Creative abilities of the individual. Research internal plan of action. Learning without interruptions

The personal qualities of a creative person are those that allow this person to differ from other people.

These include:

Productive self-awareness;

Intellectual creative initiative;

Thirst for knowledge and transformation;

Sensitivity to the problem, novelty;

The need for non-standard problem solving;

Criticality of the mind;

Independence in finding ways and means of solving problems.

The key to the development of personal qualities of a creative person is the high motivation of creativity.

For psychology, the creative motivation of the search (ideas, images, plots, scenarios, etc.) is one of the central problems. Its development is important for the correct interpretation of the fundamental questions of the formation of people in science, technology and art and for the rational organization of their work. For the purpose of better orientation in the hierarchy of different motivational levels, psychologists divided motivation into external and internal.

By “external” motivation, they usually understand motivation that comes not from the subject-historical context of creative activity, not from the demands and interests of the logic of its development, refracted in the motives and intentions of an individual researcher-creator, but from other forms of his value orientation. These forms (thirst for fame, material advantages, high social position, etc.) can be extremely significant for him, can be represented in the very depths of his personality, and yet they are external in relation to the developing science (technology or art) in which the creator lives with all his affections, passions and hopes. Ambition (the desire to achieve leadership in public life , science, culture, careerism, etc.), for example, can serve as a powerful engine of behavior that characterizes the very core of the personality. Nevertheless, it is an external motive, since the creative activity motivated by it acts for the creator in the form of a means of achieving goals that are outside, for example, for the process of development of scientific thought going its own ways. It is known that external approval, expressed in various types of recognition and honors, is an important incentive for many creative people. Non-recognition of scientific merits on the part of colleagues and scientific organizations brings great grief to the scientist. G. Selye recommends that scientists who find themselves in a similar situation treat it philosophically: “It is better for people to ask why he did not receive high ranks and positions than why he received them.” A peculiar kind of ambition is love for a woman as an external motive for creativity. Some prominent people considered this feeling a strong stimulant of creativity. For example, A.S. Pushkin wrote: "The sweet attention of women is almost the only goal of our efforts." This point of view was shared by I.I. Mechnikov. Dissatisfaction with one's position also serves as an important motive for creativity (N.G. Chernyshevsky). Both dissatisfaction with one's position and the desire for self-expression can be incentives for the creative activity of the same person. This idea was clearly expressed by A.M. Gorky: “To the question: why did I start writing? - I answer: by the strength of the pressure on me of “a tedious poor life” and because I had so many impressions that “I could not help but write. A significant place among the motives of creative activity is also occupied by the moral and psychological side of this activity: awareness of the social importance and necessity of ongoing research, a sense of duty and responsibility for the nature and use of the results of scientific work, awareness of the close connection of one’s activity with the work of a scientific team, etc. in the moral motivation of scientific and any other creative activity, he has a sense of the moral duty of creative individuals to their people and humanity. Creators must constantly remember the humane orientation of their activities and refuse to work, the possible tragic consequences of which are known in advance. Many of the greatest scientists and representatives of art of the 20th century spoke about this more than once. - A. Einstein, F. Joliot-Curie, I.V. Kurchatov, D.S. Likhachev and others. One of the external motives is social facilitation - an increase in the speed or productivity of a creative personality due to the imaginary or real presence of others. a person or group of people (without their direct intervention in the activity), acting as a rival or observer of his actions. One of the powerful stimuli of creativity can be considered boredom. According to G. Selye, creative people intensively looking for "spiritual outlets". And if they have already acquired a taste for serious mental exercises, everything else in comparison with this seems to them not worthy of attention. The most unattractive incentives for creativity include envy and the desire to acquire large material wealth, high positions and high-profile titles. There are two types of envy among creative workers. The first is "white envy", in which the recognition of someone else's success turns out to be an incentive for the individual to be creative and strive for competition. It is this envy of A.S. Pushkin considered "the sister of the competition." "Black envy" pushes the individual to commit hostile actions in relation to the object of envy (Salieri's syndrome) and has a destructive effect on the very personality of the envious person.

The internal motives of creativity include intellectual and aesthetic feelings that arise in the process of creative activity. Curiosity, surprise, a sense of the new, confidence in the correct direction of the search for a solution to the problem and doubt in case of failure, a sense of humor and irony - these are examples of intellectual feelings. Academician V.A. Engelhagdt believed that the innate instinctive force of creativity is the desire to reduce the degree of ignorance about the world around us. He considered this instinct to be akin to the thirst-quenching instinct. That is why it is fair to say that it was not the scientist who gave his life to serve science, but science served to satisfy his need for creativity. The same can be said about the poet, and about poetry, and in general about any creative person and his creations. The experience of many talented people shows that the need for creativity, for creating something new and original, is in the almost instinctive need of a person. For example, I.S. Turgenev, according to his biographer, took up the pen under the influence of an inner need that did not depend on his will. L.N. Tolstoy said that he wrote only when he was not able to resist the inner attraction to writing. Similar statements can be found in Goethe, Byron, Pushkin and many eminent scientists. Curiosity, the ability to enjoy every small step, every small discovery or invention is a necessary condition for a person who has chosen a scientific profession. The thirst for knowledge, or the instinct for knowledge, is the main difference from animals. And this instinct is highly developed in creative individuals (L. S. Sobolev). The work of a scientist is a source of great pleasure. According to Academician N.N. Semenov, a true scientist is attracted by his work in itself - regardless of remuneration. If such a scientist were not paid anything for his research, he would work on them in his spare time and would be ready to pay extra for it, because the pleasure he receives from doing science is incomparably greater than any cultural entertainment. The one to whom scientific work does not give pleasure, who does not want to give according to his abilities, that is not a scientist, this is not his vocation, no matter what degrees and titles he may be awarded. Material security comes to a real scientist by itself, as a result of his faithful attachment to science (N.N. Semenov, 1973). Curiosity, love for the truth of a scientist is largely due to the general level of development of science, his own life experience, public interest in a particular problem on which the scientist is working. The most important thing, without which even high professional qualities do not lead to success, is the ability to rejoice and be surprised at every small success, every solved riddle and treat science with the reverence that A. Einstein spoke of: “I am content with being astonished I conjecture about these mysteries and humbly try to mentally create a far from complete picture of the perfect structure of everything that exists. Since the time of Plato, the feeling of surprise (“mystery”) has been considered a powerful motive for all cognitive processes. The desire for the mysterious, the unusual, the thirst for a miracle are inherent in a person in the same way as the desire for the beautiful. A. Einstein said about this: “The most beautiful and deepest experience that falls to the lot of a person is a feeling of mystery.” A pronounced sense of mystery underlies all the deepest trends in science and art. Being creative, people often experience aesthetic satisfaction , which, as a rule, increases their creative energy, stimulates the search for truth.Creativity includes not only knowledge, but also beauty, aesthetic enjoyment of the process itself and the result of creative work.Penetration into the world of the unknown, revealing deep harmony and an amazing variety of phenomena , admiration for the opening beauty of the known laws, a feeling of the power of the human mind, consciousness of the growing power that a person acquires over nature and society thanks to science, give rise to a gamut of feelings and strongest human experiences that are deeply included in the process of creative searches of scientists: satisfaction, admiration, delight, surprise (from which, as Aristotle said, all knowledge begins). The beauty of science, as well as art, is determined by the sense of proportion and interrelationship of the parts that form the whole, and reflects the harmony of the surrounding world. In order to make fuller use of the aesthetic motives of scientific creativity, their role in the revitalization of science, it is important to learn how to consciously influence them, to promote their unimpeded and socially beneficial development. The strengthening and development of ties between scientists and the world of art and literature can play an enormous and in many ways irreplaceable role. The famous mathematician GG.S. Alexandrov noted that music had a huge influence on his development as a scientist in his younger years. It was precisely at those moments when, returning from a concert, he experienced some especially good state, valuable thoughts came to him. Similar statements are known. Einstein, who noted the exceptional role of fiction in stimulating new scientific ideas.

Both types of motivation are so closely related to each other that their separate separate analysis is often very difficult. The unity of motivation is manifested in the very fact of the existence and development of a person's natural inclination to creativity, in the need for self-expression. External motives can serve as an engine of creative activity only through internal motivation, which is created as a result of a contradiction within the cognitive field between what is already formalized in the form of socialized knowledge and what should be formalized by a given subject of creativity in order to claim advantages expressed in terms of external motivation. Obviously, external attributes and external benefits in themselves cannot serve as a criterion for success in science, although it is often their appropriation that becomes the dominant motive for the activities of many scientists.

To the means of increasing T.m. in a creative team is not only the use of material and moral incentives and promotions in status. It is also important to create conditions for self-actualization of the scientific worker's creative abilities, to open up prospects for him. Among the factors of great motivational significance, it is necessary to single out the motivations of the scientist, which are acquiring an important role in modern conditions, associated with the implementation of the results of scientific research (especially fundamental ones) into practice, etc.

Summarizing the above, two groups can be distinguished creative motives :

· external (the desire for material benefits, to secure one's position);

· domestic (pleasure from the creative process itself and aesthetic satisfaction, the desire for self-expression).

The more you do what you do
the more you get what you have.

Creativity is in almost every person. However, in the activities of some people, the creative nature is manifested to a greater extent, while in others - to a lesser extent.

Creative thinking requires you to constantly dig deep into yourself and generate ideas that are bigger, better, newer, faster, cheaper, and that you can use to improve your life. Creative people have at least seven special personality traits. When you practice one or more of these qualities, you become more creative.

The first quality of those who think creatively is their active curiosity. They strive to learn something new and constantly ask questions: “How?”, “Why?” etc. In this they are like children. Then they ask: "Why not?", "Why can't I do it?"

2. Thinking from scratch

The second characteristic of creative people is that they practice "thinking from scratch". The philosophy behind this approach is to ask yourself, “If I wasn’t doing what I’m doing now and knew what I know now, would I start doing it?”

And if the answer is no, they stop doing what they are doing and start doing something else. It's amazing how many people persist in doing things for which they have no inclination.

3. Ability to change

Creative people are distinguished by the value that they are ready for change. They recognize that in our world, the unwillingness or inability to change leads to sad results. And if you prefer to take responsibility for your life, you must not only be prepared for the inevitable changes, but also organize them yourself.

According to one study, 70% of the decisions we make turn out to be wrong in the long run. This means that you must be willing to change your mind and try something else most of the time.

4. Admit When You're Wrong

The fourth creative ingredient is the willingness to admit you're wrong. A huge amount of people's mental and emotional energy is wasted protecting them from admitting they made the wrong decision. Truly open-minded creative people should always be flexible and willing to change their minds and admit when they are wrong.

5. Continuous learning

Highly creative people have the freedom to admit they don't know something. No one can know anything about everything, and it is very likely that almost everyone is wrong about some subjects.

