Creative activity - what is it in psychology? Her types. Types of creativity. What types of creativity are there? What is creativity types

Creation- a process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. Nobody, except perhaps the author, can get exactly the same result if you create the same initial situation for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end result expresses some aspects of his personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

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

Types and functions of creativity

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

Creativity as an ability

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

At the everyday level, creativity manifests itself as ingenuity - the ability to achieve a goal, find a way out of an apparently hopeless situation using the environment, objects and circumstances in an unusual way. More broadly, a non-trivial and ingenious solution to the problem. Moreover, as a rule, with scarce and non-specialized tools or resources, if material. And a bold, non-standard, what is called an unprinted approach to solving a problem or meeting a need that is in the non-material plane.

Creativity criteria

Creativity criteria:

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

According to Torrance

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

Creativity as a process (creative thinking)

Stages of creative thinking

G. Wallace

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

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

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

A. Poincaré

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

Stages

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

“For two weeks I have been trying to prove that there can be no function analogous to what I later called automorphic. I was, however, completely wrong; every day I sat at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result. "

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

“One evening, contrary to my habit, I drank black coffee; I could not sleep; ideas crowded together, I felt them collide until two of them came together to form a stable combination. "

In contrast to the usual messages of this kind, Poincaré describes here not only the moment the decision appears in the mind, but also the seemingly visible work of the unconscious, which immediately preceded it; Jacques Hadamard, referring to this description, points to its complete exclusivity: "I have never experienced this wonderful feeling and I have never heard that anyone other than him [Poincaré] experienced it." 4. After that, when the key idea for the solution is already known, the solution is completed, verified, and developed.

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

Theory

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

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

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

From the history of the issue

Back in the 19th century, Hermann Helmholtz described the process of scientific discoveries from the inside out in a similar way, albeit in less detail. In these self-observations of his, the stages of preparation, incubation and insight are already outlined. Helmholtz wrote about how his scientific ideas are born:

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

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

As far as I can tell from a personal point of view, she is never born tired and never at a desk. Each time I first had to turn my problem over in every way in every possible way, so that all its bends and plexuses lay firmly in my head and could be learned again by heart, without the help of writing.

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

They came especially eagerly ... during the hours of a leisurely climb through the wooded mountains, on a sunny day. The slightest amount of alcoholic drink, as it were, scared them away.

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

1. Work fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.
2. Unconscious work is a selection of the typical; "But how that work is done, of course, it is impossible to judge about it, it is a secret, one of the seven world mysteries."
3. Inspiration there is a "transfer" from the unconscious sphere into the consciousness of the finished conclusion.

Stages of the inventive process

PK Engelmeier (1910) believed that the work of the inventor consists of three acts: desire, knowledge, skill.

1. Desire and, the origin of the plan... This stage begins with the appearance of an intuitive glimpse of an idea and ends with its understanding by the inventor. A probable principle of the invention arises. In scientific creativity, this stage corresponds to a hypothesis, in artistic creativity - to a concept.
2. Knowledge and reasoning, schema or plan... Development of a complete detailed view of the invention. Making experiments - mental and real.
3. Skill, constructive implementation of the invention... Assembling the invention. Doesn't require creativity.

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

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

1. Intelligent readiness period.
2. Discretion of the problem.
3. The conception of an idea is the formulation of the problem.
4. Search for a solution.
5. Obtaining the principle of the invention.
6. Turning a principle into a schema.
7. Technical design and deployment of the invention.

Factors hindering creative thinking

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

Creativity and personality

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

The nature of the connection between creativity and personality

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

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

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

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

Personality is not a substance, but a creative act.

Motivation for creativity

V.N.Druzhinin writes:

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

Thus, through creativity, a person's connection with the world is carried out. Creativity itself stimulates itself.

Mental health, freedom and creativity

The representative of the psychoanalytic direction D.V. Winnicott puts forward the following assumption:

In play, and perhaps only in play, a child or an adult has creative freedom.

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

The creation of something new is not a matter, but a drive to play, acting on an inner compulsion. The creative spirit plays with the objects it loves.

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

... That which manifests itself as creativity is always a process ... in which the relationship between the personality and the world is realized ...

