheses. It is teleological, that is, actually psychological, intuitive. Here intuition works on past experience. It takes a genius here.

We share Engelmeyer's idea that already the first stage of creativity requires from the subject the ability to unconscious thinking in order to see the problem on the basis of past experience where

she was not seen by others.

2) The second stage: - knowledge and reasoning, development of a scheme or plan, which gives a complete and feasible plan, a scheme where everything necessary and sufficient is present. It is logical, proving.

The mechanism of this act consists in experiments both in thoughts and in deeds. The discovery is worked out as a logical representation; its implementation no longer requires creative work.

This is where talent is needed.

3) The third act - skill, constructive performance also does not require creativity.

Here you need diligence.

The work of the subject here is reduced to selection; it is carried out according to the law of least resistance, the least expenditure of forces.

We cannot agree that already at the second stage there is a "complete and feasible plan, where everything necessary and sufficient is present." As will become known later, such a solution plan is revealed mainly by a "retrospective analysis" of the problem that has already been solved.

In addition, Engelmeyer unjustifiably, contrary to the actual logic of the creative process, reduces two functionally, and in time, separated varieties of intuition into one:

Intuition working on past experience and discovering a problem and

Intuition, over the material of the preliminary conscious "incomplete analysis". - This is again an act of unconscious mental activity, which translates a ready-made solution to the problem from the unconscious into consciousness.

On the whole, many provisions of Engelmeyer have not lost their scientific value and today.

Of the first works in the post-October period, Bloch's book by M.A. "Creativity in science and technology". He shares many of Engelmeyer's ideas (in particular, about the nature of creativity) and suggests the following stages of the creative process:

The emergence of an idea;

Proof;

Realization.

Psychological, in his opinion, only the first act; he is unknowable. The main thing here is the introspection of a genius.

The main feature of a genius is a powerful fantasy.

The second circumstance of creativity is the role of chance.

Observation;

Comprehensive consideration of the fact.

The need for the missing. Genius is not determined biologically and is not created by education and training; geniuses are born.

Genius is attracted not so much by the result as by the process itself. The optimal age for creativity is 25 years.

Here he is contradictory: rejecting Joly's biodetermination, Bloch at the same time asserts that genius is inherent in everyone, but to a different degree. Then this degree is still determined by genetics, therefore, biological.

In 1923-1924 he published his works ("Psychology of Creativity" and "Genius and Creativity") O.S. Gruzenberg. He distinguishes three theories of creativity:

1) Philosophical type:

Gnoseological is the knowledge of the world in the process of intuition (Plato, Schopenhauer, Maine de Biran, Bergson, Lossky).

Metaphysical - the disclosure of the metaphysical essence in religious and ethical intuition (Xenophanes, Socrates, Plotinus, Augustine, Aquinas, Schelling, Vl. Solovyov).

2) Psychological type.

One of its varieties: - rapprochement with natural science, associated with the consideration of creative imagination, intuitive thinking, creative ecstasy and inspiration, objectification of images, creativity of primitive peoples, crowds, children, creativity of inventors (euryology), unconscious creativity (in a dream, etc.). .).

Another variety is an offshoot of psychopathology (Lombroso, Perti, Nordau, Barin, Toulouse, Pere, Mobius, Bekhterev, Kovalevsky, Chizh): genius and insanity; the influence of heredity, alcoholism, gender, the role of superstitions, the peculiarities of lunatics and mediums.

3) Intuitive type with aesthetic and historical-literary varieties.

a) Aesthetic - revealing the metaphysical essence of the world in the process of artistic intuition (Plato, Schiller, Schelling, Schopenhauer, Nietzsche, Bergson). The important questions for them are:

The origin of artistic images;

Origin and structure of works of art;

The perception of the listener, viewer.

b) The second variety is historical and literary (Dilthey, Potebnya, Veselovsky, Ovsyaniko-Kulikovsky):

Folk poetry, myths and fairy tales, rhythm in poetry, literary improvisations, psychology of the reader and viewer.

The subject of the psychology of creativity, according to Gruzenberg:

Composition, origin and connection of peculiar mental phenomena of the inner world of the creator of intellectual values. The study of the creative nature of genius. The work of an artist is not a product of arbitrariness, but the natural activity of his spirit.

§ 2.2. Reflexological theory of creativity.

a) V.M. Bekhterev;

b) F.Yu. Levinson-Lessing;

c) The initial interpretation of the problem of intuition by Soviet psychologists.

d) the concept of giftedness B.M. Teplova;

e) the concept of the creative process of A.N. Leontiev and Sumbaeva I.S.;

The science of creativity is the science of the laws of man's creative nature and his imagination.