No matter what problem you are facing, surely someone has already dealt with it at some time and this solution is used today. The easiest and most effective way to deal with a problem is to find a ready-made successful solution and copy it. Learning is about learning from other people's experience and putting it into practice.

6. Purposefulness

The activities of creative people are focused on their goals, in achieving which they can be realized. They live productively and knowing exactly what they want; perfectly imagine what their goal will look like, as if it were a reality today. And the more they visualize and present their goal as a reality, the more creative they become and the faster they move towards achieving it.

7. Control your ego

And finally, the seventh feature of highly creative people is that their ego is less involved in decision making. They are more concerned with what is right than who is right and are willing to accept ideas from any source to solve their issues.

Creative thinking generates new ideas

The most important part of a creative individuality is. And the more ideas you generate, the better their quality will be. The more ideas you have, the more likely you are to have the right idea at the right time.

But even Thomas Edison said: “Genius is one percent inspiration and 99 percent hard work.” The true mark of a creative person is the ability to come up with an idea and then put it into practice. Every time you generate a new idea, make a plan for its implementation, and then execute it, you develop your creativity. And the more you develop them, the more you will achieve in every area of ​​your life.

I am glad to welcome you, my dear readers!

Today I would like to consider in detail the theme of the creative potential inherent in every person. You may not realize it, but I assure you, the makings of a creator are in each of you.

Consider the basic qualities of character inherent in creative personalities.

1. Dreaming means getting as close to reality as possible.

It turns out that dreaming is very useful!

Creative people dream a lot, turning thoughts into reality. Inspiration is an inexplicable phenomenon that visits a person at the most unexpected moment.

It is necessary to dream in order to reveal the inner potential, to enable the idea to come to your bright head. Left alone with themselves, ideas suddenly fill the inside of the creator.

Remember one thing, very famous expression: " The thought is material"... Just two words, but how much power in this phrase!

Interesting and bold thoughts are the result of imaginary images in the human brain. Dreams tend to come true, so you need to dream always and everywhere.

But it is advisable to dream carefully and positively, as the results of the imagination eventually acquire a material form

Dreaming, we give birth to new thoughts, therefore, dream to your health!

Conclusion: Reverie gives rise to amazing thoughts and ideas!

2. The position of the observer - as a way of obtaining information from the outside

Where do creative people get inspiration from?

Creators receive information from everywhere, from various sources... They are like sponges, absorbing everything that surrounds them and what happens to them.

Inspired by the emotions of people, or, for example, traveling, while experiencing tender feelings, great people create new masterpieces. Each idea is the merit of information received from the environment.

An excellent way to capture information is to record your own observations, experiences and events. By writing down information, it can later be reproduced in your memory.

For example, I have a desk at home full of reminder papers ... I constantly write something down, every day and at any time. It even happened that an interesting thought visited me when I went to bed ... already in bed ... and what do you think ... I immediately jumped up to write it down, fix it on paper, so as not to lose or forget! And at home I have not only a desk in pieces of paper, but also half a dining table ...

Conclusion: Wherever you are, BE THERE! Develop your powers of observation and fix it in your memory

3. Overcoming difficulties - as a way of self-realization

Have you ever wondered why we need difficulties?

Overcoming them, a person grows and develops ... Is it hard to go uphill? Definitely YES! But climbing the mountain and conquering its peak, a huge force begins to grow and develop inside us ... Let's imagine that the mountain is the difficulties ...

So it turns out that life's problems and difficult situations become a source of inspiration, while a person tries to fill the inner emptiness with new impressions and creative ideas.

To advance, change or improve their lives, many people use adversity as fuel for personal growth and improvement in their standard of living….

Experiences provoke a lot of emotions that can be realized in creativity. Spiritual development and gaining life experience is a catalyst for a new discovery of oneself as a creative person.

Creativity helps to cope with inner experiences and start living anew. Therefore, the most important need of any person is, of course, self-realization.

Conclusion: Life's difficulties often give rise to the seed of creativity and help in self-realization.

4. New experiences inspire

Stepping outside your own comfort zone is a source of inspiration. By studying the versatility of the external world, you can expand the boundaries of your inner consciousness.

Gaining experience in various areas of life, you become a successful person.

I often talk about this in my classes... what, expanding our field of vision in creativity,we get new impressions and positive creative energy

Conclusion: Curiosity and openness to everything new is the key to success in everything!

5. Failure is a great motivation to overcome obstacles.

Remember what confident and successful people say? — “After a fall there is always a rise!” How do they know this? Yes, because they themselves “tried on” all the delights of failure!

Creative people often face defeat and non-recognition as creators... And this often becomes a strong incentive to achieve great heights.

But after a black streak of failures, a white, cloudless streak is sure to come. Without giving up, continuing to move forward, you can reach grandiose heights.

By the way, many famous artists, actors and composers failed, but got up .... And they went again to their dream, to their goal, firmly believing in success!

Failure only makes a strong-willed person stronger.

Conclusion: Failure breeds new, ingenious creative solutions.

6. Curious disputes help find the right solution.

Do you like to argue?

Did you know that the solution to many problems comes in a dispute? By examining life, asking questions and getting logical answers, you can come to the right conclusions.

Drawing information resource from many sources, you fill your own world useful information which may be useful to you in life.

Conclusion: In disputes and discussions, truth comes

7. Every person is an inspiration

By observing people, their behavior and drawing on their energy, creative individuals are able to get unique ideas that can be implemented in various ways: both on canvas and on a sheet of paper.

Knowing a person, studying him and interacting with him, the creator reveals the essence of human nature.

The curiosity and special observation of human nature has given us a huge number of literary and artistic works ... Like everything ingenious, it is both simple and complex at the same time ...

Conclusion: The best creative ideas come to us through the study of human nature ... in other words, the study and knowledge of human psychology

8. Loneliness - as an expression of freedom

The best works of artists and writers are the result of their seclusion, some renunciation of reality. The creative potential of a person depends on internal balance, the connection of mind, soul and body.

For example, I spend most of my time in solitude… in my studio, I tune in to the wave of creation in deep solitude… just a canvas, my idea and music... I mainly choose the genre of music for the plot of my future work. For a calm landscape, for example, I listen to jazz and blues, and when I paint a contrasting, impulsive picture, there is already rhythmic, fast music ....

And it happens that when I listen to my favorite style of music (hard rock of the 70s), I seem to fall into a special state, thanks to which new works are born that are not like others ... experimental, and very successful.

Therefore, I can say with confidence that music directly affects both the plot and the nature of your picture ... oh, I’ve moved away from the topic, I’m coming back .. and I confirm that only in deep solitude can one contemplate and generate great ideas

Conclusion: Contemplate while alone

9. Lack of framework and restrictions

Inspiration comes at the most unexpected moment, it is simply impossible to predict the time and date of visiting this place. The best hours for getting information from the outside are early morning and late evening.

Creative personalities do not tolerate restrictions and the precise fulfillment of tasks. Most likely, Creativity suffers defeat, enclosed in captivity.

Conclusion: Unleash your inspiration

10. Following your desires, success comes unexpectedly.

In striving for success, creators receive excellent motivation, which stimulates them to take action. Talent is revealed through solving complex problems and overcoming difficulties. The end always justifies the means, so the desires become a reality.

Conclusion: Desire secured by motivation is doomed to success.

11. Dive into the world of creativity

Creating masterpieces of creativity, the authors of many works are immersed in a special state of their own consciousness, in which the passage of time is lost. By concentrating and immersing himself in his favorite activity, the creator renounces reality, being in a state of euphoria.

Yes Yes,…. This is exactly what I wrote about above .. Remember ... loneliness, canvas and the right music .... And the whole world in my eyes ceases to exist for a while!!!

Conclusion: Dissolve and reconnect with the creative world

12. Beauty surrounded by the creator

Do you like beautiful things?

For example, I adore different figurines, beautiful artistically designed furniture, mysterious and bewitching paintings ... this, of course, is my taste, it can be different for everyone

In general, a sense of taste is inherent in every creative person.

Surrounding themselves with beautiful things, the creators create a special atmosphere in which they feel comfortable.

So it turns out the CONCLUSION: beauty begets beauty!

And at the end of this article I will summarize. Non-standard solutions, originality of actions, the will of imagination and love for the process of creation are the key to the success of creative self-realization.

The right emotional state and calmness are the obligatory companions of a creative person. Concentrating and completely immersing yourself in the work, you can create a real work of art.

Unleashing your creative potential and achieving success is very simple, for this you just need to persevere towards your goal ... become a creative stubborn

My dears, dream, argue, absorb, follow your desires, show curiosity and broaden your horizons in art and creativity ... and be brilliant creators of your life! Good luck in any creative endeavors!

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From the history of the issue

In Russian psychology in the early period of research on creativity, the only source of judgment about the qualities of a creative personality were biographies, autobiographies, memoirs and other literary works containing "self-revelations" of outstanding people - artists, scientists, inventors.

By analyzing and summarizing such material, the most conspicuous signs of genius were identified, expressed in the features of perception, intellect, character, and motivation of activity.

Among the perceptual features of individuals with enormous creative potential, most often included: unusual tension of attention, great impressionability, receptivity. Among the intellectual ones are intuition, powerful fantasy, fiction, the gift of foresight, the vastness of knowledge. Among the characterological features, the following were emphasized: deviation from the template, originality, initiative, perseverance, high self-organization, colossal efficiency. Features of the motivation of activity were seen in the fact that a brilliant personality finds satisfaction not so much in achieving the goal of creativity, but in its very process; a specific feature of the creator was characterized as an almost irresistible desire for creative activity.

Original criteria for an objective assessment of creative potentials were also proposed: according to P.K. Engelmeyer, technical genius manifests itself in the ability to intuitively grasp the idea of ​​an invention; there is enough talent to develop it; for constructive performance - diligence.

Later, tests were used to study the qualities of a creative personality. The results of a survey of famous chess players were somewhat unexpected; except for the clearly visible professional features, no special deviations from the norm were found either in attention, or in memory, or in "combinatorial ability; highly developed

1 Of course, in all periods of the study, such materials were significantly supplemented by the personal opinion of the authors of the studies.

famous chess players turned out to have only the ability to establish logical connections. Thus, this test survey did not reveal any definite qualities of a creative personality.

Something similar was shown by the study of inventors. Their data was not overwhelming compared to the norm. However, within the inventors it was possible to find distinct differences that are strictly consistent with their productivity. The most productive inventors differed from the least productive in both the level of intelligence development and the level of attention development. At the same time, according to the author of the study P. A. Nechaev, these differences are not the most significant. Great inventors and scientists differ from less significant ones not so much in the development of formal intellectual skills as in the structure of their personality. The watershed here runs along the line of perseverance in the implementation of the plans, activity, aggressiveness in protecting one's personality, organizational abilities, etc.