N.A. Berdyaev adheres to the following point:

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

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

Creative activity is a process of creating qualitatively new spiritual and material values ​​with their subsequent interpretation. The result of such actions, as a rule, is the emergence of previously unknown areas of art, science or technology. The result of creativity cannot be deduced from the conditions of the initial cycle. This is how it differs from the results of the production process, which are always predictable. Creative activity has the main criterion of attractiveness - it is always unique.

Possibilities

The author, in the process of creative research, can achieve a result that he did not expect. This is the main advantage of the free expression of their ideas by the artist, writer or entertainer. Creative activity, in addition to well-known areas, can be implemented in any special way. For example, a world-renowned musician for a number of objective reasons began to feel a certain limitation of his concert activity and decided to expand his potential. Using personal experience, as well as some technical means, the artist creates a previously unknown musical instrument that revolutionizes the world of music. This is true creative activity. History knows many such examples.

Applied value

Human creative activity is a spiritual and material practice focused on the creation of original cultural values ​​that did not exist before, the discovery of new patterns, as well as methods for transforming the world space. It is difficult to overestimate the applied value of the last category. This, in fact, is a cognitive and creative activity that underlies deep practical application in many spheres of social life. Its results in most cases are global in nature.

New Achievements

A special place in human life is occupied by creative artistic activity, when the creator creates values ​​in the category of fine fine arts, literature, music, painting. The process of the emergence of new achievements in the field of high art of various genres always causes a storm of positive emotions: people are constantly waiting for premieres in the theater, new films, opening days and many other events - everything that society lives on. The creative artistic activity of masters of various genres often unites their efforts, and as a result, a certain synthetic masterpiece appears, which creates a real sensation. Magnificent operatic arias can be complemented by a successful libretto, a wonderful literary work is organically combined with a unique beauty of illustrations.

Versatility

Creative activity, the types of which are infinitely diverse, is a fertile ground for the development of talents in a wide segment of the population. People of different ages and professions strive to realize their abilities in all spheres of social life, and when this succeeds, a person receives incomparable moral satisfaction. I am especially pleased with artistic creative activity, the types of which are also numerous. This is painting, and sculpting, and singing, and participation in theatrical performances, and reading poetry, and ballroom dancing.

In fact, a person's creative activity can be reflected in any area of ​​his vital interests: production-technical, scientific, political, artistic. In addition, there are a number of secondary areas. The creative process can be characterized by two main streams:

• the psychology of the individual, the creator of certain spiritual or material values;
• a philosophical component that reveals the essence of the phenomenon of creation.

Psychology

In different historical periods, the question of the meaning of the creative principle was posed ambiguously. Ancient philosophy linked the process of creation with concrete results, without placing them in the mainstream of eternal existence. In other words, creativity was considered a completely earthly affair, without any special contemplative subtleties. However, along with practicality in the time of Plato, the prerequisites were created for the recognition of the creative aspirations of man as a phenomenal phenomenon. There were many supporters of this approach.

Renaissance

The Renaissance era cultivated the concept of the phenomenon of creative activity, since at that time the opportunities to create something in various fields were enormous. The philosophy of the Renaissance did not imply creation at the level of craft or housekeeping. Michelangelo's masterpieces or Leonardo da Vinci's engineering projects cannot be called a creative process - they are so grandiose. These were mega creations of cosmic significance.

Analytical approach

In the modern world, there is a tendency to study the phenomenon of creativity, scientists are trying to comprehend the psychology of the process, the state of mind of an artist, engineer or writer is being studied at a time when they are busy with creation. Often, the results of such analyzes form the basis of doctoral dissertations, because the observations of scientists are also a creative activity. Scientific interest based on psychology always produces unpredictable results, which means that new discoveries can be expected.

Creative activity, if we consider it through the prism of philosophy, is interpreted as a characteristic of the personality, formed on the basis of the development of the special abilities of the individual. Provided there is sufficient professional training and a high level of motivation, socio-psychological attitudes are formed that lead the creator to the final result.

Criteria

With regard to creative activity as such, the desire to achieve original solutions will always be realized under the condition of a clearly defined goal. In some cases, the goal can be replaced by some kind of incentive - the result will be the same. The creative activity of an individual is determined by the following criteria:

1. Attitude in accordance with the tasks set: scientific, technical, artistic, managerial, research. Harmony of the task with psychological attitudes. There must be a social, socially significant motivation.
2. The author's ability to comprehend the principle of the design of future work. You will also need sensitivity to new things, creative initiative, rejection of stereotypes.
3. The ability to define the scope of one's own initiative in search of the boundaries of the assignment. Ability to rationally arrange the sequence of creative techniques.
4. High level of intelligence, spatial thinking and developed imagination. Ability for systemic associations and generalization.