It is impossible to reproduce the creative process in experience, to evoke inspiration arbitrarily. Based on biology and reflexology.

The reproductive method - reproduction by the reader, listener, viewer of the creative process of the individual is itself co-creation. Genuine creativity is intuitive, and rational creativity is low-grade. You can't teach to create; but one must know the conditions conducive to it; and therefore this phenomenon should be studied by the psychology of creativity.

A small work of Bekhterev V.M. is of known scientific interest. "Creativity from the point of view of reflexology" (as an appendix to Gruzenberg's book "Genius and Creativity").

For Bekhterev, creativity is a reaction to a stimulus, the resolution of this reaction, the removal of tension generated by this stimulus.

Actions of the stimulus:

The stimulus excites the concentration reflex;

This generates a mimic-somatic reflex;

Raises the energy level associated with the action of vascular motors and endocrine hormones that stimulate brain activity.

Concentration, accompanied by a mimic-somatic reflex, forms a dominant in brain activity, which attracts excitations from all other areas of the brain. Around the dominant, by reproducing past experience, all the reserve material is concentrated, one way or another related to the stimulus-problem.

At the same time, all other processes of brain activity that are not directly related to the stimulus-problem are inhibited. The material is selected, analyzed, synthesized. For any kind of creativity, according to Bekhterev, one or another degree of giftedness and appropriate upbringing are necessary, creating skills for work. This upbringing develops an inclination towards the manifestation of natural talents, due to which in the end there is an almost irresistible desire for creativity. The direct definition of its tasks is the environment in the form of a given nature, material culture and social environment (the latter in particular).

The main theses of V.M. Bekhterev was divided by physiologists from the "school of I.P. Pavlov - Savich V.V. (his work: "Creativity from the point of view of a physiologist" 1921-1923), V.Ya. Kurbatov, A.E. Fersman and others. Creativity , in their opinion, is the formation of new conditioned reflexes with the help of previously formed connections (Blokh, Kurbatov, Fersman, etc.).

Article by F.Yu. Levinson-Lessing "The role of fantasy in scientific creativity" is devoted to the logical and methodological research of science. Fantasy is interpreted as intuition, as the unconscious work of the conscious intellect. According to the author, creative work consists of three elements:

1) Accumulation of facts through observations and experiments; it is preparing the ground for creativity;

2) the emergence of an idea in fantasy;

3) verification and development of the idea.

Another student I.P. Pavlova, V.L. Omelyansky in the article "The role of chance in scientific discovery" comes to the conclusion that the whole content is far from being exhausted by chance alone. scientific discovery: a necessary condition for it is a creative act, that is, the systematic work of the mind and imagination.

The overwhelming majority of Soviet psychologists, up to the beginning of the 1950s, resolutely rejected the very phenomenon of the "unconscious", expressed in terms of "illumination", "intuition", "insight". So, for example, P.M. Jacobson, in his book "The Process of the Inventor's Creative Work", 1934, emphasizes that it is impossible to evoke inspiration directly, but there are certain indirect methods by which an experienced scientist and inventor can organize his activity in the right direction, master his complex mental operations in order to achieve set goals.

Vyacheslav Polonsky - ("Consciousness and Creativity", L., (1934), pursuing the goal of debunking the legend of the unconsciousness of creativity, however, did not consider it possible to completely abandon the recognition of the reality that was usually associated with the term "intuition". He defines intuition not as the unconscious, but as an unconsciously emerging element of consciousness.Polonsky writes that the unity of sensory perception and rational experience is the essence of creativity.

Similar views were developed in those years by S.L. Rubinstein ("Fundamentals of General Psychology", 1940). He believed that the suddenness of the greatest discoveries cannot be denied; but their source is not "intuition", not a kind of "illumination" that arises without any difficulty. This phenomenon is only a kind of critical point that is sharply conspicuous, separating the solved problem from the unsolved one. The transition through this point is abrupt. The sudden, “intuitive” nature of creative activity most often appears where the hypothetical solution is more obvious than the paths and methods leading to it (for example: “I have had my results for a long time, but I just don’t know how I will come to them,” Gauss once said.) This is a kind of anticipation, or anticipation of the result of mental work that still has to be done. But where there is a developed method of thinking, the mental activity of a scientist usually appears to be systematic, and anticipation itself is usually the product of a long preliminary conscious work. "The creative activity of a scientist is creative work," Rubinshtein concludes.

An article by B.M. Teplov "Ability and giftedness". The author of the article sets the following goals for psychology:

1. Find out, at least in the most approximate form, the content of those basic concepts with which the doctrine of giftedness should operate;

2. remove some erroneous points of view regarding these concepts.