A number of other issues related to the characteristics of a creative personality and, mainly, the personality of a scientist were also put forward. Among them, it should be noted the questions of the typology of the personality of scientists, the classification of scientists, the questions of the age dynamics of creativity, the nature and development of creative abilities, and the education of creative abilities.

So, for example, referring to the typology of scientists, F. Yu. Levinson-Lessing divided creatively unproductive erudite scientists, calling them "walking libraries", and creatively preductive scientists, not burdened by an overabundance of operational knowledge, possessing a powerfully developed imagination and brilliantly reacting for all sorts of clues.

The age dynamics of creativity was considered by M. A. Bloch, who built his conclusions in this area, mainly based on the analysis of foreign literature. He attributed the most favorable age for the manifestation of genius to 25 years.

An analysis of the works of foreign authors regarding the nature and factors of development of abilities led M. A. Bloch to the conclusion that there are no convincing constants in the dependence of genius on innate qualities. No such constants were found regarding the role of the influence of the environment, including schooling. M. A. Bloch, along with most representatives of the early period of research, was deeply convinced that the conscious activity of people in no way can influence the formation of brilliant scientists, inventors, poets and artists.

Based on his own research, P. A. Nechaev, referring to the issue of educating technical invention, believed that inventors are mostly people with a favorable natural organization. Many who have not received education have practically achieved little. But education sometimes acts as a brake. Cases of great successes of uneducated talents are known. Therefore, at school, not only the material of instruction is important, but also the form in which it is given.

In "a later period, there was no significant progress in the field of psychology of the personality traits of the creators of science. Individual works that touched on such issues, essentially relied on the materials of the past.

It is no coincidence, therefore, that at the Symposium on Problems of Scientific and Technical Creativity (Moscow, 1967) all reports presented at the session of the psychology section were grouped in line with the problem of the psychology of creative thinking. Questions of the psychology of the creative personality were not touched upon at all (to a certain extent, such questions were touched upon in reports at other sections, but not on a specifically psychological plane). Perhaps this circumstance did not arise by chance, because at present, for a productive, strictly scientific analysis of the qualities of a creative personality, psychology has not yet developed sufficiently reliable means.

In the last two decades, research on the qualities of a creative personality and creative abilities has gained wide scope abroad, especially in the United States. However, that general characteristics foreign, especially American, research in the field of the psychology of scientific creativity, which was given by us in the introductory section, fully extends to the work of this profile. All of them are narrowly practical, applied, concrete in nature, bypassing the stage of fundamental research.

Apparently, for precisely these reasons, these studies did not cross the qualitative threshold that was achieved by works carried out, say, before the 1930s. Therefore, characterizing modern foreign research, we can only talk about their quantitative growth. All of them retain, in principle, the old problems and, with few exceptions, arrive in principle at the same conclusions. If we compare the Potebnists’ statements about the creative qualities of a person with the conclusions reached in their works by, for example, Giselin (1963), Taylor (1964), Barron (1958) and many other modern researchers in the USA, we will not find a fundamental difference. There is only a change of emphasis and some redistribution of issues that attract the most attention.

In terms of the structural division of the problems, there have also been no changes. This is clearly shown, for example, by the non-speech “specific abilities and mental properties necessary for work in the field of science and technology”, which is very characteristic of American studies, cited by G. Ya. Rosen in the newsletter “Studies in the Psychology of Scientific Creativity in the USA” ( 1966). The author gives this list in the form in which it is indicated in the work of Taylor and other sources (Anderson, 1959): “Extraordinary energy. Resourcefulness, ingenuity. Cognitive abilities. Honesty, directness, directness. Strive for facts. The desire to possess principles (patterns). Striving for discovery. information abilities. Dexterity, experimental skill. Flexibility, the ability to easily adapt to new facts and circumstances. Tenacity, perseverance. Independence. The ability to determine the value of phenomena and conclusions. The ability to cooperate. Intuition. Creative skills. striving for development, spiritual growth. The ability to be surprised, bewildered when confronted with the new or unusual. The ability to fully navigate the problem, to be aware of its condition. Spontaneity, immediacy. spontaneous flexibility. adaptive flexibility. Originality. Divergent thinking. Ability to quickly acquire new knowledge. Susceptibility ("openness") in relation to new experience. The ability to easily overcome mental boundaries and barriers. The ability to yield, to abandon one's theories. The ability to be born again every day. The ability to discard the unimportant and secondary. Ability to work hard and hard. The ability to compose complex structures from elements, to synthesize. The ability to decompose, to analyze. The ability to combine. The ability to differentiate phenomena. Enthusiasm. The ability to express yourself. (Internal maturity. Skepticism. Courage. Courage. Taste for temporary disorder, chaos. The desire to remain alone for a long time. Emphasizing one's "I". Confidence in conditions of uncertainty. Tolerance for obscurity, ambiguity, uncertainty "(Rosen, 1966).

A similar variegation, indivisibility, globality is characteristic of most of these studies and more narrowly focused on the study of "local" problems, for example, for studies of intelligence (Gilford and others), the typology of scientists (Gow, Woodworth, etc.), the age dynamics of creativity ( Le Mans, etc.), etc.

It cannot be said that these works are psychologically devoid of content. On the contrary, many of them are very informative, valuable, interesting, and sometimes wise. However, all of them are the fruits of common sense - raw materials that should eventually become the subject of fundamental research, pass through the prism of an abstract analytical approach.

The main modern task of this approach is the division of the personality problem into its sociological and psychological aspects. In this case, the specific content of the psychological aspect turns out to be the features of the subject's assimilation of the social conditions of his environment and the psychological mechanisms for creating these conditions. To some extent, this side of the problem is similar to the problem of the relationship between thinking and cognition.

Our psychological analysis of creative abilities represents an attempt to implement the abstract-analytical approach adopted by us in relation to this very amorphous problem. The main positive task is to reveal the subject's abilities that are conducive to finding intuitive solutions, their verbalization and formalization.

Critical consideration of the key issues of the current state of the problem (congenital and acquired in creative abilities, general and special talents, specific abilities, development of abilities throughout the life of a scientist, testological study of creative abilities, their education, etc.) reveals, as in previous cases , their structural indivisibility. The application of the abstract-analytical approach creates the ground for the dismemberment of the original concreteness and the study of the psychological level of its organization.

As a fundamental example of such a study, we present an experimental analysis of one of the most important abilities - the ability to act "in the mind" - the internal plan of action (IPA).

Internal Action Plan Research

A general description of the stages of development of the internal plan of action is given by us in the fifth chapter when describing the central link in the psychological mechanism of creativity in the light of the abstract-analytical approach. Identification of the stages in the development of the VPD was taken as the basis for his further research 2 .

In this direction, first of all, the general picture of development was studied: VPD.

By examining a large number of subjects - older preschoolers, younger schoolchildren (the bulk), students in grades V-XI and adults - using a diagnostic technique (in principle, close to the one described by us when characterizing the stages of development of ©PD), it was possible to outline the contours of the overall picture of the development of VPD .

The main characteristics of this picture were: distribution formulas (DF) and average indicators (SP).

Each RF in the analysis of the overall picture of the development of VPD was derived as a result of a diagnostic examination of a group of participants

The experimental material for studying the internal plan of action is described in detail by the author in the book “Knowledge, thinking and mental development” (M., 1967)

students, which includes the full composition of children from several classes of the same year of study in Moscow and rural schools.

The FR indicated the number (expressed as a percentage) of the children of the group who were in the I, II, III, IV and V stages of the development of HP during the survey period. The first term on the right side of this formula corresponded to stage I, the second to stage II, and so on.

For example, the expression FR = (a, b, c, d, e) may mean that out of the surveyed number of students in this group, a% of children were at stage I of the development of HRP, b% - at stage II, c% - at stage III, d % at stage IV and e% at stage V.

SP is the total result of experiments with a particular group of students. It is obtained by processing the data of the corresponding distribution formula and counts! according to the formula

a+2b + 3c + 4d+5e

where a, b, c, d, e are the percentages of children in the group who are respectively at stages I, II, III, IV and V of the development of the internal action plan; 2, 3, 4, 5 - constant coefficients corresponding to the score by which each of the achieved stages is evaluated.

The average indicator (with a five-point system) can be expressed as values ​​from 1 (the lowest indicator; possible if all the children surveyed in the group are at the I stage of development of the CAP) to 5 (the highest indicator; possible if all the children of the surveyed group are at Stage V of the development of the VPD).

The results of the experiments, characterizing the general picture of the development of the VPD in younger schoolchildren, are presented in Table. one.

Table 1

table 2

The accuracy of the overall picture of the distribution of students by stages of development of the internal action plan is directly dependent on the number of children surveyed. (In our work, only the first sketch of such a “picture” was made. Therefore, we do not believe that the quantitative characteristics given here are final. As new survey materials are acquired, these characteristics may change to some extent. However, the fundamental strokes of the picture are correct.

In order to analyze the features of the further growth of the SP, additional surveys of students in grades V-XI were carried out. The results of these surveys are given in table. 2.

Consideration of the change in the SP from the moment children enter school until the end of their studies in the 11th grade reveals that the growth rate of the SP (with small approximations) is proportional to its degree of incompleteness (the degree of incompleteness is understood as the difference between the limiting value of the SP and the achieved value).

These changes can be expressed by the equation

y"=(a-y) lnb. One of the particular solutions of this equation

y = a -b l~ x,

where at- the level of development of the joint venture; X- number of years of schooling; a- the limit of development of the SP, probably associated with the type of education and the individual characteristics of students; b- coefficient, possibly expressing the measure of the training load. On fig. 47 shows a graph of the calculated curve with the values: a = 3.73 and & = 2; dots indicate empirical data 3 .

* We did not strive for high accuracy in the quantitative processing of experimental data, considering the need for accuracy to be premature. A detailed rigorous mathematical analysis of the obtained dependencies also seemed premature to us. In any case, the results of such an analysis should be treated with great caution, since a qualitative analysis of the facts is still at an early stage.

The described data on the characteristics of the general picture of the development of the VPD are not yet quite sufficient for strictly substantiated conclusions. However, these data already suggest a number of hypotheses.

First of all, relying on the pattern of changes in SP, one can get a certain idea of ​​the general picture of the development of VPD 4 as a whole, not limited only to the period of primary school age. For this purpose, first of all, it is necessary to analyze the equation y = 3.73- 2 1- x On fig. 48 shows the corresponding curve.

Distribution formulas obtained by us for primary school, show that the coefficient 3.73, which determines

4 -

Rice. 47 Fig. 48

the limit of development of the VPD, demonstrates only the average level of this development (individual differences are leveled here) and does not at all characterize all of its possible variants. Therefore, the exponent shown in Fig. 48, should be considered only as a curve depicting general type development (in this case, most closely coinciding with the average empirically obtained data).