The creative process can be roughly divided into several parts:

• the "embryonic" stage, when an idea is born, is often vague;
• the appearance of the contours of the idea - the general drawing is visible;
• the next stage is the ability to choose solutions that form the program of action;
• selection of methods and optimal actions aimed at results;
• the emergence of creative passion, often accompanied by "insights" and emotional uplift;
• the final stage, crystallization of the idea, assessment of the level of work done and the effectiveness of the result;

However, the distribution and even more so the planning of actions is purely conditional, since any creative process is a rather spontaneous phenomenon with an elusive subconscious logic that can make its own adjustments along the way. Nevertheless, creativity is a living process, most interesting in its first phase, when the need for creation appears. How it will be implemented depends entirely on the professionalism of the individual.

Creative activity of children

A child aged 4-6 years, as a rule, strives for an active lifestyle. Games, walks in nature, communication with peers - all this gives him the opportunity to use his energy and get emotional relaxation. However, the creativity inherent in children also often needs to be realized. There are special development programs in preschool institutions. Kindergarten teachers and methodologists devote several hours daily to the creative activities of their wards. Girls and boys turn into little artists and sculptors, design engineers or creators of fantastic transformers.

Prospects for the future

Creativity in any form is useful for personal development. A child who once drew on a piece of paper "a circle of sunshine and the sky around" may become a famous artist in the future, and a first-grader who wrote an essay on the topic "How I spent my summer in the country" - a famous writer. The creative possibilities are endless!

The role of imagination in the creative process can hardly be overestimated. Imagination- this is a necessary element of a person's creative activity, expressed in the construction of an image of the products of labor, as well as ensuring the creation of a program of behavior in cases where the problem situation is characterized by uncertainty. Creativity is closely related to all mental processes, including imagination.

The psychology of creativity manifests itself in all its specific forms: inventive, scientific, literary, artistic, etc. The possibility of creativity is largely provided by the knowledge available to a person, which is supported by the corresponding abilities and is stimulated by the purposefulness of a person. The most important condition for creativity is the presence of certain experiences that set the tone for creative activity.

The study of creativity is a triumph for the psychological theory of activity. Issues of creativity, creative abilities of children, their creative activity are considered in the studies of L. S. Vygotsky, V. V. Davydov, Z. M. Novlyanskaya, V. E. Chudnovskaya, L. V. Zankov and others. the concept of "creativity" we connect two most important psychological characteristics of consciousness - mental representation and imagination. The conscious control of ideas and imagination is spoken of when they are generated and changed by the efforts of a person's will. The idea of ​​reality, which is absent at a given moment of time or does not exist at all (imagination, dreams, dreams, fantasy), acts as one of the most important psychological characteristics of consciousness.

Consciousness reflects not all random, but only the main, main essential characteristics of objects, events, phenomena. The productive, creative nature of human activity is of particular importance for the development of human consciousness. Consciousness presupposes a person's awareness of not only the external world, but also himself, his sensations, ideas and feelings. There is no other way of realizing this, except for the possibility of “seeing” one's own psychology, objectified in creations, for a person. Therefore, creativity is a way and means of self-knowledge and development of a person's consciousness through his perception of his own creations. If the activity of animals is caused by natural needs, then human activity is generated and supported by artificial needs arising from the appropriation of the achievements of the cultural and historical development of people of the present and previous generations. A person is not able to imagine or imagine something that has never appeared in experience, was not an element, object, condition or moment of any activity. The texture of the imagination is a reflection, albeit not literally, of the experience of practical activity. Following psychologists, we regard imagination as the transformation of the given and the generation on this basis of new images, which are both products of human creative activity and prototypes for it. To imagine is to transform. Correct cognition of reality is impossible without a certain element of imagination, without departing from reality, from those specific, direct, single impressions with which this reality is represented in the elementary acts of our consciousness. Imagination, mental reproduction of something or someone, fantasy, is closely related to thinking, since image and thought always appear in unity. Now there are many scientific discussions about the creation of artificial intelligence, about the capabilities of computer intelligence, its superiority over human. But the only function not available to artificial intelligence is imagination. This is one of the most mysterious human properties. It is difficult to measure, evaluate, develop.