Teplov argued that only anatomical and physiological inclinations are innate, but not the abilities that are created in activity, and the driving force behind their development is the struggle of contradictions. (see: Abilities and giftedness. - Problems of individual differences. M., 1961).

Separate abilities as such do not yet determine the success of the performance of an activity, but only their well-known combination. The totality of abilities is giftedness. The concept of giftedness characterizes the subject not from a quantitative, but from a qualitative side, which, of course, also has a quantitative side. Unfortunately, these valuable thoughts of Teplov were classified as unscientific. The 50-60s turned out to be beneficial for Soviet psychology for reviving interest in the mechanisms of creative activity, which was facilitated by the appeal of psychologists to the ideas of I.P. Pavlova.

So, A.N. Leontiev in his report "Experimental study of thinking" (1954), firstly, emphasizes the decisive importance of the experiment in the study of creativity, and secondly, offers his own interpretation of the stages of the creative process:

1. Finding an adequate principle (method) of solution;

2. its application associated with verification, the transformation of this principle in accordance with the characteristics of the problem being solved.

The first stage, in his opinion, is the most creative link mental activity. The main feature of this stage "is that, after initially fruitless attempts to find a solution to the problem, a conjecture suddenly arises, a new idea of ​​\u200b\u200bsolution appears. At the same time, the randomness of the circumstances in which such a sudden discovery of a new idea, a new principle of solution takes place" (see .: Reports at a meeting on psychology (June 3-8, 1953, p. 5).

A significant contribution to the history and theory of the problem of scientific creativity was made by the book of I.S. Sumbaeva (Scientific work. Irkutsk, 1957), in which for the first time (for Soviet psychology) the division of the human psyche into consciousness and subconsciousness is recognized.

He outlines three stages of the creative process, close to the provisions of Engelmeyer and Bloch:

1. Inspiration, activity of the imagination, the emergence of an idea;

2. Logical processing of the idea using the processes of abstraction and generalization;

3. The actual implementation of the creative intent.

Intuition, as involuntary, imagination, fantasy, conjecture, dominates at the first stage, when the vision of the future result does without recourse to language and concepts and is carried out directly, figuratively and visually. Here the conclusion from the premises without inference.

In scientific creativity, in his opinion, it is important:

Focus on a specific topic;

Accumulation and systematization of relevant material;

Summarizing and obtaining conclusions, control over their reliability through this material.

Sumbaev is against the identification of ideas and concepts. The idea is integral and figurative. The content of the idea is not amenable to a sufficiently precise definition. It is closely connected with feeling, has a personal affiliation, and has subjective validity. Therefore, logical work on the idea is necessary.

The concept is a product of dismemberment and generalization, it is devoid of visibility.

Traits of a creative individual:

Love for truth;

Ability to work; - love for work;

Attention;

Observation;

The ability to think;

Criticality of the mind and self-criticism.

The main thing is hard and organized work. - 1% inspiration and 99% work.

Conclusion

Creativity, in the global sense of the word, occupies a huge role not only in the history of philosophy, but also in the history of all mankind.

Throughout history, the attitude towards creativity has changed, it has been considered from a purely scientific, psychological, philosophical point of view, but always, the great importance of creativity has been emphasized as a process of creating and transforming the surrounding universe through the work of human consciousness.

In our time, this phenomenon of the human personality is extremely skeptical. Already at the beginning of the twentieth century, many thinkers began to call art “an absolutely useless and meaningless thing”, forgetting that it was with the help of art and creativity that a person could develop intellectually. On currently, many people do not see any value in art and creativity, and such a trend cannot but frighten, because it can soon lead to the intellectual degradation of mankind.

The purpose of my research was to consider the creative process from the scientific, psychological and philosophical sides and to determine the positive and negative aspects of each of these points of view, as well as to explore the problems of artistic creativity in philosophy.

As a result of my research, I concluded that despite the different attitudes towards creativity among different thinkers, they all recognized its value, and therefore the process of creativity can be considered the driving force that determines the development of mankind.

1. Asmus V.F. The problem of intuition in philosophy and mathematics. M., 1965

2. Bunge M. Intuition and science. M., 1967

3. Vygotsky L.S. Psychology of art. - M., 1968

4. Glinsky B.A. and others. Modeling as a method of scientific research. M., 1965

5. Kedrov B.M. Dialectical analysis of the great scientific discovery. - "Questions of Philosophy", 1969, number 3.

6 Brief psychological dictionary. M., 1985

7. Mazmanyan M.A., Talyan L.Sh. The role of inspiration and intuition in the process of implementing an artistic concept. - "problems of abilities". M., 1962, ss. 177-194.