Therefore, a = 3.73 in the equation y = a-b 1's cannot be regarded as an absolute limit for all possible characteristics of development. For example, the development of children who reach the highest level of the fifth stage should have a slightly different curve.

If we really take the original curve (y= 3.73--2 1-x) as a known type of development, then, keeping the second coefficient (b - measure of training load) equations y=a-b 1-x unchanged, by analogy with this curve, you can construct a curve characterizing the absolutely limiting possibility of development (a \u003d 6) proceeding according to this type (i.e., a curve with the equation y \u003d 6-2 1-x). In the same way, it is easy to draw a curve illustrating development with the lowest (according to our data) relative limit of development (a = 2).

Let us consider the curve where a=6, i.e., the ideal case of the development of the VPD under our assumptions. This curve shows that the development of the studied ability begins at about five and a half years of age. (y = 0 at x=-1,44).

However, this is not an absolute zero point. This starting point is determined by the features of the scale of measurement we adopted, timed to analyze the development of the VSD in younger schoolchildren (all children who are unable to reproduce their actions in the internal plan, we refer to the I - background - stage of the development of the VPA). Undoubtedly, the development of the VPD also occurs in an earlier period (and the background stage itself is objectively

Rice. 49

Rice. fifty

is a deeply differentiated stage). But we have not studied this period, we do not have our own experimental data about it, there are no criteria for the development of this period and the corresponding measurement scale.

One can, of course, assume that the resulting curve represents the upper part of a typical growth curve (having a 5-shaped shape), and plot from the chosen starting point (y=0; e: \u003d -1.14) a curve symmetrical to it (Fig. 49). The curve obtained by this method, despite its complete hypotheticality, is of known interest. It reaches the point corresponding to the time of fetal formation, when at begins to quite pronouncedly tend to its lower limit - absolute zero. None of the other possible curves (for 6 > a > 2) has such reversibility, although all of them, with increasing a tend to this ideal case (Fig. 50). It is impossible not to pay attention to this kind of accident. In addition, the curve (for a = 6) does not in the least contradict those ideas about the pace and qualitative features of the mental development of children from birth to 6 years old that have developed in modern science about the child.

All this gives us reason to take the curve (for c = 6) as an ideal case of development. (At the same time, this ideal case should be considered as a classical norm, since all deviations from this norm (which at the same time represents the limiting possibility) are caused by the reasons for the unfortunate conditions of development.

Thus, the hypothetical curve we have adopted for the ideal case of the development of the VPD is, on the one hand, an asymptote with respect to absolute zero and, on the other hand, an asymptote with respect to the absolute limit of the development of the VPD. It is symmetrical about the bending point, which occurs at about 5.5 years, where the positive acceleration is replaced by a negative one.

The lower part of the curve up to the bend point was constructed by us arbitrarily. We have factual data relating only to its upper part. Therefore, we consider only this part, keeping in force the scale we previously adopted with a relative zero reference point.

The curve shows that, ideally, by the end of the fifth and the beginning of the sixth year of life, the child reaches stage II of the development of the VPD. This is confirmed to a certain extent by the data of reconnaissance experiments with preschoolers. In these experiments, among children of 6-7 years old, we often found those in whom the III stage of development of the HPD was detected. Some of the children of this age were approaching stage IV in terms of the level of development of the VPD. At the same time, we were not able to find children at the age of the first half of the fifth year who could master the conditions of our experimental problem. In the same way, we have not been able to find five-year-olds who would show a sufficiently pronounced ability corresponding to the second stage of development of the VPD.

Further, the curve of the ideal case of SP growth shows that by the time they enter school, i.e., at the age of seven, children can reach the IV stage of development of the HPD. Of the 192 first-graders examined at the beginning of the school year (see Table 1 - FR and SP among junior schoolchildren), 9 people actually ended up at stage IV 5 .

By the end of the first year of study, that is, by about 8 years of age, children are able to reach stage V of the development of the VPD. Of the 219 first-graders examined at the end of the school year, 11 people actually ended up at stage V.

By the end of class V, i.e., approximately by the age of 12, the SP curve asymptotically approaches the limit: approximately 9 / 10 its growth are passed - the ability, the development of which

6 In the same table, one first-grader, examined at the beginning of the school year, is assigned to the V stage of development of the VPD.

the swarm finds its well-known reflection in the growth of the SP, can be considered practically formed (although the increase in the SP continues to a tangible extent even in grades V-VIII).

It should be assumed that in the further mental development of man, the leading place is already occupied by other patterns. This development proceeds primarily along the line of increasing knowledge, along the line of broad mastery of culture and professional specialization.

Such features of mental development, of course, leave a certain stamp on the characteristics of the VPD. However, we did not investigate this side of the issue. Our task was limited to registering the level of development of the VPD by analyzing the features of thinking in the conditions of the most simplified specific task (practical, cognitive). The tasks presented in our methodology, of course, cannot be considered as simple as possible in this sense; therefore, we emphasize only our desire to use the simplest (in a practical or cognitive sense) tasks. In fact, the complexity of these problems in the indicated sense is determined by the subject side of the experimental material, in which we managed to embody the general idea.

Thus, we did not specifically study the development of the ability to consciously self-program actions. It was important for us to state the very fact of the emergence of such an ability. It is this feature of the development of the VPD that is displayed by the upper part of the SP curve (at o=6). The absolute upper limit of the growth of SP corresponds to the moment of the appearance of such an ability (with the measure of accuracy that is determined by the specific material that embodies the idea of ​​the experiment). The further development of the VPD is characterized by its other aspects and patterns, which we have not studied.

It is important for us to emphasize in this regard only one fact that we have noticed: “in principle, a child whose internal plan of action has reached the fifth stage of development is potentially capable of mastering knowledge of any degree of complexity, of course, if the logical genesis of knowledge is correctly presented to him. adequately operate with any knowledge acquired by him.Of course, speaking of potential ability, we mean only the security of learning success from the side of the development of the student's HPE and do not touch upon other important aspects of learning here. on its basis, it is impossible to predict the development of the VPD of a particular child.6 However, it is sufficient

6 We do not have facts confirming or completely refuting the possibility of developing CAP in adults Clarification of this issue - ■ the task of a special study clearly reflects the general picture of this development - its most typical forms.

According to the data presented in table. 6, the SP now reaches the absolute limit level only in the group constituting 5-8% of all examined. The developmental curves of SP show that the later the child passes the inflection point, the lower the level of SP rises by the time his growth fades. Therefore, not even the entire group, constituting 18% of the subjects who are, according to Table. 1, by the time they complete their education in primary school at stage V, they reach the absolute limit of EP growth. More than half of the group (the subgroup reaching stage V later than the completion of education in grade I) may have a SP below the absolute limit.

These figures show a great possibility of further development of intellect in a very large number of students. However, such an opportunity can be realized only if the mechanisms of the development of HSD are revealed, and the factors determining it are identified.

To identify the leading factors in the development of CAP in our study, the study of the influence on this development has become crucial. various types learning at school and analysis of the causes of delays in the formation of the ability to act "in the mind" of individual students, which opened up the possibility of directed organization of the desired changes.

The general picture of the development under consideration already indicated the close connection between the development of the VPD and the peculiarities of education and upbringing: first-graders were distributed over all its stages, therefore, age (maturation) was not of decisive importance during this period. The data of the differential picture spoke of the same thing: in some children, rapid jerks forward were observed, significantly ahead of the course of the average development curve; in others, on the contrary, attenuation of the growth of the indicator of the initially relatively highly developed VPD was found.

The presence of such breakthroughs undoubtedly indicated the well-known possibility of deliberate stimulation of the desired changes, the possibility of rational management of the mental development of schoolchildren.

Our surveys have shown that by the end of the first year of study, the largest number of children in Moscow schools reaches the III stage of development of the GPA. Therefore, the development of the VPD of children who are at this point in the II and especially in the I stages, is a case of delay. A special analysis of such cases is of interest for revealing the conditions and identifying the causes that determine the shift in development. Comparison of the characteristics of the activities of children with a delay

development of the VPD, with similar activities of their more developed peers, and analysis of the results of such a comparison led us to identify a number of reasons for the delay.

The most common group of such causes is the ordinary underdevelopment of the VPD, associated with the peculiarities of the tasks of the activities of children at preschool age. Most often it is found in rural schools.

The first of the reasons for such a group is found in children who did not find themselves in situations where they had not only to achieve some practical result, but also to explain how, in what way this result was achieved, that is, to solve theoretical problems. At preschool age, they carried out only direct verbal instructions from adults, or imitated them, but did not solve creative theoretical problems under the guidance of adults, in the process of verbal communication with them.

A characteristic symptom in such cases is the peculiarities of the speech of children. They use speech only in situations of practical tasks and are unable to talk about how they themselves performed this or that action. Or, even more prominently, such a child is incapable of teaching another child (excluding direct imitation, "direct demonstration") the action that he himself has just performed, and in a number of cases quite successfully. If he is given a ready-made verbal formulation of what he has done, he cannot teach it. repeat immediately and with sufficient accuracy.He needs several repetitions and a fairly significant period of time for the mechanical memorization of the formulation.The subject is aware only of the result of his action and does not consciously control its process.

In general, the speech of such schoolchildren is very poor and, in comparison with their peers who have reached higher stages of development of the VPD, is clearly underdeveloped. The vocabulary is not rich. The construction of phrases is often incorrect.

The second reason is the lack of cognitive motives necessary for the student. Children willingly come to school, they are not in a hurry to go home. But in the classroom they are passive, they very rarely raise their hands, they are indifferent to both relatively successful answers and failures. Schoolchildren in this category have almost no experience of specific mental work. Trying to act “in the mind”, trying to think is an unusual and undesirable work for them. Children try to avoid solving problems in their minds. They are not captivated by entertaining tasks that require reflection. In most cases, such students either do not accept the educational tasks that are set before them at all, or they are guided by them for a very short period of time, and then "lose the task."

Closely related to the second and third reason - the lack of necessary arbitrariness. Sitting in the classroom, the children do not make noise, but at the same time they are not focused on the lesson: they constantly turn around, look in their neighbors' notebooks, under their desks, play with notebooks, pencils, etc. The teacher's questions take them by surprise. In most cases, almost every student in this category can notice the whole complex listed reasons, although sometimes any individual deficiency is hypertrophied.

In general, the overall development of these children is low. But at the same time, they have a well-developed so-called practical intelligence. In terms of practical actions, they are very quick-witted and are not inferior to their peers who have reached higher stages of development of the VPD, and sometimes even surpass them.

