The role of imagination in artistic creation. Abstract: Imagination and creativity The creative nature of man imagination and creativity

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Introduction………………………………………………………………………...…2

1. Imagination…………………………………………………………………..4

1.1 The nature of imagination………………………………………………………...4

1.2 Types of imagination………………………………………………………....5

1.3 Functions of imagination and its development…………………………………....9

1.4 Imagination and creativity……………………………………………….10

2. Creativity…………….................................................. .....................................12

2.1 The nature of creativity……………………………………………………….12

2.2 Creativity (creativity)………………………………..12

2.3 Relationship between creativity and intelligence…………………….14

2.4 The essence of creativity…………………………………………………..15

2.5 Creativity and success…………………………………16

2.6 Development of creative abilities………………………………………...17

Conclusion………………………………………………………………………….20

Literature………………………………………………………………………….22

INconducting

At present, the general situation of the instability of society has a variety of influences both on society and on the personality of a person. There is a blurring of value orientations, norms of behavior, the very processes of socialization and adaptation. Under these conditions, the demand for a harmoniously developed, socially active person who is able to independently make decisions and be personally responsible for their implementation has increased.

The role of the imagination in the knowledge and transformation of the surrounding world is great, since the ability to imagine what has not yet been and make it a reality is the key to progressive movement forward. In this aspect, the most important condition and prerequisite for a more complete development of the personality is the creation of conditions for the disclosure of human abilities. Realization of personality abilities, formation of an image of the future, activity planning is one of the most important and little-studied problems of psychology. The study of imagination will allow practitioners to solve the issues of planning, creative change in the environment and the individual in it, positive interaction between man and society.

Within the framework of psychological research, this topic was covered in the works of well-known domestic psychologists such as Vygotsky L.S., Basin E.Ya., Brushlinsky A.V., Dudetsky A.Ya., Ponomarev Ya.A., Rubinshtein S.L., Yakobson P.M., and others.

Despite their great importance, the problems of creativity and creative abilities have not yet been sufficiently developed. However, research is being carried out in this direction by both domestic and foreign psychologists.

Creativity is studied from the point of view of ability (Bogoyavlenskaya).

Creativity is considered as a characteristic of a person, the question of a creative person is raised. This line includes, in particular, approaches in terms of self-actualization, which postulate the original creative potential (Maslow, 1999), or the equally classic works of F. Barron, who relied on the concept of “setting for originality”, which underlies creativity (Barron, 1968).

Creativity is seen as an activity in the context of life, in the context of social relations. Here attention is paid to the social environment (Csikszentmihalyi, 1999), social processes (Shabelnikov, 2003), motivation (Maddi, 1973), intellectual activity (Bogoyavlenskaya, 2002), life strategy (Altshuller, Vertkin, 1994); creative career (Crozier, 2000), creative lifestyle (Poluektova, 1998).

Any creative process is associated with imagination, and creativity can be called the quintessence of imagination and developed creative abilities. The ability to find non-standard solutions in today's life is valued no less, and even more than the baggage of theoretical knowledge of a graduate.

The purpose of this work is to study mental processes: imagination and creativity. The paper will give definitions of the concepts of imagination, creativity, as well as trace and establish links between these processes.

Objectives: to study the influence of the role of imagination and creativity on the development of cognitive processes.

1. INimage

1.1 The nature of the imagination

In cognitive processes, along with perception, memory, thinking, imagination plays an important role in human activity. In the process of reflecting the surrounding world, a person, along with the perception of what is affecting him at the moment, or the visual representation of what has affected him before, we create new images.

Imagination is the mental process of creating something new in the form of an image, representation or idea.

The process of imagination is peculiar only to man and is a necessary condition for his labor activity.

Imagination is always directed to the practical activity of man. A person, before doing anything, imagines what needs to be done and how he will do it. He already creates in advance the image of a material thing, which will be produced in the subsequent practical activity of a person. This ability of a person to imagine in advance the final result of his work, as well as the process of creating a material thing, sharply distinguishes human activity from the "activity" of animals, sometimes very skillful.

The physiological basis of imagination is the formation of new combinations from those temporary connections that have already been formed in past experience. At the same time, simple updating of existing temporary connections does not yet lead to the creation of a new one. The creation of a new one presupposes such a combination, which is formed from temporary connections that have not previously entered into combination with each other. In this case, the second signal system, the word, is of great importance. The process of imagination is a joint work of both signal systems. As a rule, the word serves as a source of the appearance of images of the imagination, controls the path of their formation, is a means of their retention, consolidation, their change.

Imagination is always a certain departure from reality. But in any case, the source of imagination is objective reality.