8. Ponomarev Ya.A. Psychology of creative thinking. M., 1960

9. Ponomarev Ya.A. "Knowledge, thinking and mental development" M., 1967.

10. Ponomarev Ya.A. Psychology of creativity and pedagogy. M., 1976

11. Rubinshtein S.L. About thinking and ways of its research. M., 1958

12. Scientific creativity. Edited by: S.R. Mikulinsky and M.G. Yaroshevsky. M., 1969

13. Problems of scientific creativity in modern psychology. Edited by M.G. Yaroshevsky. M., 1971

14. Luk A.N. Psychology of creativity. M., 1978

15. Tsigen T. Physiological psychology. St. Petersburg, 1909

16. World Encyclopedia. Philosophy. 20th century Mn., 2002;

17. The latest philosophical dictionary / Comp. A.A. Gritsanov. Mn., 1998.

ARTISTIC CREATIVITY AS A WAY TO IMPROVE THINKING

General characteristics of the concept of "thinking"

General characteristics of the concept of "artistic creativity"

Psychological mechanisms of artistic creativity, connection between artistic creativity and thinking

1. GENERAL CHARACTERISTICS OF THE CONCEPT "THINKING"

Life constantly poses acute and urgent tasks and problems for a person. The emergence of such problems, difficulties, surprises means that in the reality around us there is still a lot of unknown, incomprehensible, unforeseen, hidden, requiring an ever deeper knowledge of the world, the discovery of more and more new processes, properties and relationships of people and things in it. The universe is infinite, and the process of its cognition is infinite. Thinking is always directed to these boundless depths of the unknown, the new. Each person makes many discoveries in his life (it does not matter that these discoveries are small, only for himself, and not for humanity).

Thinking - this is a socially conditioned, inextricably linked with speech mental process of searching for and discovering something essentially new, a process of indirect and generalized reflection of reality in the course of its analysis and synthesis. Thinking arises on the basis of practical activity from sensory cognition and goes far beyond its limits.

Cognitive activity begins with sensations and perceptions. Any, even the most developed, thinking always retains a connection with sensory cognition, i.e. with sensations, perceptions and ideas. Thought activity receives all its material from only one source - from sensory cognition. Through sensations and perceptions, thinking is directly connected with the external world and is its reflection. The correctness (adequacy) of this reflection is continuously tested in the process of practical transformation of nature and society.

That sensual picture of the world, which our sensations and perceptions give every day, is necessary, but not sufficient for its deep, comprehensive knowledge. In this sensual picture of reality directly observed by us, the most complex interactions of various objects, events, phenomena, etc., their causes and consequences, mutual transitions into each other are almost not dissected. It is simply impossible to unravel this tangle of dependencies and connections, which appears in our perception in all its colorfulness and immediacy, with the help of sensory knowledge alone. In perception, only a general, summary result of a person's interaction with a cognizable object is given. But in order to live and act, one must first of all know what external objects are in themselves, i.e. objectively, regardless of how they appear to a person, and in general, regardless of whether they are known or not.

Since, within the framework of sensory cognition alone, it is impossible to completely dissect such a general, total, direct effect of the interaction of the subject with the object being known, a transition from sensations and perceptions to thinking is necessary. In the course of thinking, further, deeper knowledge of the external world is carried out. As a result, it is possible to dismember, unravel the most complex interdependencies between objects, events, and phenomena.

In the process of thinking, using the data of sensations, perceptions and ideas, a person at the same time goes beyond the limits of sensory knowledge, i.e. begins to cognize such phenomena of the external world, their properties and relations, which are not directly given at all in perceptions and therefore are not directly observable at all.

Practical-effective, visual-figurative and theoretical-abstract - interconnected types of thinking . In the process of historical development, the human intellect was initially formed in the course of practical activity.

Genetically, the earliest kind of thinking is practically - actionable thinking; actions with objects are of decisive importance in it.

On the basis of practical-effective manipulative thinking, there is visual-figurative thinking. It is characterized by operating visually in the mind. The highest level of thinking is abstract, abstract thinking. But here, too, thinking retains its connection with practice.

The thinking of individuals is also divided into predominantly figurative(artistic) and abstract(theoretical). But in the process of life, one and the same person comes to the fore either one or another type of thinking.

The structural unit of practical (operational) thinking is action; artistic - image; scientific - concept.

