Report on the topic:

Stages of the child's creative activity

A child's creativity is an important element in the formation of his own self-awareness and self-understanding. It is as if the child remakes the world for himself, and helps himself to understand and comprehend it better. He learns to comprehend the beauty of this world and learns to see the "white spots" that must be filled with his creativity in order for the world to become a little better and more beautiful.

For the development of creativity, children need certain knowledge, skills and abilities, ways of activity that they themselves, without the help of adults, cannot master.

For a child of the younger group, creativity in creating an image can manifest itself in changing the size of objects. For example: there is a lesson, children are sculpting apples, and if someone, after completing the task, decides to mold an apple smaller, or larger, or of a different color (yellow, green), for him this is already a creative decision. The manifestation of creativity in younger preschoolers is also some kind of addition to modeling, drawing, say, a stick - a petiole.

As you master the skills (already in the older groups), the creative solution becomes more complicated. Fantastic images, fairytale heroes, palaces, magical nature, outer space with flying ships and even astronauts working in orbit appear in drawings, modeling, applications. And in this situation, the teacher's positive attitude to the initiative and creativity of the child is an important stimulus for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens in the group, in the hall, in the lobby of the exhibition of children's creativity, decorates the institution with the works of the pupils.

In the child's creative activity, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance from the teacher.

The first stage: The emergence, development, awareness and design of the idea

The topic of the upcoming image can be determined by the child himself or suggested by the educator (its specific decision is determined only by the child himself). The younger the child, the more situational and unstable his plan is. Studies show that initially three-year-old children can only implement their plans in 30-40 percent of cases. The rest basically change the idea and, as a rule, naming what they want to draw, then create something completely different.

Sometimes the idea changes several times. Only by the end of the year, and then on condition that classes are conducted systematically (in 70-80 percent of cases), the concept and implementation of children begin to coincide. What is the reason?

On the one hand, in the situational thinking of the child: at first he wanted to draw one object, suddenly another object enters his field of vision, which seems to him more interesting.

On the other hand, when naming the object of the image, the child, who still has very little experience of activity, does not always correlate what was conceived with his visual capabilities. Therefore, taking a pencil or brush in hand and realizing his inability, he abandons the original idea.

Stage Two: The Image Creation Process

The topic of the task not only does not deprive the child of the opportunity to show creativity, but also directs his imagination, of course, if the educator does not regulate the decision.

Great opportunities arise when a child creates an image according to his own design, when the teacher only sets the direction for choosing a theme, the content of the image.

Activity at this stage requires the child to be able to master the methods of image, expressive means specific to drawing, modeling, and application.

Stage three: analysis of the results- is closely related to the two previous ones - this is their logical continuation and completion. Viewing and analysis of what children have created are carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities.

At the end of the lesson, everything created by children is displayed on a special stand, i.e. each child is given the opportunity to see the work of the whole group, to mark, justifying his choice, those that he liked the most.

The teacher's tactful, guiding questions will allow children to see the creative finds of their comrades, an original and expressive solution to the topic.

A detailed analysis of children's drawings, modeling or applique work is not necessary for each lesson. This is determined by the peculiarity and purpose of the created images.

But here's what is important: the teacher conducts discussion of works, their analysis every time in a new way.

So, if the children made Christmas tree decorations, then at the end of the lesson all the toys are hung on the hairy beauty. If you created a collective composition, then upon completion of the work, the teacher pays attention to the general appearance of the picture and suggests thinking about whether it is possible to supplement the panorama, make it richer, and therefore interesting. If children used to decorate a doll's dress, then all the best works are "exhibited in the store" so that the doll or several dolls can "choose" the one they like.

Magazine "Preschool education" No. 2, 2005


35/42 pages

Stages and mechanisms of creative activity.

Many representatives of creative professions - scientists, inventors, writers - note that important, critical stages in their work are intuitive. The solution to a problem comes suddenly, and not as a result of logical reasoning. Creativity is basically represented by the mechanisms of superconsciousness (Simonov P.V., 1975). If consciousness is armed with speech, mathematical formulas and images of works of art, then the language of superconsciousness is feelings, emotions. The creative process leads not only to the expansion of the sphere of knowledge, but also to the overcoming of pre-existing, accepted norms.