The reasons for the delay in the development of the internal plan listed above are relatively easy to eliminate. There are no special obstacles for the development of the VPD of such children in the school environment. It should only be given Special attention development of speech, as widely as possible to use didactic games that stimulate intellectual work. It is also important to understand that in phylogenesis all specific human features developed in mutual communication of people, and in ontogenesis, especially in relations between a child and an adult, including in school conditions, such communication is by no means always mutually active. However, the development of the VPD presupposes precisely such interactivity. The teacher should be able to create situations in which not only he teaches the child, but also the child "teaches" him and in the course of such "teaching" solves (under the indirect guidance of the teacher and with the help of the teacher) creative tasks. Of decisive importance is also the teacher's ability to find the necessary forms of the simplest theoretical problems, the solution of which is necessary to "draw out" the inner plan of the child. Unfortunately, until now this is happening quite spontaneously and belongs to the field of "pedagogical art".

The author of this work succeeded in inducing, in a comparatively short period of time, a sharp shift in the development of HPA in the children of the experimental class in one of the rural schools by means of appropriate guidance on the activities of the teacher.

At the beginning of October, the indicators of the first classes of this school were as follows:

experimental: RF = 87, 10, 3, 0, 0; SP=1.16;

control: RF = 95, 0, 0, 5, 0; OD = 1.15.

In February of the same year (during the next survey), the following indicators were obtained:

experimental: RF=14, 76, 10, 0, 0; SP=1.96;

control: FR = 85, 5, 5, 5, 0; SP=1.30.

Thus, out of 25 children in the experimental class, who at the beginning of the school year were at the I stage of development of the VPD, by the middle of the school year, 21 people reached stage II (in the control class - only two students).

However, 4 people of the experimental class, who were in equal conditions with their comrades, remained at stage I. Therefore, those general funds, causing shifts, which have just been mentioned, turned out to be insufficient and ineffective for these children. Similar cases of developmental delay | BPD were also in the Moscow school.

A group of children with a sharp delay in such development was subjected to a special experimental study, as a result of which another group of causes was established.

a -/b

Rice. 51. Method of counting squares

a- the starting point of the first move. 1, 2 - cells to be bypassed; 3 - the final point of the first move of the subject and the starting point of the next one; b - the actual order of counting for the subjects G lack of a number of important skills of orientation in time and space

This group is characterized by the absence in children of a number of important skills of orientation in time and space. These children, like the previous group, also lack the development of cognitive motives necessary for the schoolchild, and sufficient arbitrariness. However, the underdevelopment of speech typical of children in the previous group is not on the contrary, outwardly speech can be highly developed, while the "practical intellect" turns out to be underdeveloped.

Children of this category, knowing the direct count, do not know how to count backward, they cannot choose from the cubes placed in front of them in one row the one whose serial number is indicated by the experimenter. They are unable to count a group of randomly placed cubes. Many do not know where the right side is, where the left side is, etc.

When trying to teach these children a simplified form of the knight's move, the following is revealed. The subject is given a method for counting squares (Fig. 51, a): from the original cell (where the horse stands) count two (in the indicated order) and get to the third. During the countdown, the subjects, as a rule, do not follow the instructions given to them. The counting order (without special training) remains completely random, for example, as shown in Fig. 51.6.

When teaching such subjects notation, the following phenomena occur. The experimenter asks the subject to remember

the name of the cells. He points with a pointer to cell al and calls it: al, then he points and calls cell a2, then a3. After three or four repetitions, the child is able to name three of these cells when the experimenter again points to them with a pointer, without naming them himself. But this is possible only under one condition: if the original order is strictly preserved, i.e. "if the cell al is indicated again, then a2 and a3. If this order is changed and the experimenter indicates, for example, first the cell a3, then a2 and al, then (without special training) the child cannot name these cells correctly.

It seems that the subject forms relatively independent verbal and visual-motor chains, which are connected only at the initial point of the display. The subject's three actions are not connected into a single system, they do not form the necessary structure. The child does not discover the principle of his actions. “Each of the actions is associated with the other “mechanically”, at the level of elementary interaction. Therefore, the possibility of reversibility is excluded. Such a picture never occurs in children with a higher level of VPD.

Compared with the first group of reasons (simple lack of formation of an internal plan of action), the second group has a more complex nature.

If the children of the previous category of "practical intellect" are quite sufficiently developed and the system of basic skills of spatio-temporal orientation, necessary for this moment development, not only developed, but also to some extent generalized, verbalized (children perform tasks related to elementary spatio-temporal orientation according to the verbal instructions of adults), then children of this category have “white spots” in the system of necessary spatio-temporal orientation skills. ”, due to which this whole system as a whole turns out to be unformed.

In normal situations, this does not appear. For example, in "macro-movements", when walking, running, and the simplest outdoor games, the child, like all normal children, behaves adequately to the situation, he orients his body in relation to the surrounding objects quite correctly. However, in “micromovements”, where it is necessary to somehow orient not only themselves in relation to objects, but also these objects themselves, and relative not only to themselves, but also to any other coordinates, such children turn out to be helpless. Consequently, many important skills of this kind of spatial orientation remain not only not verbalized, and, therefore, not generalized, but, probably, they are not formed. Therefore, the child cannot, for example, order the arrangement of a number of objects on the experimental table in order to then count them, etc.

At the same time, as has already been said, the speech of the described children can be relatively rich and relatively correct. On the basis of a conversation with a child, an impression may be formed about his quite sufficient development. However, this impression is clearly superficial. Speech, symbolic, structures in a child in many cases are not correlated with the corresponding direct sensory projections, and therefore are not adequately connected with reality.

Elimination of delays in the development of VPD associated with the causes of the second type is more difficult than in the first case. The fact is that those skills that constitute gaps in the direct experience of the child and which are necessary for building a system of his inner plan are usually not specifically taught. They are acquired spontaneously. Therefore, we do not have more or less sufficient knowledge about what the system of skills of direct space-time orientation should be like. In addition, the “white spots” that have arisen in children are covered by speech layers.

Decisive shifts here can be obtained by filling in the indicated gaps. But first of all, they need to be opened, which requires a special laboratory study.

The lack of scientific knowledge about the sufficient composition of spatio-temporal orientation skills and their system is the main obstacle to the elimination of the delay in development considered here on a broad front. So far, the study of such gaps can only be built empirically.

We do not yet have sufficient experience (observations on children of this category were carried out for only two years) for any justified predictions of the further development of VPD in cases of initial inferiority of the sensory experience of children. It is possible that in the course of subsequent training these problems will be gradually filled in and the conditions for moving through the stages of development of the VPD will develop as if by themselves. However, the information that we have now (the results of individual surveys of lagging students in grades III and IV) is more likely to tell a different story: although these gaps are indeed gradually filled with age, the child's lag behind more developed peers, caused at first by these gaps, is growing. . Already in the first grade, children with gaps in direct experience are, as it were, unsettled. They acquire school knowledge in a different way - most often mechanically, they act differently, they approach the mastery of academic subjects differently and do not actually master them. The break in the links of the system of sensory experience leads to the subsequent disorganization of the entire structure of the intellect; children do not come out of the ranks of the lagging behind. The more neglected these intellectual deficiencies are, the more difficult it is to correct them.

Therefore, the issue of eliminating these gaps already during the first year of study is very significant, despite the fact that today we know only private ways of such elimination, i.e., ways limited to the areas of individual specific tasks,

As an example of attempts to achieve shifts in the stages of HPD development in children of this category, we will describe the work carried out with four Moscow first-graders (the work was carried out in April and May, i.e., during the completion of the first year of study).

Having no knowledge about optimal system skills of spatio-temporal orientation, we, of course, were forced to move in an empirical way. The basis of the design of each of the experiments was the result of comparing the characteristics of the activities of children with delayed development of the CAP with the characteristics of similar activities of more developed subjects. The most significant difference was found in the state (or formation) of the structures of the external plan of action.

As one of the auxiliary means for diagnosing the stages of development of the HRP, we used the time of the latent period of actions, as a result of which the subject showed two points on the nine-cell board, on which the knight can be placed from the initial point indicated by the experimenter.

In intellectually developed adults, this action (looking at the board) is carried out almost instantly. Moreover, as self-observation data show, the necessary cells (in conditions of “looking at the board”) seem to rise in the perceptual field (they take the place of the “figure”, the others are perceived as the “background”). There is no need to count fields. The process of action is not realized. The action is automated and minimized. Even in complicated conditions (without looking at the board), actions are carried out on average in 2-4 seconds.

It is clear that such a circumstance is very favorable for the solution of the problem: the elements of its solution have been turned into automated operations that do not require preliminary conscious organization. The individual actions that make up the decision, although stimulated by verbalio, are organized at the basic level of interaction between the subject and the object, and this is possible, of course, only due to the fact that appropriate structures were developed in the external action plan in the past.

For students finishing grade I and being at the fifth stage of HPD development, the time of the described reaction approaches the reaction time of intellectually developed adults (without looking at the blackboard - 5-7 seconds). In children who have reached stage IV, this time increases, but very slightly (without looking at the board - 6-10 seconds). The subjects of the third stage show already less stable time (without looking at the board - 10-36 sec.).

Since in all cases the reaction time was determined without preliminary training (the main experiments were preceded by only 2-3 training exercises), it can be assumed that all the subjects of the mentioned categories have some external structures that provide these actions, and the higher the level of development of the VPD, the better these structures are organized.

The subjects, whose development of HRP does not exceed stage II, are able to solve the problem associated with determining the reaction time, only looking at the blackboard.

For the four subjects studied by us (who are at the first stage of the development of the VPD), this task, under equal other conditions, turned out to be extremely difficult in general. The methods of teaching the solution of this problem, which we used in relation to all other children, turned out to be unsuitable here. The first-graders who remained at stage I by the end of the school year, without special training, could not solve this problem even “looking at the blackboard”. The experimenter's usual verbal instruction, accompanied by a visual demonstration: "You can jump over two cells to the third one," did not organize the actions of the subjects in the necessary way - the children could not follow this instruction. They, even looking at the board, could not mentally calculate two cells and select the third: the task was lost and the activity fell apart.

In view of the fact that the development of the internal plan is a very slow process, involving a multilateral and long-term mental upbringing of the child, it is a difficult task to obtain sufficiently tangible and stable shifts in the stages of development of the VPD in laboratory conditions. We limited ourselves to an attempt to achieve only "island" shifts, that is, shifts within the limits of any one situation, and specifically in the situation of our initial experimental problem. However, even achieving this very narrow goal required considerable work.

During four sessions (one hour a day), the subjects were set (within this specific task) and worked out actions with objects corresponding to the concepts of “right”, “left”, “right”, “left”, “closer”, “ further, even closer, even further, in a circle, in a circle from left to right, in a circle from right to left, up, down, one row, two rows ”, “in three rows> \“ along ”,“ across ”,“ sideways ”,“ from edge to edge ”,“ forward ”,“ back ”,“ back ”and many others.