In psychology, voluntary or involuntary imagination is distinguished. The first manifests itself, for example, in the course of purposeful solving of scientific, technical and artistic problems in the presence of a conscious and reflected search dominant, the second - in dreams, the so-called altered states of consciousness, etc.

Dream forms a special form of imagination. It is directed to the sphere of a more or less distant future and does not imply the immediate achievement of a real result, as well as its complete coincidence with the image of the desired one.

At the same time, a dream can become a strong motivating factor in creative search.

1.2 Types of imagination

There are several types of imagination, among which the main ones are passive and active.

The passive, in turn, is divided into voluntary (dreaming, dreams) and involuntary (hypnotic state, dream, fantasy).

Active imagination includes artistic, creative, critical, recreative, and anticipatory. Close to these types of imagination is empathy - the ability to understand another person, to be imbued with his thoughts and feelings, to rejoice, to empathize.

Under conditions of deprivation, different types of imagination are intensified, therefore, apparently, it is necessary to give their characteristics.

Active imagination is always aimed at solving a creative or personal problem. A person operates with fragments, units of specific information in a certain area, their movement in various combinations relative to each other. Stimulation of this process creates objective opportunities for the emergence of original new connections between the conditions fixed in the memory of a person and society.

There is little daydreaming and "groundless" fantasy in the active imagination. Active imagination is directed to the future and operates with time as a well-defined category (i.e. a person does not lose the sense of reality, does not put himself outside of temporary connections and circumstances). Active imagination is directed more outward, a person is mainly occupied with the environment, society, activity and less with internal subjective problems. Active imagination is stimulated by the task and directed by it, it is determined by volitional efforts and lends itself to volitional control.

Recreating imagination is one of the types of active imagination, in which people construct new images, ideas in accordance with stimulation perceived from the outside in the form of verbal messages, diagrams, conditional images, signs, etc.

Despite the fact that the products of the recreating imagination are completely new images that were not previously perceived by a person, this type of imagination is based on previous experience. K.D. Ushinsky considered the imagination as a new combination of past impressions and past experience, believed that the recreating imagination is the product of the influence of the material world on the human brain.

Primarily recreative imagination is a process in which there is a recombination, a reconstruction of old perceptions in a new combination of them.

Anticipatory imagination underlies a very important and necessary human ability - to anticipate future events, to foresee the results of one's actions, etc. Etymologically, the word "foresee" is closely related and comes from the same root with the word "see", which shows the importance of understanding the situation and transferring certain elements of it into the future based on knowledge or prediction of the logic of events.

Thanks to this ability, a person can see with his "mind's eye" what will happen to him, to other people or things around him in the future. F. Lersh called this the Promethean (looking forward) function of the imagination, which depends on the magnitude of the life perspective: the younger the person, the more and brighter the forward orientation of his imagination is presented. In the elderly and old people, the imagination is more focused on the events of the past.

Creative imagination is a type of imagination during which a person independently creates new images and ideas that are of value to other people or society as a whole and which are embodied (“crystallized”) into specific original products of activity. Creative imagination is a necessary component and basis of all types of human creative activity.

Images of creative imagination are created through various methods of intellectual operations. In the structure of creative imagination, two types of such intellectual operations are distinguished.

The first is the operations through which ideal images are formed, and the second is the operations on the basis of which the finished product is processed.

One of the first psychologists who studied these processes, T. Ribot identified two main operations: dissociation and association.

Dissociation is a negative and preparatory operation in the course of which a sensitively given experience is fragmented. As a result of the preliminary processing of experience, its elements are capable of entering into a new combination unthinkable. Dissociation is the first stage of creative imagination, the stages of material preparation. The impossibility of dissociation is a significant obstacle to creative imagination.

Association - the creation of the integrity of the image of their elements, isolated units of images. Association gives rise to new combinations, new images. There are other intellectual operations, such as the ability to think from an anthology with partial and purely random similarities.

Passive imagination is subject to internal, subjective factors, it is tendentious.

Passive imagination is subject to desires, which are thought to be realized in the process of fantasizing. In the images of the passive imagination, the unsatisfied, mostly unconscious needs of the individual are “satisfied”. The images and representations of the passive imagination are aimed at strengthening and preserving positively colored emotions to repress, reduce negative emotions and affects.

During the processes of passive imagination, an unreal, imaginary satisfaction of any need or desire occurs. In this passive imagination differs from realistic thinking, the elements of concepts and other information emphasized through experience.

Synthesis, realized in the processes of imagination, is carried out in various forms:

* Agglutination - "gluing" of various incompatible qualities, parts in everyday life;

* Hyperbole - exaggeration or understatement of the subject, as well as changing individual parts;

* Typification - highlighting the essential, repeating in homogeneous images;

* Sharpening - emphasizing any individual features.