There are three main stages of the creative process:

Conception, the birth of a guess;

Generation of various hypotheses, including the most fantastic ones, to explain this phenomenon;

Critical analysis and selection of the most plausible explanations that take place at the level of consciousness.

Illumination, discovery, finding a way to solve a problem arise in the form of an experience, a feeling that the chosen direction is the one that deserves attention. And here the decisive role belongs to feeling, intuition - the language of superconsciousness. . Many inventors point out that the hunch arises as a vague image that has yet to be expressed in words. However, the suddenness of the appearance of a guess, insight is apparent, since it is a consequence of the intense mental work of a person absorbed in a problem or artwork that fascinates him.

Creation- the creation of the new from the old elements in the inner world. The creation of a new product elicits a positive emotional response. This positive emotional state rewards the creative process and encourages the person to act in the same direction.

The identification of a new aspect in cognitive processes is due to the work of novelty detectors, which are capable of capturing new things not only in the external, but also in the internal world - new thoughts, new images. In this case, an orienting reaction arises not to a change in the external signal, but to a transformation of the internal image. At the same time, it is accompanied by a positive emotional experience and itself is an emotional reinforcement. Newness detectors are highly sensitive, they immediately register the fact of the appearance of a new thought even before it is evaluated. Awareness of the emergence of a new thought is accompanied by creative excitement that stimulates mental work. And only after the appearance of an emotional reaction does the thought begin to be critically evaluated. Thus, an unconscious comparison of various kinds of information contained in memory generates a new thought. Its subsequent assessment is carried out by comparing this thought with others, previously already realized. Consequently, the production of the new is carried out mainly in the subconscious, and its assessment - at the level of consciousness.

Creativity is associated with the development of the need for knowledge , in obtaining new information, which is achieved in the process of orientation and research activities. The latter can be viewed as a chain of orienting reflexes. Each of the orienting reflexes provides a certain portion of information.

Creative thinking is an orientation-research activity directed to memory traces in combination with incoming relevant information.

The orienting reflex, as an expression of the need for new information, competes with the defensive reflex, which is an expression of aggression or fear, anxiety.

Thus, the stimulation of orienting-research activity can be considered as the basis for the development of a person's creative potential.

Due to the great practical importance of the structure of creative activity, this problem has been studied by many authors. The most acceptable is the following stage-by-stage differentiation of creativity.

The first stage is awareness, formulation, formulation of the problem, i.e. scientific creativity(scientific creativity - formulation and proof of a hypothesis).

The second stage is to find a principle for solving a problem, a non-standard problem, i.e. decisive hypothesis, idea of ​​an invention, design a work of art (a concept is an image of a goal and ways to achieve it).

The third stage is the substantiation and development of the found principle, theoretical, design and technological development of it, concretization and proof of the hypothesis, design development of the idea of ​​the invention, i.e. technical creativity(technical creativity - the creation of new technical objects), the development and development of an idea, i.e. artistic creation(artistic creation is the embodiment of an artistic concept using the means of the visual arts). This stage also includes the development of a plan for the experimental verification of the hypothesis, a plan for the practical implementation of the invention, the development of a plan for the implementation of the concept, idea and problem of the work (plot construction, characteristics of the characters, the scene, etc.).

The fourth stage is the practical testing of the hypothesis, the implementation of the invention, the objectification of the work of art (painting, sculpture, etc.).

Let's consider each stage in terms of the amount of heuristic activity.

The first stage is based on knowledge of information in the field of creativity and its systematization. The amount of heuristic activity can range from 0 to 100% depending on the problem. If the problem has already been formulated by someone, but not solved, then it is required to understand its formulation, formulation and realize it as an object of activity. In this case, the heuristic activity is negligible. If it is required to pose, formulate a problem, then the volume of heuristic activity increases significantly.

The second stage requires maximum heuristic activity in all its forms and manifestations.

The third stage is characterized by the maximum presence of a logical form of thinking that connects various algorithmic operations. Heuristic activity can relate to the further development of the found concept.