Depending on the depth of generalization, there are empirical And theoretical thinking. Empirical thinking gives primary generalizations based on experience. These generalizations are made at a low level of abstraction. Empirical consciousness is the lowest, elementary level of knowledge. Theoretical thinking reveals a universal relationship, explores the object of knowledge in the system of its necessary connections. Its result is the construction of theoretical models, the creation of theories, the generalization of experience, the disclosure of the patterns of development of various phenomena, the knowledge of which ensures the transformative activity of man. Theoretical thinking is inextricably linked with practice, but in its final results it has relative independence.

So, the information received by a person from the surrounding world allows a person to represent not only the external, but also the internal side of an object, to represent objects in the absence of them, to foresee their change in time, to rush with thought into boundless distances and the microcosm. All this is possible through the process of thinking. In psychology, thinking is understood as the process of an individual's cognitive activity, characterized by a generalized and indirect reflection of reality. Starting from sensations and perceptions, thinking, going beyond the limits of sensory experience, expands the boundaries of our knowledge by virtue of its nature, which allows us to indirectly (i.e., by inference) reveal what is not directly (i.e., by perception) not given. So, looking at the thermometer hanging from the outside of the window, we find out that it is quite cold outside. Seeing the strongly swaying treetops, we understand that the wind is outside.

Sensation and perception reflect separate aspects of phenomena, moments of reality in more or less random combinations. Thinking correlates the data of sensations and perceptions, compares, compares, distinguishes and reveals relationships. Through the disclosure of these relations between directly, sensually given properties of things and phenomena, thinking reveals new, not directly given abstract properties: revealing interconnections and comprehending reality in these interconnections. Thus, thinking more deeply cognizes the essence of the surrounding world, reflects being in its connections and relationships.

2. GENERAL CHARACTERISTICS OF THE CONCEPT

"ARTISTIC CREATIVITY"

Creativity is an attribute of human activity. It predetermined the emergence of man and human society, and underlies the further progress of material and spiritual production.

According to Leontiev A.A., creativity is not limited to the activity of creating new material and spiritual values, as his dictionary "Psychology" defines (in fairness, we note that this definition goes back to the definition of creativity by L.S. Vygotsky as "creating a new one" ). Such an understanding is correct only from the point of view of a “procedural” approach to creativity, which should rather be called “productive”. It is no coincidence that the same dictionary entry speaks of a product of creativity as “distinguished by novelty, originality, and uniqueness.” This "newness", however, can in no way be taken as the basis for a psychological understanding of creativity. Even if we talk about artistic creativity, such an understanding leaves aside a huge layer of so-called performance creativity - it seems to us a stretch to define its creative nature through the originality of the final product.

Under common name creativity combines its different types: technical, artistic, pedagogical, ethical, etc. All these types are psychologically unequal, for example, technical and artistic creativity are correlated differently with theoretical thinking. But something unites them: it is the ability of a person to "act in uncertain situations."

The condition for such an ability is self-realization (self-determination) of the individual. According to Ukhtomsky A.A., from an activity point of view, such an ability is multilayered - in particular, it can manifest itself at the level of both a holistic personality (artistic creativity) and operational components of a productive or cognitive (educational) activity (solving so-called creative tasks ), at the level of the structure of orienting activity and the restructuring of the orienting basis of activity, and ultimately the image of the world (scientific creativity), etc. But in all cases, we are dealing with an independent "construction" of a system of relations between an individual person and the objective and social world, of which this person is an integral part. The novelty here is not in an objectively new final product, but in the independent creation of a system of relationships with the world or in the transformation of the world (not necessarily “material”, rather social, the world of activity and relations: the world in its entirety should be presented not as an object at all, but as process) through their own activities.

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.

Creation - This is a historically evolutionary form of human activity, expressed in various types of activities and leading to the development of personality. 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 - this is amateur activity, covering the change in 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. 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 brings up in 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.

There are two interpretations artistic creativity :

epistemological - from ancient ideas about the soul as about wax, in which objects are imprinted, to the Leninist theory of reflection;

ontological - from ancient ideas about creativity as the soul's recollection of its eternal essence, from medieval and romantic ideas that God speaks through the mouth of a poet, that the artist is the medium of the Creator, to Berdyaev's concept, which attached fundamental existential significance to creativity.

Neither the ontological nor the epistemological component of creativity can be neglected. V. Solovyov saw in their relationship a condition of the creative process. This theoretical tradition should be based on. It is from these positions that the artistic image and its features should be considered.
Artistic image concrete and has the features of representation, but of a special kind: a representation enriched with mental activity. Representations are a transitional step between perception and concept, a generalization of the broadest layers of social practice. Representation contains both the meaning and the meaning of the phenomenon being mastered. In order for artistic performances to become the property of the audience, they must be objectified. The artistic image is the objectification of the system of artistic representations.