1.3 Functions of the imagination and its development

In human life, imagination performs a number of specific functions. The first of these is to represent reality in images and be able to use them when solving problems. This function of imagination is connected with thinking and is organically included in it.

The second function of the imagination is to regulate emotional states. With the help of his imagination, a person is able to at least partially satisfy many needs, to relieve the tension generated by them. This vital function is especially emphasized and developed in psychoanalysis. The third function of the imagination is associated with its participation in the arbitrary regulation of cognitive processes and human states, in particular, perception, attention, memory, speech, emotions. With the help of skillfully evoked images, a person pays attention to the necessary events. Through images, he gets the opportunity to control perception, memories, statements. The fourth function of the imagination is the formation of an internal plan of action - the ability to perform them in the mind, manipulating images. The fifth function is the planning and programming of activities, the implementation process.

With the help of imagination, we can control many psychological states of the body, tune it to the upcoming activity. There are known facts that with the help of imagination, by a purely volitional way, a person can influence organic processes: change the rhythms of breathing, pulse rate, blood pressure, body temperature. These facts underlie auto-training, which is widely used for self-regulation.

With the help of special exercises and techniques, you can develop the imagination. In creative types of labor - science, literature, art, engineering and others - the development of the imagination occurs in the pursuit of these types of activities. In autogenic training, the desired result is achieved through a special system of exercises that are aimed at learning how to relax individual muscle groups (arms, legs, head, torso), arbitrarily increase or decrease pressure, body temperature (in the latter case, imagination exercises are used). heat, cold).

1.4 Imagination and creativity

Images of fantasy are never completely divorced from reality, having nothing in common with it. Any product of fantasy, if decomposed into its constituent elements, then among them it will be difficult to find something that would not actually exist. Even when we subject the works of abstract artists to this kind of analysis, in their constituent elements we see, at least, geometric figures familiar to all of us.

The effect of unreality, fantasticness, novelty of products of creative and other imagination is achieved for the most part due to the continuous combination of known elements, including changes in their proportions.

There are individual, typological features of the imagination associated with the specifics of memory, perception and thinking of a person. For some people, a concrete, figurative perception of the world may prevail, which internally appears in the richness and diversity of their imagination. Such individuals are said to have an artistic type of thinking. By assumption, it is physiologically related to the dominance of the right hemisphere of the brain. Others have a greater tendency to operate with abstract symbols, concepts (people with a dominant left hemisphere of the brain).

The imagination of a person acts as a reflection of the properties of his personality, his psychological state at a given moment in time. It is known that the products of creativity, its content and form well reflect the personality of the creator. This fact has found wide application in psychology, especially in the creation of psychodiagnostic personality techniques.

2 . The role of creativity in the development of cognitive processes

2.1 The nature of creativity

imagination creativity creativity ability

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

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

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

2.2 Creativity (creativity)

Research on creativity, which developed intensively in America in the 60s, led scientists to the conclusion that creativity is not a synonym for learning ability and their relationship with intelligence is ambiguous.

The selection of a universal creative ability, called creativity (from English creativity - literally: creativity), happened not so long ago and is associated with the name of Guilford, who proposed a three-factor model of intelligence. Guilford pointed out the fundamental difference between the two types of mental operations. Thinking aimed at finding the only correct solution to the problem was called convergent (convergent). The type of thinking that goes in different directions, looking for a solution in different ways, is called divergent (divergent). Divergent thinking can lead to unexpected, unforeseen conclusions and results.

Guilford identified four main dimensions of creativity:

originality - the ability to produce unusual responses;

productivity - the ability to generate a large number of ideas;

flexibility - the ability to easily switch and put forward a variety of ideas from different areas of knowledge and experience;

The ability to improve an object by adding details.

In addition, creativity includes the ability to detect and pose problems, as well as the ability to solve problems, i.e. ability to analyze and synthesize.

Unlike intellectuals, who can solve even complex tasks already set by someone, creatives are able to independently see and pose problems.

2.3 Relationship between creativity and intelligence

Some authors believe that extensive knowledge and erudition sometimes make it difficult to see the phenomenon in a different, creative perspective. Others argue that the inability of consciousness to be creative is due to the fact that it is logical and limited to strictly ordered concepts, which suppresses fantasy and imagination.

To develop a high level of creative abilities (creativity) requires a level of mental development that would be slightly above average. Without a certain base of learning, without a good intellectual foundation, high creativity cannot develop. However, after reaching a certain level of development of the intellect, its further increase does not affect the development of creative abilities. When the intellect is very high (more than 170 IQ units), there is no manifestation of creative abilities. It is known that people with encyclopedic knowledge rarely have high creative potential. Perhaps this is due to the tendency to streamline and accumulate knowledge, ready-made facts. And for spontaneous creativity, it is sometimes important to abstract from what is already known.