At the fourth stage, the volume of heuristic activity is due to the difficulties of practical testing of the hypothesis by logical means. Difficulties in elimination can be associated with heuristic search.

The main form of scientific creative search is a hypothesis. The central mechanism of creativity is the generation of hypotheses and their experimental verification. A hypothesis is an assumption about how to resolve a contradiction in a problem situation, and is a form of creative search. Anything that can be the subject of research-search can be the subject of a hypothesis; everything that can be the subject of scientific knowledge, in other words, a scientific theory, can be the subject of a scientific hypothesis. A scientist cannot make a single step in research without putting forward a hypothesis or formulation based on the existing theory of a hypothetical assumption.

The functional characteristic of the hypothesis shows that it is an ecotrapolational form of knowledge and, thus, the result of heuristic activity, which allows one to go beyond the framework of logical knowledge. But at the same time, here too, heuristic activity is connected with logical activity, it is directed by it, although to a certain extent it is constrained by it. It is about this case that they say that a discovery is often made by someone who does not know that it has not been made. Logically coherent and systematized information sometimes limits the activities for its development; it is necessary to have many qualities of the intellect in order to overcome the stiffness. Logic essentially presents a series of instructions on how to speak correctly, and for others - how to give the proper meaning to the stated propositions. In the entire chain of logical operations, we do not at all deal with the formation of new truths.

In practice, when solving problems, for example, of a technical nature, to understand creativity, such signs of the creative process are enough - the result - at the level of patentable solutions, the solution obtained provides technical progress, the work is carried out for the first time in this area or using this method. Serious specialists quite clearly draw the line between the results of creative and routine work.

To detail the heuristic and various other types of activity, let us consider the structure of thought processes in solving creative problems.

Each structural element is characterized by structural links and predominant activity.

Structural elements of thought processes

Structural links and predominant activity

This presentation of the creative process leads to the following conclusions:

1. The creative process is a multi-structural activity. Heuristic elements are included in it as components.

2. Structural elements of creativity, in which there is at least partially heuristic activity, are characterized by a large number of incoming connections. Their presence shows that the course of heuristic activity requires a large number of auxiliary mental actions and is regulated on the basis of the constant functioning of feedbacks.

3. The flow of the process of solving creative problems is possible only in the presence of all the elements of the structure. Insufficient development of at least one structural element makes it impossible for its normal (rational) course, although some compensation is possible in an insignificant interval. The level of development of each structural element should not differ by more than the size of the interval of fluctuations in its changes under normal conditions.