The conceptual beginning is also present in artistic thinking - sometimes in a hidden, and sometimes in an explicit form. The conceptual content of a work of art is made up of representations and ideas objectified in the image. Artistic thinking figuratively. It combines generality and concreteness with a personal form. Art recreates life in its entirety and thereby expands and deepens the real life experience of a person.

There is a hierarchy of value ranks that characterizes the degree of a person's predisposition to artistic creativity: ability - giftedness - talent - genius.

According to I.V. Goethe, the genius of an artist is determined by the power of perception of the world and the impact on humanity. The American psychologist D. Gilford notes the manifestation of six abilities of the artist in the process of creativity: fluency of thinking, analogies and contrasts, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility or originality, the ability to give the art form the necessary outlines. Artistic talent presupposes keen attention to life, the ability to choose objects of attention, fix these impressions in memory, extract them from memory and include them in a rich system of associations and connections dictated by creative imagination.

Artistic activity in this or that form of art, in this or that period of life, many people are engaged in with greater or lesser success. However, only artistic ability ensures the creation of artistic values ​​of public interest. A person who is artistically gifted creates works that have sustainable significance for a given society for a significant period of its development. Talent generates artistic values ​​that have enduring national and sometimes even universal significance. A brilliant artist creates the highest human values ​​that are significant for all time.

3. PSYCHOLOGICAL MECHANISMS OF ARTISTIC

CREATIVITY, ARTISTIC CONNECTION

CREATIVITY AND THINKING

Along with the scientific knowledge of the world of ideas, the field of knowledge of human characters was actively developing, which ultimately led to the penetration into the world of human individuality. This was an area of ​​artistic and aesthetic creativity, which gave priority not so much to strict logic as to intuition, and therefore turned to the artistic modeling of a person more freely than logically based knowledge. The comprehension by aesthetics of artistic images created by the means of literature and art became the path that ultimately contributed to the formation of psychological science, which is so necessary for understanding culture in its phenomenological state and historical development.
Artistic activity plays an important role in the process of scientific self-knowledge. Due to the fact that it combines the world of reason and feelings, fertilized by the projective activity of the imagination, artistic creativity has the ability to take on the functions of scientific knowledge. This happens, as a rule, in periods when sociocultural experience is faced with the need to present the object of scientific study, but does not yet have the information necessary for a sufficiently complete scientific generalization.

Artistic activity, syncretic in nature, combines elements of rational cognition and value orientation in the projective activity of the imagination.

Artistic creativity begins with a heightened attention to the phenomena of the world and involves "rare impressions", the ability to keep them in memory and comprehend.

Memory is an important psychological factor in artistic creativity. With the artist, it is not mirrored, selective and creative.

The creative process is inconceivable without imagination, which allows the combination-creative reproduction of a chain of ideas and impressions stored in memory.

The imagination has many varieties: phantasmagoric - by E. Hoffmann, philosophical and lyrical - by F.I. Tyutchev, romantically sublime - by M. Vrubel, painfully hypertrophied - by S. Dali, full of mystery - by I. Bergman, real -strict - F. Fellini, etc.

Imagination is understood as a mental cognitive process of creating new images by processing the materials of perception and representation obtained in past experience. Imagination is unique to man. It allows you to present the result of labor, drawing, design and any other activity before it begins.

Depending on the degree of activity, passive and active imagination are distinguished, when the products of the first are not brought to life. Given the independence and originality of the images, they speak of a creative and recreating imagination. Depending on the presence of a consciously set goal to create an image, intentional and unintentional imagination are distinguished.

Imagination arises in situations of uncertainty, when a person finds it difficult to find an explanation for any fact of reality in his experience. This situation brings together imagination and thinking. As Vygotsky L.S. emphasized, "these two processes develop in an interconnected manner." Thinking provides selectivity in the transformation of the impression, and the imagination complements, concretizes the processes of mental problem solving, allows you to overcome stereotypes. And the solution of intellectual problems becomes a creative process.

In addition to the fact that the imagination significantly expands the boundaries of knowledge, it allows a person to "participate" in events that are not encountered in everyday life. This "participation" enriches his intellectual, emotional, moral experience, allows him to more deeply cognize the surrounding, natural, objective and social reality. And the richer the experience of a person, the more material that his imagination has at his disposal.

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

The American psychologist F.Berron examined with the help of tests a group of fifty-six writers - his compatriots and came to the conclusion that the writers' emotionality and intuition are highly developed and prevail over rationality. Of the 56 subjects, 50 turned out to be "intuitive personalities" (89%), while in the control group, which included people who were professionally far from artistic creativity, there were more than three times fewer individuals with developed intuition (25%). high role the subconscious in artistic creativity already led the ancient Greek philosophers (especially Plato) to interpret this phenomenon as an ecstatic, divinely inspired, Bacchic state.

