Creation- the process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, expresses some aspects of his personality in the final result. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

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

Types and functions of creativity

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

Creativity as an ability

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

At the everyday level, creativity manifests itself as ingenuity - the ability to achieve a goal, find a way out of a seemingly hopeless situation using the environment, objects and circumstances in an unusual way. Shire is a non-trivial and ingenious solution to the problem. And, as a rule, meager and non-specialized tools or resources, if material. And a bold, non-standard, what is called a non-stamped approach to solving a problem or meeting a need located in an intangible plane.

Criteria for creativity

Criteria for creativity:

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

By Torrance

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

Creativity as a process (creative thinking)

Stages of creative thinking

G. Wallace

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

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

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

A. Poincare

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

stages

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

“For two weeks I tried to prove that there could be no function analogous to the one that I later called automorphic. I was, however, quite wrong; every day I sat down at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result.

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

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

In contrast to the usual reports of this kind, Poincaré describes here not only the moment of the appearance of a solution in consciousness, but also the work of the unconscious that immediately preceded it, as if miraculously becoming visible; Jacques Hadamard, referring to this description, points to its complete exclusivity: "I have never experienced this wonderful feeling and I have never heard that anyone but him [Poincaré] experienced it." 4. After that, when the key idea for the solution is already known, the solution is completed, verified, and developed.

“By morning I established the existence of one class of these functions, which corresponds to the hypergeometric series; I had only to record the results, which took only a few hours. I wanted to represent these functions as a ratio of two series, and this idea was completely conscious and deliberate; I was guided by the analogy with elliptic functions. I asked myself what properties these series should have, if they exist, and I managed without difficulty to construct these series, which I called theta-automorphic.

Theory

Theorizing, Poincare depicts the creative process (by the example of mathematical creativity) as a sequence of two stages: 1) combining particles - elements of knowledge and 2) the subsequent selection of useful combinations.

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

The initial conscious work on the problem actualizes, "sets in motion" those elements of future combinations that are relevant to the problem being solved. Then, unless, of course, the problem is solved immediately, there comes a period of unconscious work on the problem. While the conscious mind is busy with other things, in the subconscious, the particles that have received a push continue their dance, colliding and forming various combinations. Which of these combinations enter consciousness? These are the combinations "of the most beautiful, that is, those which most affect that special sense of mathematical beauty known to all mathematicians and inaccessible to the profane to such an extent that they are often inclined to laugh at it." So, the most "mathematical beautiful" combinations are selected and penetrate into consciousness. But what are the characteristics of these beautiful mathematical combinations? “These are those whose elements are harmoniously arranged in such a way that the mind can effortlessly embrace them entirely, guessing the details. This harmony is at the same time the satisfaction of our aesthetic senses and a help for the mind, it supports it and guides it. This harmony gives us the opportunity to anticipate the mathematical law. “Thus, this special aesthetic sense plays the role of a sieve, and this explains why one who is deprived of it will never become a real inventor.”

From the history of the issue

Back in the 19th century, Hermann Helmholtz similarly, although less detailed, described the process of making scientific discoveries “from the inside”. In these self-observations of his, the stages of preparation, incubation and illumination are already outlined. Helmholtz wrote about how his scientific ideas are born:

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

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

As far as I can judge from personal experience, she is never born tired and never at a desk. Each time I first had to turn my problem in every possible way in every way, so that all its twists and turns lay firmly in my head and could be rehearsed by heart, without the help of writing.

It is usually impossible to get to this point without a lot of work. Then, when the onset of fatigue had passed, an hour of complete bodily freshness and a feeling of calm well-being were required - and only then did good ideas come. Often ... they appeared in the morning, upon awakening, as Gauss also noted.

They were especially willing to come ... during the hours of a leisurely ascent through the wooded mountains, on a sunny day. The slightest amount of liquor seemed to scare them away.

It is curious to note that stages similar to those described by Poincare were singled out in the process of artistic creativity by B. A. Lezin at the beginning of the 20th century.