Transcript

1 CHAPTER IV STRUCTURE OF CREATIVE ACTIVITIES. MAIN STAGES Creativity is a complex multi-stage activity. The solution to complex problems posed by social development was often the result of the work of many researchers over sometimes decades and centuries. The structure of the creative process reflects the logic (necessity) of the movement of creativity, the logic of the transition from one stage to another. In the structure of creativity, its essence and many regularities of its dynamics are manifested. Disclosure of the structure of creativity is of great importance for understanding the essence of creativity, its laws. The problem of the structure of creativity is one of the most important in the theory of creativity. The difficulty in identifying the structure of creative activity lies in the existence of many features, types of communication, subordination and hierarchy of many stages, stages, phases, steps, etc., of the movement of creativity. Moreover, the structure of certain specific types (and there are a large number of them) of scientific, technical, artistic and other creativity has its own specifics. Philosophy naturally seeks to highlight the main, most essential and most general stages of creativity. In its analysis of the hierarchy of structures and stages, philosophy stops where structures lose their universality. Their further analysis is transferred from the field of philosophy to the field of the theory of special types of creativity, to the field, for example, the theory of artistic or technical creativity. Attempts to analyze the features of the options for the structure of creativity proposed by many authors were undertaken by L.A. Ponomarev, N.A. Vengerenko, A.M. Matyushkin, G. Ya-Busch, A.I. Polovinkin, N.N. A. Bolotin and others. Various considerations on the structure of creativity are contained in each work devoted to general problems of the theory of creativity. In the variants of the structures of creativity, differences in approaches to the problem are manifested. Based on the experience of studying the structures of creative activity, we propose to determine the structure of creativity, based on what tasks are solved at each stage of creativity, to highlight the main stages of the movement of creativity from the emergence of a problem situation (contradiction) to its resolution. The simplest structure consists of two stages of problem statement (task) and its solution. However, the most important structure of the decision remains unclear. Research has shown that an essential point of creativity is finding an idea (principle) for solving a problem, developing it and testing it, which can be both logical and practical. Thus, there are four main stages of creativity. The first stage is awareness, formulation, formulation of the problem. The second stage is finding the principle of solving a problem, a non-standard problem (decisive hypothesis, the idea of ​​"invention, the idea of ​​a work of art.) The third stage is substantiation and development of the found principle, theoretical, design and technological development of it, concretization and proof of the hypothesis (scientific creativity); design development of the idea inventions (technical creativity); development and development of an idea (artistic creativity) This stage also includes the development of a plan for experimental verification of a hypothesis, a plan for the practical implementation of an invention, development of a plan for the implementation of an idea, idea and problem of a work (plotting, characteristics of characters, scene of action ), etc. The fourth stage is the practical verification of the hypothesis, the practical implementation of the invention, the objectification of a work of art (painting, sculpture, etc.). It is advisable to compare the described structure of creative search with its coverage in the works of V. And Beloze rtseva, A.M. Matyushkina, R. 3. Dzhidzhyana. V. Belozertsev identified five stages of the creative process The first stage of the creation of a new technical object is the stage of the formation of a problem situation with the simultaneous understanding of its structure by the subject of creativity, the formulation of certain technical tasks 76 The second stage is the stage of birth and nurturing of new technical ideas (new principle, new transformation, etc.) The third stage is the development of an ideal model The fourth stage is the design stage Its products are in draft and technical projects, in "working drawings or model prototypes. The fifth stage is the stage of substantive and relatively completed embodiment of the invention in a new technical object. 77 Matyushkin's scheme coincides with ours in an essential point. in the scheme of V.I.Belozertsev, the stages of finding the principle of solution, its development and implementation are distinguished as special stages.It is important to note, since a considerable number of researchers of creativity do not single out them (although this point was still emphasized by gestalt psychology) "The first stage of any process and the solution of the problem is characterized as the stage of "assimilation" of the problem. In the course of it, the problem is analyzed, the discrepancy between the methods familiar to a person and the new conditions of the problem is revealed. The known methods of solution are rejected. The emergence of a problem situation, the main element of which is a new unknown, something that must be open for the correct performance of the task, for the performance of the desired action. " At the second stage, “for a solution, a person is looking for (in external conditions and in his own experience) connections that had not previously had a direct relationship to the problem being solved. understanding the solution "The third stage is" the implementation of the found principle ", which boils down to the application of some operations related to practice, or to the creation of a structure, or the performance of calculations, substantiation of evidence. At this stage, new problems may appear (which, accordingly, will entail the search for new principles of implementation. 76 See Belozertsev V.I. Technical creativity C See ibid. C 132, 140, 143, 149