In contrast to a scientifically based picture of the world, which prefers to rely on proven knowledge, the picture of the world created by artistic creativity allows not only the existence of an area of ​​the unknown, but also tries to model its possible image. In artistic creation, what is possible acquires the status of an existing one, stimulating the conscious isolation of its signs or features in real life. Thus, aesthetic activity structures the projective activity of the imagination, directing it into the channel of rational cognition. Thus, cognitive activity, on the one hand, is included in the mass consciousness of everyday life, and on the other hand, it receives a powerful impetus to the development of its specialized areas. Artistic creativity - the area of ​​domination of the thought experiment - takes on the role of the leader of the cognitive process in cases where science is still powerless to give an accurate picture of the phenomenon or calculate possible options its development. The connection of historical knowledge with the field of artistic creativity and the process of its comprehension did not become an invention of modern times. It was inherited and traditional. Over time, only the concretization and redistribution of the functions of the scientific and artistic in the interest of society in the culture of the past and present took place.

Scientific knowledge divides space and time for the convenience of their study. Artistic creativity creates a chronotope - the unity of space-time, where time becomes, according to MM Bakhtin, the fourth dimension of space. Artistic images make the discoveries of science psychologically acceptable to everyday consciousness. Moreover, they give rise to the need to further expand the horizons of a person who does not even have the necessary highly specialized knowledge. The laws of image creation are becoming a sphere of specialized knowledge, attracting the special attention of researchers. Aesthetic systems fix the way of understanding the world that has developed at the level of professional culture, they postulate a picture of the world in the form in which it is available to both the thinker and the practitioner. Aesthetic systems help create a field for experimentation that cannot be done in the laboratory. They also provide an opportunity to test the viability of the created material and ideal constructs, defining the role of artistic development of reality in the knowledge of the world through the study and creation of cultural creations.

Thus, we can conclude that creativity in general, and artistic creativity in particular, is a means of improving thinking. What cannot be comprehended by scientific methods can be represented through artistic images. What cannot be immediately verified by a social experiment is modeled in the collision of a work of art.

That is why it is necessary to develop creativity in a child from a very early age, because it is it that gives rise to a vivid fantasy, a vivid imagination, develops and improves thinking. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or even though what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and broadest sense of this concept.

Druzhinin V.N. notes that creative people often surprisingly combine the maturity of thinking, deep knowledge, various abilities, skills and peculiar "childish" features in their views on the surrounding reality, in behavior and actions.

Often from parents and even from teachers-educators one can hear such words: “Well, why does he spend precious time writing poetry - he doesn’t have any poetic gift! Why does he draw - after all, an artist will not work out of him anyway! And why is he trying to compose some kind of music - after all, this is not music, but some kind of nonsense turns out! .. ”This is a very dangerous delusion. In a child, it is necessary to support any of his desire for creativity, no matter how naive and imperfect the results of these aspirations may be. Today he writes incoherent melodies, unable to accompany them with even the simplest accompaniment; composes poems in which clumsy rhymes correspond to the clumsy rhythms and meter; draws pictures depicting some fantastic creatures without arms and with one leg ... But behind all these naivety, clumsiness and clumsiness lie the sincere and therefore the truest creative aspirations of the child, the most genuine manifestations of his fragile feelings and thoughts that have not yet formed.

He, perhaps, will not become either an artist, or a musician, or a poet (although in early age it is very difficult to foresee), but perhaps he will become an excellent mathematician, doctor, teacher or worker, and then his childhood creative hobbies will make themselves felt in the most beneficial way, a good trace of which will remain his creative imagination, his desire to create something new , his best, moving forward cause, to which he decided to devote his life.

LIST OF USED LITERATURE:

Asmolov A.G. Cultural-historical psychology and construction of worlds. - M.-Voronezh, 1996

Bakhtin M.M. To the philosophy of action. - M., 1986

Borev Yu. Psychology of artistic creativity. - M., 1999

Borev Y. Aesthetics. - M., 1988

Vygotsky L.S. Imagination and creativity in childhood. - M., 1991

Druzhinin V.N. Psychology of general abilities - St. Petersburg, 1999

Leontiev A.A. Teach a person fantasy ... - M., 1998

Nemov R.S. Psychology. - M., 1995

Psychology with a human face: a humanistic perspective in post-Soviet psychology / Ed. D.A. Leontieva, V.G. Schur. - M., 1997

Psychology. Dictionary. 2nd ed. - M., 1990

Ukhtomsky A.A. Honored Interlocutor. - Rybinsk, 1997

Write an essay based on the text you read.