The stereotyped thinking, its orientation towards an unambiguous, correct answer often makes it difficult to find an original, new solution.

Mini-tests to study the ability to think outside the box, to overcome stereotyped thinking.

a) It is proposed to solve a non-standard problem: Two people approached the river. A boat was parked on the deserted shore, in which only one person could fit. Both of them crossed the river in this boat and continued on their way. How did they do it?

(Correct answer: The travelers approached different banks of the river, and first one crossed, and then the other.)

The task is hindered by the stereotyped understanding of the first phrase (“Two approached the river”), which suggests that the travelers were walking together and in the same direction.

b) How to cross out, without lifting the pencil from the paper, four points, which are the vertices of the square, with three straight lines and return to the starting point?

IN stereotypes prevent this task from finding a solution. Here it is necessary to abandon the stereotyped idea that it is impossible to go beyond the limits of the space limited by points.

2.4 Essence of creativity

The essence of the creative act, creative abilities, various researchers reveal from different angles. Let's look at some definitions.

“Creativity is the ability to bring something new to experience” (Barron).

“The ability to recognize problems and contradictions” (Torrens).

“The ability to generate original ideas in the face of new problems” (Ballah).

"The ability to abandon stereotypical ways of thinking" (Gilford).

“The ability to be surprised and learn, the ability to find a solution in non-standard situations, this is a focus on discovering something new and the ability to deeply understand one’s experience” (E. Fromm).

There is also such an interesting definition: creativity is “the ability to think about”.

One of the most famous researchers of creative abilities - the American scientist Paul Torrens - understands creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, sensitivity to disharmony, etc. He believes that the creative act is divided into:

Perception of the problem

search for a solution;

the emergence and formulation of hypotheses;

modification of hypotheses;

finding a result.

2.5 Creativity and success

High learning abilities and creativity do not always coincide. Underachieving students may be highly creative, and vice versa.

According to Torrens (1962), about 30% of children who are expelled from school for inability, poor progress, and even stupidity are children who are highly creatively gifted. Torrens conducted lengthy studies, tracing the fate of children who showed high creative abilities. It turned out that after 20 years, many of them had achieved nothing in life and occupied a low social status (“scavengers”).

And here interesting questions arise about what gives a person creative abilities. Are they always in demand? What, besides creative abilities, does a person need in order to realize his creative potential, make a discovery, achieve something in life, become successful, benefit society?

2.6 Development of creativity

Creativity is stimulated by being receptive to new ideas rather than being critical of them, and creative solutions seem to come more often in a moment of relaxation, distraction, rather than a moment of focus on solving problems.

There is a well-known example with the famous chemist Dmitri Mendeleev, who saw the periodic table of chemical elements in a dream. (This does not mean that the more you sleep, the more likely you are to make a discovery.)

Creativity can be developed. This can be done especially effectively by organizing special classes with young children who have not yet developed the habit of stereotyped decisions and the search for the correct answer approved by adults. But adults can also develop their creative abilities and creativity.

It is convenient to do this in a group when various ideas are expressed - in the form of a "brainstorming". By the way, in the West, this method is successfully used by large firms in crisis situations, when the old ways of working are ineffective. A group of developers gathers to generate new ideas. At the first stage, nothing is criticized. At the second stage, the most interesting proposals are selected. At the third stage, the possibility of their application is checked.

The history of scientific discoveries is replete with examples when, it would seem, a completely wild idea turned out to be the most fruitful and led to the discovery of new facts, the invention of more advanced technologies.

In the book of M. Arista "The Life of Inventions" such an example is given. Engineer Shukhov once sat up in his office after work. He watched as the cleaning lady lifted the heavy flower pot and placed it on top of a light wicker basket turned upside down while dusting. This caught the attention of the engineer. He thought, “Why does such a fragile basket support such a large load?” And I realized that the rods form a hyperboloid of revolution between themselves, the curvilinear surface of which is made of rectangular elements. This idea was embodied in an elegant and extremely durable building structure - a tower, on top of which a huge water tank was installed. This invention proved to be extremely useful for the water supply of cities and railways.

Exercises for the development of creative abilities among students

a) Non-standard use of objects

Within three minutes, come up with as many non-standard ways you can use a common item. Number your options and write them down on a piece of paper. Nobody says anything out loud. I mark the time. So, this object is a newspaper (brick, ruler, rope, etc.).