2 The fourth stage is the final stage of solving the problem problem, checking the correctness of the solution. In some cases, it is directly included in the stage of implementation of the found solution principle "78." ... The general structure of the scientific research process is represented by a diagram, the formulation (occurrence) of the problem, the advancement of a hypothesis (idea of ​​solving the problem under study), its verification and improvement "79. The proposed structure is versatile. It is inherent in all kinds of creativity. Each stage has its own substructure, sub-stages (sub-stages), etc. Let's consider them. Awareness, formulation, formulation of the problem. Awareness of the problem situation, based on the analysis of the connections between its elements, the nature of their interactions, it is possible to accurately determine the contradictions of the problem situation, the formulation and formulation of the problem are the content, as already noted, of the first stage of creative search. Problems arise in all areas of human activity. But it is precisely in the science that specializes in problem-solving that the requirements that the scientific formulation of the problem must meet can be most extensively determined. It is clear that problems can be posed scientifically and when solving industrial or household and similar problems. In the course of posing the problem, the researcher must substantiate the conclusion that the question chosen for the research has not really been solved in world science or the proposed solutions are unsatisfactory (incomplete, insufficiently reasoned, contain errors, have a particular character, etc.). the problem has no solution in world practice, it is an essential condition and stage in the scientific formulation of the problem. Correct understanding and scientific formulation of the problem presuppose a deep knowledge of the phenomena and processes of the area under study, the laws of their development, scientific literature, the history of previous studies of the issue, used in the course of their methods and approaches to solving the obtained results, finding out how the predecessors posed the problem and why they failed trying to solve. Analysis of a large amount of information of all the previous experience of people in this area is an important condition for the success of the planned research, it is also necessary in order to avoid duplication in work, repetition of already conducted research. In the history of science and technology, there are many cases when scientists or engineers solved already solved problems. Until now, a large number of inventive applications are sent to the relevant bodies of the State Committee for Inventions and Discoveries (VNIIGPE, etc. ) for already implemented and registered (published) inventions. Such cases are the result of poor awareness of the inventor, his inability to use patent funds. An important place in the formulation of the problem is occupied by the substantiation of the urgency of the problem. A deep conviction in the urgency of the problem, its importance, the need for its solution stimulates persistent search for a solution, determines the stability of the researcher's interest. The more acute the need that requires its own satisfaction, the higher the relevance of the search for means of its satisfaction. The basis for success is the possible complete identification of the contradictions of the problem situation and, first of all, the main, basic contradiction, and if possible, the entire system or hierarchy of contradictions. G. S. Altshuller emphasizes that in the analysis of an inventive (problematic) situation, “administrative” (social) contradiction, technical (sometimes of several types) and then physical contradictions are built up sequentially. general and vague. It is clear, for example, that a new experimental fact contradicts theory, old concepts in general; but it is far from clear where the edge of this contradiction is, where the key concept that must be changed is concentrated. Gradually, as a result of analysis and research, it becomes sharper, narrower. The contradiction reaches the acuteness of an extremely rigidly formulated antinomy. But this is already formulating, albeit implicitly, a kind of negative content of the new concept 81. This process of exacerbation of the contradiction begins at the stage of posing the problem, and ends at the stage of finding a solution. Preparing to solve a problem involves breaking it down into subproblems. Even Aristotle noted that “before looking, one must dismember” 82. One of the main methodological rules of R. Descartes prescribed to divide each of the investigated “difficulties” (problems) into as many parts as possible and necessary to overcome them 83. Dismemberment of the problem prepares the formation of a solution plan (D Poya), the construction of a "tree" of goals (a system of subproblems) Subsequent successes of the movement of creativity directly depend on the depth, thoroughness and comprehensiveness of the study of a problem situation, its "self-movement", a system of contradictions and difficulties Research, wrote K. Marx, should get used to the material in detail, analyze the various forms of its development, trace their internal connection Only after this 78 Matyushkin A. M. Problematic situations in thinking and learning S. Dzhidzhian R. 3. The process of scientific search, structure, stages and means // Questions of philosophy S. See: Altshuller G, S. Creativity as an exact science. M, See: Semenov N.A. Marxist-Leninist philosophy and natural science // Communist Aristotle. Metaphysics // Works - in 4 volumes. M, T. 1.C See: R. Descartes Izbr. M., 1950 S. 272