These actions were practiced on a square board divided into 25 cells. A pointer and chips were used. The experimenter gave instructions, and then pointed with a pointer to the nearest cell in the direction in which, according to the instructions, the subject was supposed to move. The latter put a chip in the indicated place. The experimenter indicated the next cell, the subject filled it in with a chip, and so on. After a while, the experimenter gave the pointer to the subject, and he himself was limited to giving a verbal instruction. The subject, according to the instructions, pointed with a pointer to the nearest cell in a given direction, then put a chip in this place and continued to act in a similar way. All mistakes of the subject were immediately corrected, and in the second stage of the experiment, the experimenter ensured that the subject explained the mistake he had made (indicating which instruction his action corresponded to, in which case the mistake made would not be a mistake, etc.). Upon reaching the intended point, the tracks laid out with chips (or rows - in ordering problems) were again considered and discussed. The experimenter asked the subject to answer the questions: “What did you do?”, “How did you do it?”, “Where did you turn?”, “Why did you turn?” etc. At the end of the reverse movements (during which the placed chips were removed), the subject was necessarily asked: “Where were you?”, “How did you come back?” etc.

Starting from the third lesson, part of the experiment was carried out with two subjects at once. Moreover, the subjects in turn themselves performed the function of the experimenter, i.e., one of them (with the help of the experimenter) gave the other a task and controlled its implementation. Under these conditions, a game was staged, which made it possible to introduce very effective stimulating tasks and create the need to act in a speech plan.

For example, each of the subjects was given a board (the same one that was usually used in these experiments), drawn into 25 squares. According to the conditions of the game, it followed that the squares were different sections of the terrain along which one had to go to the point indicated by the experimenter. Only one of the subjects should get to the indicated point - he “moves through the area”, but does not “survey” it all (the cells on the board of this subject were without any marks) and can “get into the swamp”. Another subject “stands on a hillock” and sees the whole area (some of the cells on his board were marked with icons symbolizing a swamp). He must direct the movement of his comrade, say (but not show!), From which cell to which it is necessary to move. Going to the intended point is obliged to strictly follow the instructions of the comrade. If he falls into the swamp marked on the "leader's" board (arbiter - experimenter), because he will be given an incorrect instruction, the "leader" loses. If he falls into the swamp through his own fault, that is, because he incorrectly fulfills the instructions given to him, the “walking” one is considered the loser. If no one makes a mistake, both win. Thus, one of the subjects in this situation had to act according to verbal instructions, and the other, which is especially important, gave these instructions.

In subsequent laboratory exercises, a modified "hopscotch" task was used. The initial action (“jump over two squares to the third” - similar to the knight's move) was worked out by the same techniques that were used in the four previous lessons. Moreover, three subjects were able to obtain unmistakable indications of the final (from the point given by the experimenter) jump point without preliminary calculation of the fields with a pointer and somewhat stabilize their reaction time. After that, the usual coordinate grid (al, a2, a3, s, b2, b3, cl, c2, c3) was given and worked out, which most of the subjects now learned without much difficulty.

Subsequent control experiments revealed a clear shift: 3 out of 4 subjects in the situation of this task shifted from stage I to stage II of the development of the ERP.

We continued these experiments, strengthening the motivation of the need to act in the mind by introducing "going" and "leading". The task was used - "pond with waterfowl" 7 . One of the subjects, the one who, according to the conditions of the game, "knew" how to lay the "board", led (using the coordinate grid); the other carried out his instructions. The conditions were about the same as in the case of "wandering through the swamp." Initially, two boards were used. But then the experimenter announced that two boards could not be used: after all, there was only one pond. The “leader” was sent to the next cabin and controlled the actions of the “walker” from there, without looking at the board.

As a result of these experiments, two of the four subjects (S. and Sh.) gave indicators corresponding to the III stage of development of the HPD. One subject was in stage II. It was not possible to achieve shifts in the fourth subject (3.).

Of course, this is not a genuine step in the development of the VPD. This is a local, "island", insufficiently fixed development. At the same time, according to the testimonies of the laboratory staff who observed the children in the classroom, the performance of those two subjects who were locally shifted by us to stage III improved significantly by the time the experiments were completed (especially in mathematics). Prior to this, both subjects were sharply lagging behind. However, the increase in academic success in the classroom turned out to be short-lived: in the new academic year, these children were again among the lagging behind.

As already mentioned, in one of the four subjects studied by us with a sharp delay in the development of VPD, no changes were achieved. What is the reason? In all likelihood, here we have a case of an organic anomaly, in which the means that usually remove functional causes turn out to be ineffective, and the possibilities for the development of the child's CHD are limited 8 .

One of the most interesting tasks on the way of studying the problem of mental development is the development of a specific, analytical-synthetic (primarily psychological-physiological) idea of ​​the internal plan of action. Unfortunately, today's concrete idea of ​​it is very poor.

Many contemporary cyberneticians clearly regard the possibility of developing such a representation today as a pipe dream. They put a "black box" in its place. However, cybernetics are driven to this by the research methods inherent in their science. However, the methods of cybernetics are not the only possible ones. They do not exclude other methods. The initial task of synthesizing the results of abstract-analytical studies of living systems is precisely to open the "black box" of cybernetics. There are no insurmountable obstacles to this. It is important to keep in mind that, in a fundamental sense, the internal plan of action is a subjective model (in the broad sense) of human phylo- and ontogenesis, and in a narrower sense, a subjective model of a specifically human, social in nature human interaction with others, with other people. , products of labor, phenomena of social life, objects and phenomena of all nature accessible to a given person as a whole.

However, the absence of insurmountable obstacles does not at all indicate the ease of the upcoming path. The distance from a principled formulation of a question to its resolution is enormous. Now we can only talk about hypothetical sketches of the analytic-synthetic idea of ​​the VPD. It is possible that many of these primary hypotheses will be quite out of date. But they must be built. The first of them can already become at least indicators of the direction of research.

For the study of the specific structure of the internal plan of action, the hypothesis put forward by IP Pavlov about the interaction of the first and second signal systems is of great importance. Based on this hypothesis, it is already possible to construct the initial

It should be noted that the issue of diagnosing conditions adjacent to a clear defectiveness still remains open. It is quite possible that, in addition to the functional causes we have noted, there are a number of similar causes that give the impression of a defective child, but can be relatively easily eliminated by training.

Even in the presence of a sufficiently pronounced organic anomaly, the question of defectiveness cannot yet be unambiguously resolved: first, it is necessary to investigate the possibilities of compensating for such an anomaly. A model (albeit a very conditional, imperfect one) of the internal plan of action.

In this sense, the revision of views on the motor area of ​​the cerebral cortex carried out by IP Pavlov and his collaborators is very interesting.

By the time of this revision, it was generally recognized only that the stimulation of certain cellular structures in the anterior part of the hemispheres by electric current leads to corresponding muscle contractions, causing certain movements strictly timed to the mentioned cellular structures. Therefore, this area of ​​the cortex was called the "psychomotor center" (later this name was discarded and the term "motor area" was strengthened).

Under the influence of the experiments of N. I. Krasnogorsky, IP Pavlov raised the question: is this center only efferent?

N. I. Krasnogorsky proved that the motor area of ​​the cortex consists of two classes of cellular systems: efferent and afferent, that the physiological stimulation of afferent systems is completely connected with various conditioned reflexes, like all other cell systems: visual, olfactory, gustatory etc.

From this, IP Pavlov came to the conclusion that the afferent systems of cells in the motor area of ​​the cortex are in bilateral neural connections with all other systems of cells in the cortex. Consequently, on the one hand, they can be brought into an excited state by any stimulus that affects both extra- and interoreceptors; on the other hand, due to the two-way connection, the excitation of an efferent motor cell can lead to the excitation of any cortical cell that has a connection with this afferent cell. In addition, the afferent systems of the cells of the motor area of ​​the cortex more often and sooner enter into communication with all other cellular systems than they do with each other, “because,” said I. P. Pavlov, “in our activity, this afferent cell works more than others. Whoever talks, walks, constantly works with these cells, while other cells work randomly ... sometimes we are irritated by some picture, sometimes by hearing, and when I live, I am constantly moving.

The ideas put forward by IP Pavlov were further confirmed and developed substantially. It is now generally accepted, for example, that the simplified scheme, according to which the activity of analyzers during perception was considered mainly from the side of centripetal conduction of excitation, should be replaced by the idea of ​​the perception of a stimulus as a continuous reflex activity of the analyzer, carried out according to the principle feedback. The efferent fibers going from the centers to the receptors are now open in all the sense organs. Little of. It is recognized that the cortical sections of the analyzers themselves are built on the principle of afferent-efferent apparatuses, not only perceiving stimuli, but also controlling the underlying formations.

Pavlov expanded and deepened the understanding of the nerve center, showing that the latter is a territorially widespread entity that includes a variety of elements located in various parts of the central nervous system. nervous system, at its various levels.

All this is fully applicable to the motor analyzer. The afferent-efferent components of the analyzers functionally belong to him. The last consideration is also confirmed by the position on the relationship in the work of the entire system of analyzers, proven by numerous studies.

The afferent-efferent nature of the analyzers indicates that the apparatus of any sensation, any perception is not only its receptor, sensory component specific for this analyzer, but also a component that is functionally the same for all analyzers and is included in the motor area. By the way, any other idea would be obviously absurd: if the products of mental interaction provide orientation of the subject in the surrounding world, which, like any other orientation, is ultimately carried out by external movements, then the connection of any sensory element with the motor element must undoubtedly take place, otherwise this sensory element loses its function, becomes meaningless.

Thus, the apparatus of any, even the simplest, unconscious perception is based on a two-way neural connection between the nervous formations specific for a given analyzer and the corresponding formations of the motor center.

The motor area of ​​the cortex, especially its afferent part, thus acts as an apparatus that unites and at the same time generalizes the work of the entire system of analyzers as a whole. Its generalizing role is already clear from the fact that quite often the stimuli coming from the receptor components of various analyzers, having the same psychological meaning, are associated with each other due to the fact that they turn out to be conditions of the same activity, are included in the same same activity. This is the basis of the generalization mechanism. Thanks to this mechanism, externally dissimilar conditions can actualize the same modes of action that correspond to the internal essential generality of these conditions.

It follows from this that the system, which I. V. Pavlov called the only signal system of animals and the first - of man, should be understood precisely as an interacting system. One of its components is composed of receptor, sensory formations of analyzers; the other - from the formations included in the motor area. To understand each of the components of this system, it must be considered precisely as a component of the system. Therefore, it is impossible to correctly comprehend, for example, the work of the eye, considering it in isolation from the apparatus of the motor region that unites the entire system.