DI Pisarev noted that “if a person were completely devoid of the ability to dream ... if he could not occasionally run ahead and contemplate with his imagination in an integral and complete picture, then the very creation that is just beginning to take shape under his hands, - then I absolutely cannot imagine what motivating reason would force a person to undertake and complete extensive and tedious work in the field of art, science and practical life ... ”.

The activity of the imagination, even when it operates with previous images, is an activity that is mentally conditioned differently from the activity of memory.

Also, the development of imagination depends on the development of speech. Speech frees the child from direct impressions of the object, it gives the child the opportunity to imagine this or that object, which he did not see, and to think about it. The child can also express in words that which does not coincide with the exact combination of real objects or corresponding representations. This enables him to move freely in the sphere of impressions indicated by words.

During school age, the primary forms of daydreaming are laid, that is, the ability and ability to more or less consciously surrender to certain mental constructions, regardless of the function that is associated with realistic thinking. The course of development of higher mental functions is essentially connected with the child's speech, with the main psychological form of his communication with others, that is, with the main form of collective social activity of the child's consciousness. The movement of our senses is closely connected with the activity of the imagination. Very often this or that construction turns out to be unreal from the point of view of rational moments that underlie fantastic images, but they are real in an emotional sense. This activity is subordinated to emotional interests.

Scientists believe that creativity is associated with the peculiarities of thinking. So, J. Guilford distinguishes convergent thinking - logical, one-directional and divergent - holistic, intuitive, going simultaneously in several directions. The integration of these two types of thinking forms such features as fluency (the ability to generate the maximum number of ideas); flexibility (the ability to create a wide variety of diverse ideas); originality (the ability to give a complete look to the products of thinking). These features, in fact, constitute the basis of creativity, without which no creativity is possible. The attitude towards creativity, formed on the basis of past activities, manifests itself in the form of a constant need of the individual for new creativity, which leads to productive results and at the same time is a stimulus for mental activity. Thus, the concept of "creativity" includes two mutually exclusive aspects. First, creativity is the activity of creating a product, obtaining a new result. Secondly, this is the process of achieving a result, in which needs and abilities are realized, self-development of the individual takes place.

It may seem, at first glance, that activity and creativity are opposite in their psychological mechanisms: activity is rational in nature, creativity is spontaneous, unplanned, activity is expedient, regulated, creativity is inappropriate, involuntary, does not lend itself to regulation by consciousness, creativity is life unconscious, activity is the life of consciousness. Many philosophers and psychologists paid attention to the objective difference between creativity and objective activity. But mental life is a process of changing two forms of internal and external activity: creativity and activity, and in order to create, a person must engage in conscious activity, assimilate its normative basis, otherwise he will be outside of culture, and his product will not be understood ...

K. Rogers understands the creative process as “the creation by means of action of a new product that grows, on the one hand, from the uniqueness of the individual, and on the other, conditioned by the material, events, people and circumstances of life”.

Research conducted by V. Druzhinin and N. Khazratova showed that the development of creativity goes through at least two phases:

Development of “primary” creativity as a general creative ability, non-specialized in relation to a certain area of ​​human life. (3-5 years old) at this time, the child's imitation of a significant adult as a creative model may be the main mechanism for the formation of creativity (the phenomenon of “children's creativity”);

Adolescence and adolescence (13-20 years old). During this period, on the basis of “primary” creativity, “specialized creativity” is formed - the ability to create, associated with a certain sphere of human activity as its “reverse side”, addition and alternative. At this stage, a special, significant role is played by the “professional” model, support of the family and peers. The second phase ends with a denial of one's own imitative production and a negative attitude towards the “former ideal”. The individual either lingers on the imitation phase forever, or goes on to original creativity. Creativity is most likely shaped by general giftedness (as is intelligence).

Thus, a paradox arises: at the heart of creativity is imitation. In order to be involved in the activity of transforming human culture, a person must master the methods of creative behavior through imitation of another. The concepts of "sample", "stereotype", "standard" contradict the common idea of ​​creativity.