After the time has elapsed, the facilitator stops the students and asks: who came up with 20 options? 15? 12? It is proposed to read your list to the one who has the most options. When reading the list, the facilitator approves, encourages, notes originality, does not criticize anything, and does not express doubts. Then he asks the rest of the participants to complete the list - to suggest options that have not yet been sounded. Mandatory comments like: "Great, very interesting, look how unusual!" etc.

b) Synonyms

Within two minutes, think of as many synonyms for the word "tall" as you can.

When analyzing the answers, which is carried out similarly to the first exercise, the attention of students is drawn to such an originality parameter as "flexibility". Usually the word “high” is associated with size, size, and synonyms will be typical: long, tower, etc. Flexibility of imagination allows you to break out of stereotypical associations: maybe someone will remember that “high” is also said about the tone of voice, and then the associative series will be supplemented with synonyms “thin”, “voiced”, etc. The concept “high” is applicable to moral qualities, aspirations, and then the associations “noble”, “purposeful”, etc.

c) unpredictable consequences

In conditions of limited time, it is proposed to write down on their slips of paper various options for the consequences of some fantastic event: for example, what will happen if eternal darkness comes on Earth? What are the consequences of the fact that all cats on Earth will disappear?

d) Circles. On forms where 20 circles are drawn, within 5-10 minutes, depict as many original drawings as possible, using circles as a basis.

There are many different games and activities to develop creativity. Their description can be found in the literature.

Conclusion

Through active cognitive activity, not only the comprehension of information, the reflection of the objective world, but also the transformation into a subjective image, the creation of a new idea, ideas, the development of creative abilities, an increase in the intellectual level, professional skills take place.

In the course of the research work done, the hypothesis associated with the assumption of a significant influence of the role of imagination and creativity in the development of cognitive processes was confirmed.

The processes of imagination and creativity, their influence on the development of cognitive processes were studied.

In the course work, a holistic approach was used, revealing the nature of imagination, types of imagination, the interaction of imagination and creativity, creativity and creativity, etc.

As a result of the study, the following questions were studied:

* Interaction of activity and mental processes

* The role of imagination in the development of cognitive processes

* The role of creativity in the development of cognitive processes

The main goals and objectives were achieved:

* Knowledge and experience about the role of imagination and creativity in the development of cognitive processes were accumulated, game, problematic methods were used to develop creative capabilities, professional skills, and enhance mental activity;

* The role of imagination as a strong motivating factor of creative search in cognitive activity.

* The role of creativity as the emergence of new opportunities in the development of cognitive processes.

* Experience has been accumulated, consolidating in skills, knowledge, in setting goals, in working out all kinds of solutions.

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Creativity in management.

It used to be customary to call creative workers figures of literature and art. In fact, a person of any profession creates if he finds a new solution to a known problem, solves a problem or opens a new direction.

Management as a special kind of activity has never been removed from creativity; on the contrary, he always used it, and in two ways. Firstly, for their own needs, i.e. for the development of certain management decisions. After all, even such purely everyday everyday actions as meetings, conferences, planning meetings, “five-minute meetings”, etc., for managers, in fact, represent an occupation with creativity - albeit often ineffective. Secondly, management uses creativity to induce subordinates to take the actions required from the point of view of those who lead. Such an impulse presupposes, with its elementary competent organization, a constant appeal to the creative principle inherent in each worker, even if it is carried out on an intuitive level.

But at the same time, the manager must find a reasonable balance between creative personalities (subordinates) and executive ones, since one person rarely combines creative and executive qualities. The leader must be able to create such a working environment in which people of creativity and performers will not conflict, but rather unite in a single work and their activities will become more effective.

For effective management, a leader needs talent, abilities, skills, intuition, imagination, observation.

The most important features of talent are the power of imagination and intuition. Intuition, as the ability to see the whole, bypassing the details, as the ability to quickly solve a new task that has never been experienced, is one of the most important and not fully studied tools of creativity. Intuition is the ability to feel and understand the essence of what is happening directly, without formal evidence and quantitative justification. The role of intuition is especially great and responsible in making managerial decisions, given that they are made with a lack of time, often a lack of information and are not subject to cancellation. Imagination allows a person, on the basis of life experience, accumulated knowledge and observations, to mentally represent situations, actions, behavior, characters of people. Intuition, creative imagination and fantasy play a huge role in managerial activity.

The job of a manager is creative. He independently creates new, original ideas and solutions. The creative abilities of a manager are manifested in the ability to transfer a proven idea or method from one field of activity or environment to another, the ability to borrow interesting ideas and solutions from the outside world and use them in management, the ability to generate original ideas. The daily work of a manager is often associated with the search for non-standard solutions, new approaches, the development and use of their own techniques and methods, new forms of work.