3 the work is finished, the actual movement can be properly depicted. ”84 Analyzing the problem situation, its contradictions, the previous experience of their resolution, the researcher tries to find a solution to the problem (based on the experience of predecessors), that is, begins, in essence, the search for a solution. This stage, therefore, is quite legitimately included in the structure of creative activity Problem and task. It is important to distinguish between the terms “problem” and “task”. While making their undoubted connection absolute, researchers often identified them. However, if a problem appears as a question (requiring resolution), then the problem includes both the question and the condition (data) for solving the problem. In the problem situation, the question is hidden , problem situation situation of a hidden question (LP Doblaev) In the problem it is identified, formulated, and the conditions for its solution are defined here.The problem is a verbal, speech formulation in which the conditions and requirements of the problem are highlighted The structural or component nature of the problem consists of conditions and requirements. , wrote SL Rubinstein, this is always essentially a verbal, speech formulation of the problem. It is a living evidence of the unity of thought and speech. " and cash technical capabilities At the heart of technical problems, there is a contradiction between the search chain, which expresses the awareness of the technical need and technical necessity, and the absence or ignorance of the conditions and methods of achieving it given the possibilities 86. technical conditions for the implementation of a solution, an indication of the proposed ways and means of solving problems 87. The essential difference between a problem and a task, as VE Berkov shows, is that “the concept of a problem is associated with a situation characterized by the sufficiency of means to achieve the goal of scientific knowledge, and the concept of a problem with their insufficiency ”88 The course of the solution, its success, largely depends on how the task (problem) is formulated. This is clearly seen in the example of puzzle problems. Their peculiarity is that in puzzle problems, essential conditions are not identified, but, on the contrary, are masked by various circumstances that push the researcher's thought in an "inappropriate direction" (SL Rubinstein) For example, the problem is a puzzle requiring six matches to construct four equilateral triangles (the length of the side of the triangle is equal to the length of the match) The fact that the triangle is a two-dimensional figure pushes the mind of the person who solves the problem to search for a two-dimensional figure as well (false premise) The researcher can solve the problem if he guesses the need to exit from the plane to the space of three dimensions Special studies of psychologists have shown that the course of solving a problem depends on its formulation In different formulations, the same problem presents different difficulties for the solver.Often, the introduction of a different formulation of the problem makes it easily solvable. ... An inventive (problematic) situation is subdivided into different inventive (technical) problems.Like any problem, the latter should contain indications of what is given and what is required to obtain a Solution, the author emphasizes, should begin with building a model of the problem that reflects the essence of the problem in an extremely simplified manner (applicable Occam's "razor"), if possible without the use of special terms (generating harmful psychological inertia), indicating contradictions, conflicting elements (constituting a part of the technical system). conflicting elements In essence, the model includes only conflicting elements of the technical system The construction of the problem model gives the search for a solution a purposeful character, sharply limits the search field 90 High requirements for the formulation of a problem or a problem are explained by the fact that it records the results of sample analysis lem situation and that the statement itself already contains elements of its solution. The formulation of the task (problem) is an important stage in its understanding. Speech formulation is not an external factor in relation to thinking, but the process itself. A deep analysis of problem situations, thoughtfulness of the formulation of problems and tasks are necessary conditions for optimizing creative research. It is important to emphasize that a strict formulation of the problem is not always possible due to the lack of information about the laws of the investigated (new) area of ​​reality. “An impeccable formulation of the problem in all respects, notes I. I. Mochalov, presupposes that the researcher has complete information about the object under study. But then there would be no problem! " 91 On this 84 Marx K, Engels F Op. 2nd ed. T. 23 S Rubinshtein SL About thinking and ways of its research S "Belozertsev V. I Technical creativity S See ibid. S Berkov VF Structure and genesis of a scientific problem S For more details about Su-field analysis see Altshuller G.S. Creativity as an exact science C See ibid. C Questions of philosophy C 35