It should be understood that creative behavior, like intellectual behavior, goes through a phase of socialization. Age 3-5 years is the most productive for the development of creativity. Children's literary and artistic creativity is most vividly manifested precisely at this time. The decline in creative manifestations by the age of six is ​​considered a consequence of a decrease in the role of the unconscious in the regulation of behavior and an increase in the criticality of rationality in the mind of a child. The question of the factors influencing the manifestation and development of creativity at the age of 12-13 seems to be more complicated, since at this age we are dealing with a person who has already developed in many ways, who has assimilated culture and processed it into a certain (albeit unstable) system of relations with the world. ... Therefore, in order for a child to develop as a creative person, it is not enough to remove “barriers”, a positive example of creative behavior is needed.

Creativity is manifested, as a rule, at the age of 5. Children begin to compose, unexpectedly for themselves and for others, fairy tales and poems. Imitation of creative models as a stage of transition from naive creativity to “adult” creativity begins at the age of 8-15, and creative elements (novelty, originality) disappear in the works of young authors. But by the age of 16-17, the creative elements reappear.

Imitation is necessary for mastering a culturally fixed way of creative activity. Imitation, as it were, raises the individual to the last step in the development of the socio-cultural environment, achieved by people: further only the unknown. The development of imitative activity is associated with an increase in the level of mastery of activity, a decrease in the total number of imitative actions. In order to reach the level of creative achievements, it is necessary for creativity to become a personal act, for a potential creator to get used to the image of another creator, and this emotional acceptance of another person as a model is a necessary condition for overcoming imitation and entering the path of independent creativity.

Bibliography

1. Bernshtein S. M. Psychology of scientific creativity. [Text] / S.М. Bernstein // "Questions of Psychology". - 1965. - No. 3. - p. 15-19
2. Ladyzhenskaya T.A. Creative dictations. [Text] / T. A. Ladyzhenskaya. - M. - 1963 .-- 215 p.

Content.

Introduction …………………………………………………………………… .3

Creativity and a person: their mutual connection, influence, role …………… ..… 5
Creativity as a need ………………………………………………. .7
Creativity as a kind of activity ……………………………………… ... 10

Conclusion …………………………………………………………………… 13

References ……………………………………………………… ... ...… .14
Introduction.

What is creativity for a modern person? Creation of something new with your own hands and thoughts, transformation of the surrounding world. Creativity is an integral part of the life of any of us, giving an incentive to develop, live and continue to create.
According to the New Philosophical Encyclopedia, creativity is a category of philosophy, psychology and culture, which expresses the most important meaning of human activity, which consists in increasing the diversity of the human world in the process of cultural migration. Consequently, the concept of creativity refers to several branches of scientific knowledge at once and affects many areas of human life.
In particular, this work will consider the aspect of the concept of creativity as a human need and type of activity.
The modern world around a person is diverse and bright. It is developing dynamically and constantly changing. And all thanks to man - an intelligent creature capable of transforming, developing, supplementing the world with something completely new and previously unknown. And at the same time, a person himself adjusts to the world around him and the conditions of life, he himself decides what to do next.
In the creation and development of the surrounding world by a person, factors such as human motivations and needs play an important role, on which the nature of human activity depends entirely.
Thus, considering the issue of creativity as a need and a type of human activity is an urgent philosophical, psychological and sociological problem and a task, the solution of which is important for understanding the influence of creativity on our life and its role in it.

Creativity and man: their mutual connection, influence, role.

Creativity is a process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new one. The definitions of creativity available in the literature, although they differ significantly from each other, nevertheless, allow us to single out some of its general foundations. This is, first of all, the qualitative novelty of the final product of the creative act. Secondly, the immediate absence of this quality in the initial premises of creativity. Thirdly, one cannot fail to see that any creative act contains an intellectual search for the subject of creativity.
The main criterion that distinguishes creativity from manufacturing or production is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author of the creation, can reproduce exactly the same result if you create the same initial situation for him. But then it will no longer be creativity. After all, it must be unique and unrepeatable. In the process of creativity, a person puts into the material possibilities that are not reducible to labor operations or a logical conclusion, expresses in the end result aspects of his personality and his state.
Creativity is a certain aspect of personality development, related to the transition to a high intellectual level. The creative individual differs from the rest in that he is able to solve a certain range of constantly emerging problems with a higher quality in the same time. He is distinguished by his ability to effectively handle conflicting information. Other creative qualities of a creative personality are high intuition, the perception of deeper meanings and consequences of the perceived, self-confidence and at the same time dissatisfaction with the situation in which the subject finds himself, openness to the perception of both the external and internal world. Creative individuals are highly motivated, demonstrate a significant level of energy, have reflexive thinking, from which they get pleasure, are independent, non-conformable, and have a low level of socialization.
People of creative labor form a social group, the function of which is to solve special problems of the intellectual and spiritual type. A number of cultural eras identified high social appreciation with creative personalities. Key words related to this field have always been and are "giftedness", "originality", "fantasy", "intuition", "inspiration", "technical invention", "scientific discovery", "work of art".
One can speak about creativity only if there is a creator who determines the meaning, goals, value guidelines of his actions. Only man can be such a creator.
The ability to create separates a person from nature, opposes it to nature and acts as a source of labor, consciousness, culture - all that second nature that a person "builds" over the natural conditions of his being. All other features of a person - from labor to language and thinking - are based on creativity.
The source of a person's ability to create lies in the processes of anthroposociogenesis and, first of all, in the formation of reflexive thinking, the highest manifestation of which is creativity. This definition can serve as a key to understanding creativity as one of the most characteristic manifestations of human freedom.