According to Bertil Torekul (author of books about the giants of world business IKEA, Saab), the basis for success is the entrepreneur himself, his attitude to his business, this is something that cannot be copied and turns out to be one of the main competitive advantages of the company: “you can’t just say: we will use the same concept as other company, we will have the same philosophy and ethics. A successful company is built on the basis of the passion of its creator, even an obsession. We must always try to approach the process creatively. 20 years ago in the US there was a huge successful airline company Pan American. Work in it was a guarantee of a stable income and a secure life. This company does not exist today. She stopped updating, bringing something new to her activities. The lack of creativity in the organization of any business leads to the fact that it ceases to develop. The problem of large companies is the growing bureaucratization of all processes. But, on the other hand, it is precisely in overcoming any obstacles and solving problems that opportunities for creativity are laid, which gives a new impetus to business development. For some it's obvious, for others it's not so much."

What to do if you need to “give birth” to an original idea or develop a new strategy, but nothing comes to mind? You can use special methods to stimulate creativity. One of them is brainstorming. One may ask: what does the art of leadership have to do with it? But it is he who chooses the method used, the participants in this process, the place and time of the brainstorming, the leader, poses problems for the participants, interests them in finding non-standard solutions, etc.

Anna Monosova, General Director of ARS VIRAE, talks about how to properly organize and conduct a brainstorming session.

FIRM SECRET: What is the brainstorming method?

ANNA MONOSOVA: Its main feature is that a group of people gathers and throws up various options for solving the problem, even if they are funny and absurd, but they are not evaluated in any way. That is, first a goal is set, then a piggy bank of decisions is collected, and only then, at the very end, they are analyzed according to certain criteria. SF: What problems can be solved with this method? AM: The method can be used in any projects at the idea generation stage. These can be ideas of different levels - from strategic concepts to a scenario for a corporate holiday. This way you can come up with the name of a new brand, a video script, options for promoting a product, etc. In addition, brainstorming is used not only to solve complex problems, but also to get people to just work in a team. They choose an easy task - for example, how we will celebrate the New Year.

SF: Why do we need a group at all? One person is not able to reach a decision on his own? AM: Of course, one person can do the same, but he sees the problem only from his own point of view, and in a group - from different angles, so the solution is found faster. In addition, the group is always more creative than the individual. SF: What prevents a person from thinking creatively and outside the box?

The role of imagination in creativity is unique. It can be defined as the process of transforming ideas about reality and creating new images on this basis. That is, the imagination turns on every time we think about an object without having direct contact with it. Creative imagination allows this representation to be transformed.

Creativity is a process that results in fundamentally new or significantly improved ways of solving certain problems. Clearly, creative thinking and imagination are linked.

We can highlight the following features of creative imagination:

with its help, completely new images are created, not on the basis of their description, but on the basis of the subject's own thoughts;
can be both arbitrary and involuntary;
the capacity for creative imagination is partly determined at birth, but it can be developed;
the relationship of imagination and creativity can be seen in their similar stages and techniques.

Stages of creative imagination:

The emergence of a creative idea. A vague image appears in the mind, the first ideas. It doesn't always happen consciously.
Carrying out an idea. Reflections on how an idea can be brought to life, mental improvement, etc.
Implementation of the idea.

Techniques of creative imagination can be distinguished by studying the results of creative processes. For example, in order to come up with most of the fabulous objects and creatures, the following techniques were used:

Agglutination– creating an image from two different ideas (mermaid, centaur).
Analogy- creating an image by analogy with another.
Exaggeration or understatement(Gulliver and Lilliputians).
Typing- assignment of an object to a certain type.
Addition– the object is assigned new functions and properties (flying carpet).
moving- subjective transfer of the object to new, unusual situations.

Methods for developing creative imagination

The development of creative imagination proceeds from the involuntary to the arbitrary, and from the recreative to the creative. Like other mental processes, it goes through certain stages of development. The first covers childhood and adolescence, is characterized by magical, fantastic ideas about the world and the absence of a rational component. At the second stage, complex changes occur, due to rearrangements in the body and self-consciousness, the processes of perception become more objective. The rational component appears at the third stage of the development of the imagination, it begins to obey reason, and it is precisely because of this practicality that it often falls into decay in adults.

The connection between imagination and creativity is expressed in the fact that they are based on ideas. You can develop your imagination using the following techniques:

The role of imagination in the creative process cannot be overestimated. Creativity is not only closely related to imagination, it is impossible without it.

Creativity in the original sense of the word is the creation of something new. The word "creativity" retained this meaning in science as well. In everyday life, art is often called creativity: drawing, music, architecture, etc. But it should be taken into account, for example, that playing musical instruments does not always carry at least some element of novelty. The musician, performing "Moscow Evenings" for the 199th time, is no more like a creator than a music player. Interestingly, in the ancient Greek language, the word "technology" denoted just art, that is, the pinnacle of mastery.