On the same basis, it is obvious that all inter-analyzer relations, the so-called inter-analyzer connections, also cannot be understood by ignoring the work of the moving center, since the real connection in the work of various analyzers is established precisely in it - in the moving center.

What we have described can be attributed to the apparatus of the simplest form of mental interaction. The emergence and development of the highest form of such interaction is associated with the complication of the apparatus corresponding to it, with the restructuring of the entire concrete system. At the same time, a new motor center is added to the original motor center that unites and generalizes the work of the entire system of analyzers - a new uniting and generalizing apparatus capable of analyzing and synthesizing not only the primary information that comes from the receptor components of the first signal system, which is carried out by the motor center corresponding to this system. center, but also the products of the work of this nerve center. These products now themselves act as a source of information.

The new unifying and generalizing apparatus is specifically represented by the so-called kinesthesia of the speech organs, which, according to I.P. Pavlov, is the basal component of the second signaling system. It acts as a component of a new interacting system, the second component of which is the motor center of the level of the first signal system.

The evolution of the nervous system clearly illustrates the process of formation and development of this new, more complexly organized interacting system. At the level of animals, the premises of the new unifying and generalizing apparatus were included in the general interacting system, which constitutes the apparatus of elementary mental interaction, as an equal, “equal-sized” member. Changing the conditions of mental interaction associated with the formation social environment, entailed the need to transform the mode of interaction, which led to the corresponding differentiation and reintegration of the subject's internal system. The result of this differentiation and reintegration was the isolation of the kinesthesia of speech organs, which acquired a new, qualitatively unique function.

The interconnection of both interacting systems is obvious. They have one component (the motor center of the level of the first signal system) they have in common: if the primary information entering the analyzers through their receptor components is combined, generalized, transformed and used to orient the subject through the motor center of the level of the first signal system, then this unifying and generalizing the apparatus, in turn, is an integral part of the second signaling system. The available processed, generalized information in it, obtained as a result of recoding the entire complex of primary stimuli at the level of the primary motor center, becomes a source of information analyzed and synthesized at the level of the second signal system through the secondary unifying and generalizing apparatus - kinesthesia of the speech organs.

Let us illustrate this by the example of the relationship between the apparatus of perception, representation and concept.

As already mentioned, the apparatus of perception is based on the nerve connections of the receptor formations of the analyzers with the formations of the primary motor center (the systems created by these connections are the primary subjective models of reality). The two-way connection of these formations already contains the potential possibility of representation: the excitation of the corresponding motor elements of the system of the perception apparatus should lead to the reproduction of its sensory trace - an image. However, within elementary form interaction for such reproduction of an image stimulated by the central component of the system, there is no special mechanism - the representation here is possible only as part of perception, with peripheral stimulation, and therefore, at the level of animals, potentially existing representations cannot be fully realized.

With the emergence of the second signal system, the situation changes. The formations of the motor center, which are part of the apparatus of perception, under certain conditions, enter into a two-way neural connection with the formations of speech kinesthesia, which in turn correspond to the word - the sign model of an object. This creates the possibility of the appearance of the simplest forms of superstructural-basal models - the reproduction of traces of former perceptions: the impact of the sign model excites the formations of speech kinesthesia, associated in the course of the subject's previous activity with the corresponding formations of the motor center; hence, according to the principle of feedback, the excitation spreads to the sensory components of the analyzers, which leads to the reproduction of a trace of a previously perceived object, i.e., to a representation.

Thus, if the system of nervous connections between the receptor formations of the analyzers and the formations of the motor center of the level of the first signal system, under the condition of peripheral stimulation, is the basis of the perception apparatus, then the same system, under the condition of central stimulation, turns out to be the basis of the representation mechanism. The whole originality of representation, in contrast to perception (in the sense in which this originality is determined by the characteristics of the apparatus) depends precisely on the originality of stimulation. The system of primary connections between the motor centers of the first and second signal systems forms the basis of the apparatus of the concept.

As has been repeatedly emphasized, the internal plan of action turns out to be inextricably linked with the external one. It arises on the basis of the outer plane, functions in close connection with it, and is realized through the outer plane. As it develops, the inner plan largely restructures the outer one, as a result of which the outer plan of human activity differs significantly from the analogous single plan of animals. In a person, it becomes to a large extent a symbolic speech plan.

The mechanism of the VPD is determined by the regularities of its connections with the mechanism of the external plan. The functioning of the VPD mechanism is directly dependent on the organization of the structure of the external plan. At the same time, while functioning, the VPD also restructures the structure of the external plan. The structures of the VPD, as it were, descend into the structures of the external plan, thereby creating more extensive opportunities for joint functioning.

By discipline: "Fundamentals of scientific research and creativity".

On the topic: " "Characteristics of a Creative Personality".

Completed by: student of the group EKZbs-11-1

Golubeva E.S.

Extramural

Introduction

1. Creative activity of a person.

1.1. The main qualities of a creative person.

1.2. The structure of creative qualities.

2. The phenomenon of creativity in history.

2.1. Stages of creativity.

2.2. Personality problems in the process of creative activity.

3. Intuition as an integral part of a creative personality.

Conclusion

What is a personality? There are many different answers to this question by philosophers, educators, and psychologists. We adhere to the definition given by the outstanding Soviet philosopher E.V. Ilyenkov. “The child will become a personality - a social unit, a subject, a bearer of social and human activity - there and then, when he himself begins to perform this activity ..., according to the norms and standards set for him from the outside by that culture in the field of which he wakes up to human life. The basis of this activity is creation.

1.Creative activity of man.

What determines the results of human creativity? To answer this difficult question, carefully consider the following diagram: personality - methods - problems - solutions - implementation of solutions. Undoubtedly, in order to obtain high results in creative activity, the methods that a person uses in solving problems are important, the level of the problems themselves is important - they must be large enough, the ability to find and formulate solutions and implement them is also important, but the main thing is the personality, more precisely creative qualities personality. If a person has creative qualities, then he will master new, effective methods of solving problems, choose for research problems that are important for all mankind and will be able to correctly find and formalize the solutions obtained. If a person has not brought up creative qualities and he is not engaged in their self-education, then it is useless to expect high results from him. Therefore, in creative activity, everything depends not so much on methods, but on the person himself. The main problem of creative activity is the development at school and self-development throughout life of the creative qualities of the individual. What qualities characterize a person as creative?

1.1. The main qualities of a creative person.

Many researchers have posed the problem of what qualities a person should have in order to be a creative person. This problem is not new in the history of science. Many researchers and teams of researchers have obtained various solutions to this problem. The essence of these decisions boiled down to the fact that a creative person should have too many qualities, which made it difficult for them to purposefully develop in children and self-development in adults.

In addition, some scientists adhere to the position that creative qualities are inherited from parents to children and they cannot be formed if they are not genetically determined. If this is so, then only people chosen by nature can become creators, and the school is doomed only to create conditions for the development of the individual, but not to control the development of creative qualities. Simply put, only gifted children need to be developed, the rest will still fail. However, it is not. Scientists have analyzed the biographies of many creative personalities - writers, artists, composers, engineers, doctors, and scientists. As a result, it was found that regardless of the type of activity, a creative person has the following basic qualities.

· the ability to set a creative (worthy) goal and subordinate one's activity to its achievement;

· the ability to plan and self-control their activities;

· the ability to formulate and solve problems that form the basis of the goal;

· high efficiency;

· the ability to defend one's beliefs.

As you can see, all these qualities are acquired, more precisely, the result of self-development during life and have nothing to do with heredity. At the same time, it cannot be denied that each person receives genetic inclinations for this or that activity. To realize these inclinations, creative qualities are needed. What is the structure of the creative qualities of the individual, what skills are included in each of the qualities?

1. 2. The structure of creative qualities.

Ø Creative focus.

Man lives only once, unfortunately. A very important question arises - how to manage your life so that at the end of it there are no regrets about the aimlessly lived years. Therefore, the choice of the purpose of human life becomes very relevant. The purpose for which life is worth living should be creative, this does not mean at all that everyone should become great composers, writers, engineers, artists. But this means that every person during his life must do at least one creative thing that is useful not only for himself, but also for other people. And there are a great many such creative things, seemingly insignificant, but at the same time very interesting and useful: raising your own children, designing furniture, creating new varieties of plants and animal breeds, creating recipes for new dishes, new models of clothes, and much more. Each person should create in the area of ​​their interests and at the level of their capabilities. Is creating a new recipe worse than writing a literary novel?

The question arises - what goal is creative, worthy of human life? To do this, scientists have proposed the following criteria for assessing its worthiness.

1. Novelty- the goal must be new, not previously achieved by anyone, or the means to achieve the goal must be new.

2. public utility- the goal should be useful both for the creator himself and for other people and civilization as a whole.

3. concreteness- the structure of the goal should be specific and clear, both for the creator himself and for others.

4. Significance- the achievement of the set goal should bring significant results to society.

5. Heresy- the goal should contain an element of fantasy, implausibility.

6. Practicality- work on the goal should bring concrete practical results.

7. Independence- achieving the goal, at least at the first stage, should not require expensive equipment and the participation of large scientific teams.

What does it mean to form and develop creative purposefulness? First of all, it is necessary to get acquainted with the materials that contain information about contemporary unresolved problems in science, technology and art. In this regard, the ability to summarize popular science literature is especially important: to make a brief annotation of the article, indicate the problems outlined in it, analyze the solutions proposed by the author of the article - evaluate their positive and negative sides, offer their solutions in the form of hypotheses.

Ø Planning and self-control of activities.

Setting a creative goal is, although difficult, but still the initial part of the work. Achieving the goal largely depends on the reality of the plan that the person made.

The form of the plan is not of fundamental importance - it is written on paper, in a computer file or contained in the head, its content is of fundamental importance. The goal achievement plan should include a list of the researcher's work items that need to be completed to solve the problem.

To achieve any creative goal, you need to learn how to plan:

1. Work on the analysis of scientific literature on creative purpose and related fields.

2. Work on the development of new scientific technologies for research and problem solving.

3. Work on introspection and self-control of their activities.

What learning skills are needed to analyze scientific literature?

Ability to combine scientific information:

1. Highlight the main thing.

2. Compare.

3. Change and supplement.

4. Systematize and classify.

The same skills are necessary for successful work on the development of new scientific technologies for research and problem solving. Self-analysis of one's work involves the possession of a person by the ability to compare the results of his work with an activity plan. Thus, learning to introspection involves learning to plan one's activities both for the performance of individual tasks and for work in the classroom to study the topic.

Self-control is an assessment of the results of one's work based on scientific theories and patterns. Self-control involves a person's possession of the ability to compare the results of activities with scientific theories and patterns, on the basis of which the study is carried out. What is it for? To search for "white spots" in theories. If the theory does not explain the results of the study, then you need to change

Ø Ability to defend your beliefs.