Creativity as a need.

Creativity is a rejection of stereotypes of perception and expression, the discovery of new sides of already known and mastered material, it is a constant search for topics, ideas, aspects, means of their implementation in the external world. Creative activity, like any other, has a number of components: a goal, a means of achieving the goal, and a result.
In its most general form, the goal of creativity can be defined as the desire to realize the need for self-expression and to aesthetic mastery of the world. With regard to each individual act of creativity, the goal is concretized in the author's intention. The idea precedes the creative process, but in practice, the initial idea in the process of its implementation is often significantly changed and corrected.
The process of implementing an idea is both the most interesting and the most difficult and painful for the artist. "The purpose of creativity is self-giving," asserted Boris Leonidovich Pasternak. A creative person is a person who gives, gives himself to others.
The need for self-expression is inherent in everyone. The way of self-expression is determined by the level of general cultural development, the nature of the abilities and inclinations of a creative person, the development of his emotional and intellectual background.
For the author, a creative person, creativity is a means of self-expression, self-realization, communication, moral satisfaction, self-affirmation.
From the point of view of considering creativity as a human need, it is worth highlighting the theory of human needs, proposed in the 40s. XX century by the American psychologist and economist Abraham Maslow.
A need, by his definition, is a physiological and psychological deficiency of something. Needs serve as a motive for action.
The diagram shows a pyramid - the hierarchy of human needs according to the theory of A. Maslow. He argued that the next need in the hierarchy is satisfied after the need of the previous level is fully satisfied.

Thus, A. Maslow singles out the need for self-expression and self-actualization as the highest human need.
“Self-actualization is the continuous realization of potential opportunities, abilities and talents, as the fulfillment of one's mission, or vocation, destiny, etc., as a more complete knowledge and, therefore, the acceptance of one's own original nature, as a relentless striving for unity, integration , or internal synergy of the personality. "
Creativity is one of the results of self-actualization, and the most beautiful and highest, according to A. Maslow. After all, other results may simply be human reactions to the world around them - self-expression, and not always acceptable in society, not always beautiful or well-mannered behavior.
“There are no perfect people! There are people who can be called good, very good, and even great. There are creators, seers, prophets, saints, people who are able to raise people and lead them along. There are few such people, there are only a few of them, but the very fact of their existence gives us hope for the best, allows us to look to the future with optimism, because it shows us what heights a person striving for self-development can reach. But even these people are imperfect ... "

Creativity as a kind of activity.