Creativity is a kind of activity. An external observer cannot always determine whether the observed is engaged in creativity or ordinary routine activities. If a person has not yet achieved anything new, is it possible to determine whether he is engaged in routine or creativity? Perhaps, just the most characteristic signs of the creative process (the path and not very noticeable to an external observer) will be the activation of the imagination and thinking of a person, as well as the concentration of attention on the subject of efforts. A person who is engaged in routine most likely: a) does not strain his imagination and thinking, b) tends to think about extraneous things, c) is not concentrated on the process of activity. Creativity is a product of the new, and this usually requires significant costs. Accordingly, we can say about creative people that they most likely have a developed imagination, thinking and concentration.

Creativity is possible in all spheres of human life. Another thing is that in some activities it is easier to engage in creativity than in others. In order, for example, to solve a mathematical problem in a non-standard way, not according to a textbook, one must have high abilities. And to paint a new picture, it is enough to pick up a brush and paint, and then draw anything.

According to the types of human activity, for example, the following types of creativity are distinguished:

inventive,

technical,

scientific,

literary,

Artistic,

artistic,

musical,

political,

Military, etc.

In each of these types of creativity, the role of imagination is visible and understandable. For inventive or technical creativity, it is important to imagine the work of existing mechanisms, devices, computer programs, and then imagine how you can improve the operation of existing mechanisms or devices or create something fundamentally new. For scientific creativity, it is important to present in all details the object and research, to present possible experiments, their consequences. For literary creativity, it is important to present the described characters and their habitat, communicative and other situations. In art, the artist first tries "with all the fibers of his soul" to see, to feel what he has to draw. The artist creates in his head the image of the future role. The musician is the image of a new musical opus. A politician lives in a dense intertwining of human relations, all these thick and thin threads must also be able to be imagined in one's head, as well as to think through all sorts of political operations and intrigues in detail.

An officer - on the battlefield or during exercises - is also not a simple performer: he is given a specific task, and the choice of means is left to him; the ability to imagine the current situation on the battlefield in your head, to estimate possible options for continuing the battle is worth a lot. Only in not very smart films do they show that the commanders win the battle only on one morale and emotional uplift of themselves and the soldiers. Real successful commanders, as the experience of numerous wars shows, win battles and battles due to a number of factors, among which the creative abilities of the commander, including imagination and thinking, are not in the last place.

Creativity is a very multifaceted process. It is greatly influenced not only by imagination and thinking, but also by emotions, will, and perception. In this article, however, we will focus on the connection between creativity and imagination.

The problem of creativity has always been of interest not only to psychologists. The question of what allows one person to create, and deprives another of this opportunity, has been worrying minds for a long time. For a long time, the idea that it was impossible to algorithmize the creative process and teach it accordingly dominated. This provision was substantiated by the famous French psychologist T. Ribot. He wrote: “As for the ‘methods of invention’, about which many learned discourses have been written, they do not really exist, since otherwise it would be possible to fabricate inventors in the same way that mechanics and watchmakers are now fabricated. ".

Gradually, this view began to be questioned. The fact is that it does not happen that each individual creative process is completely unique. If an artist during his life painted, say, twenty paintings-masterpieces, each of which is recognized as a unique, original creation, this does not mean that these twenty processes that preceded the appearance of paintings were unique. It is obvious that they have something in common, and this common, very likely, is more than the particular. The same can be said about several artists: there are certainly common points in their work. Yes, it is obviously impossible to completely formalize the process of creativity, but "methods of creativity" still exist.

Gradually, in science, the hypothesis that the ability to be creative can be developed came to the fore. The English scientist G. Wallace made an attempt to investigate the creative process. As a result, he managed to distinguish four stages of creativity:

1. Preparation (the birth of an idea).

2. Maturation (concentration, "pulling" of knowledge directly and indirectly related to a given problem, obtaining missing information).

3. Illumination (intuitive grasp of the desired result).

4. Verification.

G. S. Altshuller developed a whole theory of solving creative problems. He distinguished five levels of creativity (from easy to difficult):

1. Tasks of the first level are solved by using means directly intended for these purposes. It requires a mental enumeration of only a few generally accepted and obvious solutions. The object itself does not change in this case. The means of solving such problems are within the limits of one narrow specialty. It is clear that the amount of creativity here is minimal.

2. Tasks of the second level require some modification of the object to obtain the desired effect. The enumeration of options in this case is measured in tens. At the same time, the means of solving such problems belong to one branch of knowledge.

3. Tasks of the third level are even more difficult, here the correct solution is hidden among hundreds of incorrect ones, since the object being improved must be seriously changed. Techniques for solving problems of this level have to be sought in related fields of knowledge.