R. Ashby also draws attention to the 4th side: "When we can formulate the problem with complete clarity, we will not be far from solving it." A certain laxity in the formulation of the problem is inevitable at the initial stages of research. In the course of the research, it is being clarified. And only in works that set out solutions already found, is it possible and necessary to formulate problems in depth and to formulate them rigorously. In general, the formulation of the problem at the initial stages is significantly different from the formulation of the final stages of research (for example, the formulation of the topic of the research search of a graduate student and the topic of the defended dissertation almost never coincide). In the course of its solution, “the inventive problem often changes beyond recognition due to the transformation of its component composition” 92, the final formulation of the problem during the period of its final solution is sometimes strikingly different from its initial formulation. It is necessary to distinguish real problems from pseudo-problems, or imaginary, in the words of M. Planck, problems. I. I. Mochalov writes that they "can be designated as fictitious, seeming, unreal, false, meaningless, etc. All these terms are found in scientific literature." 93 Imaginary problems are characterized by the fact that they contradict facts and laws, and therefore fundamentally insoluble. Classic examples of imaginary problems: perpetual motion machine, squaring a circle, trisection of an angle, doubling a cube. The psychological, logical and epistemological reasons for the appearance of imaginary problems are highlighted. Psychological reasons are rooted in the desire of the scientist to overcome ignorance at all costs, which is always associated with the formulation of new scientific problems. At the same time, however, it often happens that this innate passion makes the scientist, as Boltzmann wrote, to pose questions that hit further goals. Logical reasons, according to the author, are that it is sometimes impossible to answer the question about the reality of the problem at the early stages of research, at the level of the problem design. In order to separate real problems from imaginary ones, a detailed formulation of the problem is necessary, which already presupposes a deepening into its solution. The main thing in epistemological reasons is the inaccuracy, incompleteness, relativity of the information on the basis of which the problem is posed. The author comes to the conclusion that it is impossible to avoid imaginary problems. It is wrong to view imaginary problems only as negative. Some of these can give rise to valuable real-world problems over time. M. Planck wrote that from the idea of ​​a perpetual motion machine, an understanding of what energy is has grown 94. The development of science consists, in particular, in the elimination of imaginary problems, in the correct formulation of real problems and then their solution. Imaginary problems often serve as forests of scientific knowledge, necessary and inevitable during its construction, but then disappear without a trace. ”95. A special role in the formulation of problems is played by philosophy, which in a specific form summarizes the cognitive experience of mankind. The content of philosophical categories is the filter due to which certain problems, concepts, methods, principles, concepts are excluded from the field of vision. Naturally, such a scientific selective and heuristic function is performed only by the scientific, true philosophy of dialectical materialism. Thomists, for example, V.F. Berkov notes, considered it completely legitimate to pose problems about the whereabouts of God, his properties and deeds, etc. , just as the problems of the ideal beginning of the objective world, the primary source of movement, definitions of causeless phenomena, etc. are illegal. 96. When analyzing the substantive side of the problems of science, the following relationship is confirmed, writes V.F. Berkov: “If the premises of the problem are true, then it is posed rightful. ”97. If false, then the problem is imaginary. The latter can be divided into extra- and intranoscientific imaginary problems (E. S. Zharikov). VF Berkov refers to extrascientific problems, the falseness of the premises of which is caused by philosophical, methodological, ideological and other reasons that are outside the subject of this science. Some internal circumstances (theoretical, empirical and other errors) are the reasons for the falsity of intranoscientific problems. 98. Taking into account the above, it is understandable why the clarification of the problem, the skillful, correct formulation, the proof of the need to solve the problem in the history of science and culture are recognized as an outstanding achievement of the historical figure. The merit of many scientists lies in the fact that they have posed (although not solved) important problems. The classics of Marxism-Leninism gave a great deal of attention to posing problems in their works. The importance of the stage of formulating the problem has been emphasized by many outstanding scientists. A. Einstein and L. Infeld wrote that "the formulation of a problem is often more essential than its solution, which can be a matter of mathematical or experimental skill." F. Psychology of Problem Solving S. Mochalov I. I. Imaginary Problems of Science // Problems of Philosophy P. 56 We add that in the literature there are also terms such as "stupid", "risky" problems (N. Belknap, T Steele) 94 Mochalov I. I. Imaginary problems of science. S. Vernadsky V. I. Essays and speeches, Issue 2. S. Berkov V. F. Structure and genesis of a scientific problem. From Ibid. S See Berkov VF The structure and genesis of a scientific problem S Einstein A., Infeld L. Evolution of physics M, 1961 S 86

5 creativity 100. The ability, the ability to see contradictions, pose problems, formulate tasks is a very important characteristic of intelligence. However, intelligence is characterized by the ability not only to formulate problems, tasks, but also to solve them. In the practice of scientific research, as we can see, exceptionally great attention is paid to the right formulation of problems. The definition of research problems is the subject of comprehensive discussion at meetings of departments and academic councils. Statement of problems, their relevance, hypotheses about their nature and ways of solving, about various approaches to solving, information about solving previously posed problems are the main issues condemned at symposia and congresses, conferences and scientific seminars. 100 See Bernal J. Science in the history of society m, 1956 P 24

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Being creative means more than having certain traits. It means being creative, approaching the challenges we face with imagination and originality. In short, it means demonstrating skills in applying the creative process. Although the authorities disagree about the number of stages in this process - some talk about three, others - about four, five or seven - these differences do not concern fundamental things. They are only about whether to combine actions under one heading or several. There are no significant differences regarding the main actions discussed.