When considering creativity as an activity, it is necessary to address various aspects of this issue.
From the point of view of psychology and philosophy, it can be argued that creativity is not an activity itself, but an attribute of human activity, its property that underlies the progress of material and spiritual production.
Thus, the "creative approach" can be characteristic and applied to almost any human activity: communication, production, craft, and, in general, to his way of life. At the same time, a person continues to act as an author, creator of unique events or things. The use of such a "creative approach" entirely depends on the person, on his will and desire to do something unique and new.
Creativity is the highest form of activity and independent activity of man and society. It contains an element of the new, assumes an original and productive activity, the ability to solve problem situations, productive imagination combined with a critical attitude to the achieved result. The framework of creativity encompasses actions from a non-standard solution to a simple problem to the full realization of the individual's unique potencies in a particular area.
Creativity is a historically evolutionary form of human activity, expressed in various types of activity and leading to the development of personality.
Thus, through creativity, historical development and the connection between generations are realized. After all, a precondition for creative activity is the process of cognition, the accumulation of knowledge about the subject that is to be changed.
Creativity is based on the principle of activity, and more specifically, labor activity. The process of a person's practical transformation of the surrounding world, in principle, determines the formation of a person himself.
Creativity is an attribute of the activity of only the human race. 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 the transforming activity, inclusion in it, that are a necessary condition for the development of the ability to create.
The transforming activity of a person educates in him the subject of creativity, instills in him the appropriate knowledge and skills, fosters will, makes him comprehensively developed, allows you to create qualitatively new levels of material and spiritual culture, that is, to create.
Thus, the principle of activity, the unity of labor and creativity reveal the sociological aspect of the analysis of the foundations of creativity.
The cultural aspect is based on the principle of continuity, unity of tradition and innovation.
Creative activity is the main component of culture, its essence. Culture and creativity are closely interconnected, moreover, they are interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material).
Culture makes it possible for creativity to turn from a property of activity into activity itself - art. From creativity as an activity, as a way of self-realization of a person and peoples, from new unique discoveries that have given the world the beauty and convenience of life, a tradition is born.

Conclusion.

Creativity has a strong influence on our life, on its changes and further development. Creativity is life itself, active, beautiful. Without creativity, life ceases to be full, turns into submission to the prevailing circumstances, a person is lost as a person, he is not able to self-actualize. Every person needs creativity in life, be it a “creative approach” in his occupation or creativity as art.

Bibliography.

Krivchun A. A. Aesthetics: A textbook for university students. - M., 1998 .-- 430 p.
etc.................

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

First of all, as a scientist, I must have something that can be observed, some kind of product of creativity. While my fantasies may be completely new, they cannot be called creative until they are embodied in something real, for example, expressed in words, written on paper, conveyed in a work of art, or reflected in an invention. These works must be completely new, their novelty stems from the unique qualities of the individual in his interaction with the objects of experience. Creativity always leaves an individual's mark on its product, but this product is not the individual himself or his materials, but the result of the relationship between them.

Creativity, in my opinion, does not depend on any specific content (in the book cited by Carl Rogers not cites no evidence of this thesis - Approx. I.L. Vikentieva). I believe that there is no significant difference in creativity when creating a picture, literary work, symphony, inventing new murder weapons, developing a scientific theory, looking for new features in human relationships or creating new facets of one's own personality, as in psychotherapy. (In fact, it was my experience in this latter area, and not in any form of art, that sparked my particular interest in creativity and its development. A close acquaintance with how an individual original and effective remakes himself in the course of a psychotherapeutic relationship instills confidence into the creative possibilities of all people.)

I understand by the creative process an activity aimed at creating a new product that grows, on the one hand, from the uniqueness of the individual, and on the other, conditioned by the material, events, people and circumstances of life.

Let me add a few criticisms to this definition. There is no distinction in it between "good" and "bad" creativity. One person may be looking for a way to relieve pain, while another may invent new, more sophisticated ways to torture political prisoners. Both of these actions seem to me creative, even if their social significance is completely different. Although I will consider these social assessments further, I refrained from including them in my definition because of their extreme instability. Galileo and Copernicus made creative discoveries that in their time were judged as blasphemy and evil, and today are considered fundamental and constructive. We do not want to obscure the meaning of our definition using terms that have a subjective meaning.

You can look at this problem from a different angle, noting the following: in order for a product to be considered in the historical aspect as a result of creativity, it must be recognized by a certain group of people at some point in time. This fact, however, does not matter for our definition because of the already mentioned fluctuations in evaluations, and also because many products of creativity have never been noticed by society and disappeared without being appreciated. Therefore, acceptance by the group as an aspect of creativity is absent from our definition. In addition, it must be said that our definition does not delineate the degree of creativity, since this is also a very volatile, evaluative definition. By our definition, the actions of a child inventing a new game with his comrades are creative in nature; Einstein, formulating the theory of relativity; a housewife inventing a new sauce for meat, a young author writing his first novel. We are not trying to arrange their actions in any sequence as more or less creative. "

Karl Rogers, Towards the theory of creativity / A look at psychotherapy, the formation of a person, M., "Progress"; "Univers", 1994, p. 411-412.