4. At the fourth level, the improved object changes completely. The search for solutions is carried out, as a rule, in the field of science, among rare effects and phenomena.

5. At the fifth level, problem solving is achieved by changing the entire system, which includes the object being improved. Here the number of trials and errors increases many times, and the means of solving problems of this level may be beyond the capabilities of today's science and even the human mind. Therefore, first you need to make a discovery, and then, based on new scientific data, solve a creative problem.

Accordingly, the load on the imagination also changes. Solving problems of the first level, you can not strain your imagination at all. At the fifth level, decades of thought and imagination may be required.

Characteristically, it is not always a priori known what level of the task we are facing. The task may turn out to be much more difficult than it seems at first glance. The reverse is also true. Altshuller believed that one of the important methods for solving creative problems is to transfer them from higher levels to lower ones. For example, if tasks of the fourth or fifth level are transferred to the first or second level by means of special techniques, then the usual enumeration of options will work.

One way to do this is to simply break the problem down, if possible, into a number of sub-problems. This method in science is called decomposition. Sometimes decomposition can even complicate the solution of the problem, because the solution of individual problems may require large resources, but it allows you to gain confidence that the problem will still be solved. And, of course, decomposition also requires a lot of imagination.

The role of imagination in the creative process cannot be overestimated. Creativity is closely connected with all mental processes, including imagination. The degree of development of the imagination and its features are no less important for creativity than, say, the degree of development of thinking.

The psychology of creativity is manifested in all its specific forms: inventive, scientific, literary, artistic, etc. What factors determine the possibility of creativity of a particular person? The possibility of creativity is largely provided by the knowledge that a person has, which is supported by the corresponding abilities, and is stimulated by the purposefulness of a person. The most important condition for creativity is the presence of certain experiences that create the emotional tone of creative activity.

The problem of creativity has always been of interest not only to psychologists. The question of what allows one person to create, and deprives another of this opportunity, worried the minds of famous scientists. For a long time, the view about the impossibility of algorithmization and teaching the creative process dominated, which was substantiated by the famous French psychologist T. Ribot. He wrote:

"As for the 'methods of invention', about which much scholarly discourse has been written, they do not really exist, otherwise one could fabricate inventors in the same way that mechanics and watchmakers are now fabricated."

Gradually, however, this view began to be questioned. In the first place came the hypothesis that the ability to be creative can be developed.

Thus, the English scientist G. Wallace made an attempt to investigate the creative process. As a result, he was able to isolate four stages of the creative process:

Preparation (the birth of an idea).
Maturation (concentration, "pulling" of knowledge directly and indirectly related to a given problem, obtaining missing information).
Illumination (intuitive grasp of the desired result).
Examination.

Another scientist - G. S. Altshuller - developed a whole theory of creative problem solving. He singled out five levels of creativity. The tasks of the first level are solved by using means directly intended for these purposes. It requires a mental enumeration of only a few generally accepted and obvious solutions. The object itself does not change in this case. The means of solving such problems are within the limits of one narrow specialty. Tasks of the second level require some modification of the object to obtain the desired effect. The enumeration of options in this case is measured in tens. At the same time, the means of solving such problems belong to one branch of knowledge.

The correct solution of the tasks of the third level is hidden among hundreds of incorrect ones, since the object being improved must be seriously changed. Techniques for solving problems of this level have to be sought in related fields of knowledge. When solving problems of the fourth level, the object being improved changes completely. The search for solutions is carried out, as a rule, in the field of science, among rare effects and phenomena. At the fifth level, problem solving is achieved by changing the entire system, which includes the object being improved. Here the number of trials and errors increases many times, and the means of solving problems of this level may be beyond the capabilities of today's science. Therefore, first you need to make a discovery, and then, based on new scientific data, solve a creative problem.

According to Altshuller, one of the important methods for solving creative problems is to transfer them from higher levels to lower ones. For example, if tasks of the fourth or fifth level are transferred to the first or second level by means of special techniques, then the usual enumeration of options will work. The problem boils down to learning how to quickly narrow the search field, turning a “difficult” task into an “easy” one.

Thus, despite the apparent ease, arbitrariness, unpredictability of emerging images, the creative transformation of reality in the imagination obeys its own laws and is carried out in certain ways. New ideas arise on the basis of what was already in the mind, thanks to the operations of analysis and synthesis. Ultimately, the processes of imagination consist in the mental decomposition of the original representations into component parts (analysis) and their subsequent combination in new combinations (synthesis), i.e., they are of an analytic-synthetic nature. Consequently, the creative process relies on the same mechanisms that are involved in the formation of ordinary images of the imagination.