Beliefs are knowledge verified in the process of diverse creative activity. The researcher who has created new knowledge, expressed in the form of facts, patterns, theories, is obliged to verify their correctness in the process of numerous experiments. After all, the criterion of truth is practice. But even this is not enough. The researcher should be able to briefly, clearly and specifically present the results of his work, comparing them with the work of other authors, with a view to making changes and additions. After all, new truths are not born out of nothing, in science and art there are processes of gradual development of knowledge, and it is important to see this development and determine the place of your ideas in it. To do this, it is necessary to master the methods of dialectical logic - the basis of any cognitive activity, including creative.

The development of a person's ability to defend his beliefs is carried out by teaching him the ability to analyze and compare scientific information, conduct a dialogue and discussion, create logically correct system evidence, find various versions of evidence, conduct a comparative analysis of the results of the work, present the results of their research in the form of articles and monographs.

Ø Moral qualities of a creative person.

Morality is a system of internal rules of a person that determines his behavior and attitude towards himself and other people. The system of internal rules of a person is formed under the influence of many factors: family, personal experience, school education, social relations, etc. Depending on the values ​​on the basis of which these internal rules are formed, morality can be racial, nationalistic, religious-fanatic, humanistic. It is hardly necessary to explain who the racists, nationalists, religious fanatics are. If someone thinks that they have no morality, he is deeply mistaken. These people have morality and it requires a noble attitude towards their own and the destruction of strangers. By the way, these are purely genetic programs that we inherited from our distant ancestors. They helped primitive people survive, but at present they do nothing but harm, moreover, they cripple people. As you know, genetic programs are corrected through education. However, a society in which racial, nationalistic or religious-fanatic ideas are officially preached only strengthens these genetic programs. Can there be creative personalities among them? Of course, quite a lot. But there is one but. The results of their creativity are of value to people only if they are aimed at the development of life, suggesting an improvement in the living conditions of all people. As a rule, racists, nationalists and religious fanatics do not have many such results, because the vast majority of their works are devoted to the search for certain evidence of the superiority of their race, nation or religion and ways to destroy others. And since there is no such superiority and cannot be, then the corresponding results. Many truly talented people, drugged by the poison of racism, nationalism or religious fanaticism, will not be able to achieve outstanding results in creativity.

Genuine creativity is always humanistic and the main moral value of humanism is respect for all people, regardless of their race, nationality and religious beliefs. What humanistic moral qualities are inherent in a truly creative person?

Ø Creative orientation of the personality.

Every person has the right to satisfy his biological and cultural needs, but the moral personality will never become their slave. Creation should prevail over consumption in the activity of the individual. Not every person will be a great writer, composer, doctor, engineer, but everyone is obliged to produce spiritual or material goods in order to be able to consume. The progressive development of society is determined primarily by the predominance of creators over consumers. Unfortunately in last years The mass media form the erroneous image of “work to consume”, while the moral image of a person looks like “work to create and consume”. The first image gradually leads a person to a criminal dead end, the second to professional and spiritual perfection.

The creative orientation of the individual is brought up in the process of developing motivation for creative activity. After all, the ability to create begins with the desire to create, to create something new. The development of motivation for creative activity is possible only if a person sees the significance of the results of his creative activity for himself and for society. If there are such results, then they strengthen the desire of a person to engage in creative activities.

Ø Personal and social usefulness of activity.

Not every activity is moral, but only that which is useful for the person himself and society - other people. In recent years, the slogan of educating an individualist has dominated, that he can bring nothing but harm. From one extreme - everything for society, the collective, we drove ourselves to the other extreme - everything for the individual. The truth is usually in the middle - the activity should bring personal and social benefits, only then it is moral. A useful activity can be performed only by one who sees its practical necessity, is able to ensure its implementation in such a way as not to harm others, both in the process of its implementation and taking into account its remote consequences. At the same time, others are understood not only as people, but all living organisms and technical and cultural objects useful to humans.

Ø Vision of the variability of achieving the goal.

It is known from philosophy that many roads lead to truth. A moral person should not only see the variety of options for achieving the goal, but also be able to use them. The trouble with many people is that they use only one path to implement their plans. More often than not, this one path turns out to be wrong, or insurmountable obstacles arise. And then a person spiritually “breaks down”, sometimes this leads to a loss of faith in one’s own strength, a rejection of the chosen career, disappointment in life.

Ø Fulfillment of personal obligations.

The hardest thing in life is keeping your own promises. How many different promises we have already heard - political, economic, social. Well, if a tenth of them are completed. To live not by lies requires a person to take on only such obligations that he is able to fulfill. But the fulfillment of the obligations taken requires the presence of a very important quality - willpower - the ability to overcome difficulties that arise and achieve the goals set, but not at any cost, but while doing personally and socially useful activities. The moral personality is determined primarily by the fact that it promises the achievable and fulfills the promised.

Ø Recognition and support of alternative beneficial activities.

It is about envy, more precisely about black envy. How many examples have there been in history when less talented creators destroyed more talented ones. A classic example is the destruction of N.I. Vavilov by T.D. Lysenko's associates. A moral person understands perfectly well that success in any business will be only if there is healthy competition between individual creators or creative teams.

The nobility of a person's soul is manifested when he recognizes and supports his competitors, knowing full well that many roads lead to the truth and it is still unknown which of them is shorter and more effective - the one he follows himself, or his competitors. You and I know how often adults painfully experience the successes of their colleagues, how less talented people try to find mistakes and miscalculations in the work of more talented people, while forgetting that the main thing is not criticism of others, but the results of their own work. Unfortunately, this, not the best quality of the human soul, is beginning to be adopted by our children. And is it any wonder then that from cute, good boys and girls, evil, envious and intolerant of the success of others people grow up. The upbringing of this quality requires teaching children the ability to compare the results of their own and other people's work with the goal, determine the ratio of the time spent and the results obtained, as well as the complexity of the chosen path. The criteria for the effectiveness of any activity are as follows: high results, relative ease of implementation, minimal time, equipment and materials.

Ø Constructiveness of critical analysis.

You have to be able to criticize. The ability to criticize constructively is a whole science that needs to be taught to the younger generation. Constructively criticizes the one who has deeply studied the subject of criticism, owns all modern methods of cognition and methods of dialectical logic, who is able to see the positive, new in the criticized idea and suggest ways to improve and further develop it, help correct the mistakes of the author of the idea. Criticism should stimulate creativity, make the author confident in the correctness of the chosen path. And another important moral aspect - the idea is criticized, and benevolently, and not the author himself or his relationship with his opponent. Well, which of the graduates of our schools fully owns all of the above skills? And in what school and in what subjects are students taught constructive criticism?

2.The phenomenon of creativity in history.

The question of the essence and meaning of creativity has been raised and interpreted in different ways in different ways. historical eras. Thus, in ancient philosophy, creativity is associated with the sphere of finite passing and changing being, and not with being infinite and eternal, the contemplation of this eternal being is placed above any activity, including creative. In the understanding of artistic creativity, which was not previously distinguished from the general complex of creative activity, in the future, especially starting with Plato, the doctrine of Eros develops as a kind of human aspiration to achieve a higher contemplation of the world, the moment of which is creativity. Views on creativity in the Middle Ages of philosophy are associated with a personal understanding of God, freely creating the world and an act of his will that causes being from non-being. In Augustine Aurelius, human creativity appears as the creativity of historical being, in which finite human beings take part in the implementation of the divine plan for the world. The will and the volitional act of faith, and not reason, connect a person with God, a personal act acquires significance, individual solution as a form of participation in the creation of the world by God. This creates the prerequisites for understanding creativity as a unique and inimitable phenomenon of human existence. The pathos of the boundless creative possibilities of man permeated the Renaissance, in which this phenomenon of human existence is recognized as artistic creativity, the essence of which is seen in creative contemplation. There is a cult of genius as a bearer of creativity, an interest in the very act of creativity and in the personality of the artist, a reflection on the creative process that is characteristic of the new time, a tendency to consider history as a product of purely human creativity. In the Age of Enlightenment, creativity begins to be regarded not only as the highest form of human activity, but also as the most important prerequisite for the cognition and transformation of the surrounding reality, as something akin to invention.
In recent times, research attention to the phenomenon of creativity has increased significantly in the field of psychology, for which the direct scientific interest is not so much the abstract spiritual and personal nature of creativity, but the specific psychological components and mechanisms of the creative activity of the individual.
In psychology, creative activity is interpreted as a complex characteristic of a person, formed on the basis of relatively high development general and special abilities and manifested in a successful professional activity, in a high level of motivation and relevant socio-psychological attitudes, as well as in the features of intellectual and personal characteristics. Creative activity is one of the essential properties of the personality, through which the individual, especially in the psychological organization of the personality, is most fully manifested. In relation to activity, this special finds its highest expression in the originality (as opposed to stereotyped) of the solution of one or another research or practical problem. We can distinguish the following components that determine the creative activity of the individual:

Correspondence of the task set from the outside (technical, scientific, research, managerial), psychological attitudes of the individual. In most cases, the task is socially motivated, i.e. perceived by the subject as socially significant.

The ability of a person to identify the principle underlying any construction and use it in new conditions. A creative personality is characterized by receptivity to new ideas, creative courage, curiosity, observation, the ability to overcome stereotypes, a specialized “transfer” of solution techniques from task to task when solving seemingly completely new problems.

The ability of the individual to determine the so-called "search zone", according to own initiative to go beyond the originally planned area of ​​research, to seek and find tasks, to find constructive techniques that rationalize activities.

High intellectual level: developed verbal and non-verbal intelligence, spatial representation and imagination, high level system associations, the ability to generalize.

2.1.Stages of creativity.

In the process of creativity itself, the following successive stages can be distinguished:
1) the “embryonic” stage, at which some kind of creative idea arises, often still very vague;
2) the initial stage, at which the idea is concretized, the first search for its certainty, the formulation of the problem and the identification of possible ways to solve it;
3) the stage of the first design of the idea, in which the effectiveness of the chosen solution methods is evaluated, the problem itself is analyzed in many ways, information is collected and analyzed;
4) the stage of the main design, when hypotheses are put forward, various assumptions are sorted out, a person is consciously solving a creative problem. It is at this stage that moments of "creative insight" often occur, accompanied by appropriate mental states against the background of an emotional upsurge;
5) the final stage, when the final design takes place, the “crystallization” of the developed ideas, the evaluation of the effectiveness of the achieved result, the compliance of the goal and the final product is analyzed.
However, this staging is very conditional, since creativity acts as a continuous process that is difficult to distinguish, and between the stages one can single out separate creative pauses, during which the hidden, so-called subconscious mind usually continues. creative process and creation of new blanks.