For ease of memorization and ease of use, we will consider the creative process as consisting of four stages: the search for problems, the formulation of a specific problem or a specific controversial issue, their study and the creation of a set of ideas. Each of these steps will be the subject of a separate lesson, but a quick overview of the entire process will get you started right away.

First step: Search for tasks... The essence of creativity is imaginatively approaching tasks in an original and effective manner. There is often no need to search for tasks; they come up in front of you in the form of obvious problems and contentious issues. For example, if your dorm roommate comes home at 2 or 3 a.m. every day, walks in and talks to you noisily when you’re trying to sleep, you don’t have to be very discerning to know that you have a problem. Or if you find yourself in the midst of a fierce debate about whether abortion is murder, no one needs to tell you that you will speak up on a controversial issue.

However, not all tasks are so obvious. Sometimes problems and controversial issues are so small and subtle that very few people pay attention to them; in other cases, there are no problems and controversial issues at all, but there is only an opportunity to improve the existing situation. Such tasks will not cause strong emotions in you, therefore you will not find them, if you just sit and wait - you have to look for them.

The first step in the creative process is the habit of looking for tasks - not at a specific time, but constantly. Its importance is reflected in the fact that you can only be creative in response to tasks that you are aware of.

Second phase: Formulating a problem or controversial issue... The goal of this stage is to find the best formulation of the problem or issue at issue, the formulation that will lead to the most valuable ideas36. "A well-formulated problem," noted Henry Hazlitt, "is half-solved." Since different formulations open up different directions for thought, it is best to consider as many formulations as possible. One of the most common mistakes when working on problems and controversial issues is to consider them from only one point of view, thereby closing many promising avenues for thought.

Take the inmate mentioned earlier when he was pondering how to escape from prison. His first formulation of the problem, apparently, was this: "How can I get a pistol and, firing back, get out of here?" or: "How do I get the guards to open my cell so I can disarm them?" If he had settled on this formulation, he would still have remained where he was. His sophisticated escape plan could only be born in response to the question: "How can I cut a grate without a saw?"

Often, after formulating a problem or controversial issue in many ways, you will not be able to decide which is the best formulation. If it does, postpone the decision until the next steps in the process allow you to make a final decision.

Stage three: Researching a problem or controversial issue... The purpose of this stage is to obtain the information necessary in order to effectively work on a problem or contentious issue. In some cases, this will mean just a search for suitable material in your past experience and observations, suitable for solving the given problem. In others, you will need to gain new information through new experiences and observations, conversations with informed people, or your own research. (In that prisoner's case, that meant scrutinizing all the available places and items in the prison.)

Fourth stage: Generating ideas... The goal of this stage is to generate enough ideas to decide what action to take or what opinion to take. At this stage, two obstacles are often encountered. The first is the often unconscious tendency to limit one's ideas to ordinary, familiar, traditional responses and to block out the unusual and unfamiliar. Resist this tendency, remembering that, as alien and inappropriate as the latter type of reactions may seem, it is in these reactions that creativity manifests itself.

The second obstacle is the temptation to interrupt the idea generation process too quickly. As we will see in the following lessons, research has shown that the longer you keep creating ideas, the more likely you are to come up with worthwhile ideas. Or, as one writes

There is one final question that needs to be clarified before you are ready to start practicing the creative process: how do you know you have found a creative idea? How can you distinguish it from other ideas? A creative idea is an idea that is both imaginative and effective. The second quality is just as important as the first. It is not enough that the idea is out of the ordinary. If that were the case, then the strangest, most eccentric ideas would be the most creative ones themselves. No, to be creative, an idea must “work,” must solve a problem, or clarify a controversial question to which it answers. A creative idea doesn't have to be just extraordinary - it should be extraordinarily good. This is the standard that you should apply when thinking about the ideas you have come up with.

Once you've generated a lot of ideas, decide which one feels best to you. Sometimes it will be one single idea; in other cases, a combination of two or more ideas. At this stage, your decision should be preliminary. Otherwise, you will have a strong desire to abandon the important critical thinking process by which ideas are judged.