Formulate one of the problems posed by the author of the text.

Comment on the formulated problem. Include in the comment two illustration examples from the read text that you think are important for understanding the problem in the source text (avoid over-quoting). Explain the meaning of each example and indicate the semantic relationship between them.

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Write an essay carefully, legible handwriting.

(1) Artistic creativity, from my point of view, is not just a way of self-expression. (2) Sometimes it can become a saving straw, clinging to which a person can go through many ordeal and survive. (3) And here is one of the striking examples.

(4) amazing woman, amateur artist Evfrosinya Antonovna Kersnovskaya spent many years in the Stalinist camp, after which she began to sketch her whole life from the very beginning: her childhood in Bessarabia, how she was arrested in Romania, how she was exiled to Siberia. (5) For many years she depicted life, details and commented on her drawings.

(6) Here is what she writes to her mother:

(7) “I drew them for you, thinking about you ... (8) I started drawing there, in Norilsk, immediately after I left the camp. (9) There was still neither a mattress nor a sheet, there was not even a corner. (10) But I already dreamed of drawing something beautiful, reminiscent of the past - the past that

was inextricably linked with you, my dear! (11) And the only thing I could think of was to draw ... "

(12) And now, in pictures, Euphrosyne creates the story of her life, all her misadventures, in order to free herself from those difficult memories that surrounded her after leaving the twelve-year hell. (13) She drew with what she had to: with colored pencils, a pen, sometimes she tinted with watercolors.

(14) And these uncomplicated, but such detailed, truthful drawings amaze with their persuasiveness and inner freedom. (15) As many as twelve general notebooks were composed and drawn by her in the 60s of the last century. (16) In 1991 they came out as a separate book called "Rock Painting". (17) And to this day, looking at these drawings that were born so long ago, somewhere deep inside I feel how much art helped this amazing artist and just a noble woman to survive.

(18) Here is another story. (19) Artist Boris Sveshnikov also for a long time was in captivity. (20) His albums were drawn directly there, in captivity, but they were not about the camp, not about the life he lived then - they were fantastic. (21) He depicted some kind of fictional reality and extraordinary cities. (22) With a thin feather, the thinnest, almost transparent silver stroke, he created in his albums a parallel, incredibly mysterious, exciting life. (23) And subsequently these albums became evidence that his inner world, fantasizing, creativity saved his life in this camp. (24) He survived thanks to creativity.

(25) Another extraordinary artist, Mikhail Sokolov, a contemporary of Sveshnikov, being imprisoned for his extravagant appearance, also tried to seek freedom and salvation in his work. (26) He drew with colored pencils, and sometimes with pencil stubs, small pictures three by three centimeters or five by five centimeters and hid under his pillow.

(27) And these little ones fantastic drawings Sokolova, in my opinion, is in a sense grander than some of the huge paintings painted by another artist in a bright and comfortable studio.

(28) As you can see, you can depict reality, or you can depict fantasy. (29) In both cases, what you transfer from your head, from your soul, from your heart, from memory to paper, frees you, sets you free, even if there are prison bars around. (30) Therefore, the role of art is truly great. (31) And it doesn’t matter what and how you do it: creativity knows no boundaries, does not require special tools. (32) It, sincere and truthful, simply lives in a person, looks for a way out and is always ready to selflessly help him.

(according to L.A. Tishkov*)

*Leonid Alexandrovich Tishkov (born in 1953) is a Russian cartoonist, also works in the field of book graphics.

Explanation.

An example range of issues:

1. The problem of the significance of artistic creativity in the life of the artist himself. (What is the benefit of the saving power of artistic creativity? Can artistic creativity help a person survive, save a person?)

2. The problem of understanding such a phenomenon. as a work of art. (What is artistic creativity? Are there limits to creativity? Where is artistic creativity born?)

3. The problem of the real and the fantastic in art. (What should artistic creativity be based on: reality or fantasy?)

1. Artistic creativity is not just a way of self-expression, it can bring great benefits: it spiritually frees a person, even if he is in prison. helps to get rid of bad memories. overcome difficulties, immerses a person in a different reality.

2. Artistic creativity is that. what a person transfers from his head, from his soul, from his heart to paper. Creativity knows no boundaries, does not require special tools. True creativity can be born both in the bright workshop of the artist, and on a tiny piece of paper.

3. For artistic creation, it does not matter whether a person depicts reality or fantasy. It remains creativity, the great power of which is truly limitless.