1. Work fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.
2. Unconscious work represents a selection of the typical; “but how that work is done, of course, it cannot be judged, it is a mystery, one of the seven world mysteries.”
3. Inspiration there is a "shifting" from the unconscious sphere into the consciousness of a ready-made conclusion.

Stages of the inventive process

P. K. Engelmeyer (1910) believed that the work of an inventor consists of three acts: desire, knowledge, skill.

1. Desire and, the origin of the idea. This stage begins with the appearance of an intuitive glimpse of an idea and ends with the inventor's understanding of it. A probable principle of invention arises. In scientific creativity, this stage corresponds to a hypothesis, in art - to an idea.
2. Knowledge and reasoning, scheme or plan. Development of a complete detailed idea of ​​the invention. Production of experiments - mental and real.
3. Skill, constructive implementation of the invention. Assembly of the invention. Doesn't require creativity.

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

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

1. The period of intellectual readiness.
2. Perception of the problem.
3. The origin of the idea - the formulation of the problem.
4. Search for a solution.
5. Obtaining the principle of the invention.
6. Turning a principle into a scheme.
7. Technical design and deployment of the invention.

Factors hindering creative thinking

• uncritical acceptance of someone else's opinion (conformity, conciliation)
• external and internal censorship
• rigidity (including the transfer of patterns, algorithms in solving problems)
• desire to find an answer immediately

Creativity and personality

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

The nature of the connection between creativity and personality

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

In accordance with the principles described by S. L. Rubinshtein, by making changes in the surrounding world, a person changes himself. Thus, a person changes himself by carrying out creative activity.

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

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

Personality is not a substance, but a creative act.

Creativity Motivation

V. N. Druzhinin writes:

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

Thus, through creativity, a person is connected with the world. Creativity stimulates itself.

Mental health, freedom and creativity

The representative of the psychoanalytic trend, D. W. Winnicott, puts forward the following assumption:

In the game, and perhaps only in the game, a child or an adult has the freedom of creativity.

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

The creation of a new one is not a matter, but an attraction to the game, acting on internal compulsion. The creative spirit plays with the objects it loves.

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

... What manifests itself as creativity is always a process ... in which the relationship between the individual and the world is carried out ...

N. A. Berdyaev adheres to the following point:

The creative act is always liberation and overcoming. It has an experience of power.

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

In addition to feelings that stimulate creative activity, there are feelings that hinder creative efforts. The most dangerous enemy of creativity is fear. It is especially manifested in people with a rigid mindset for success. Fear of failure stifles imagination and initiative.

Another enemy of creativity is excessive self-criticism.. Precise measurements in this area are not yet possible, but there must be some "balance" between giftedness and self-criticism, so that too picky self-esteem does not lead to creative paralysis.

A. Osborne believed that the ability to generate ideas and the ability to self-critically evaluate them may well coexist. But they should not be "turned on" at the same time. At the moment when ideas are born, the ability to evaluate them must be inhibited. "Delayed evaluation" is the main principle of "brainstorming".

The third enemy of creativity is laziness. However, such an argument is also possible here. People strive to improve production in order to increase its productivity and reduce costs. They are driven by the desire to have the maximum benefit with the minimum effort, in other words, to work less - to receive more. It turns out that laziness serves as a stimulus for all innovations that facilitate work, and therefore is the "true mother of inventions", in the words of Norbert Wiener. An example is usually given of the English boy Humphrey Potter, who was assigned to Newcomen's machine to monitor the steam pressure. He was tired of boring work, and one day he attached a rope from a steam faucet to a balance beam, thus creating the first automatic valve.

Despite the seductiveness of such reasoning, we still have to admit that laziness does not at all contribute to creative activity. But first you need to define what laziness is? What are its psychophysiological foundations? What is this feeling? Or a personality trait due to the weakness of some subcortical functions? Is it always the result of a vicious upbringing? Is it possible to consider that laziness is a fixed attitude aimed at avoiding the unpleasant sensations associated with fatigue?

Laziness manifests itself in different ways. Some shirk work, but, having started it, they continue with interest and even with pleasure. Others show the "industriousness of a loafer": they rush to take up the assigned business, if only to get rid of it as soon as possible. They are not attracted by the process itself, nor the result. But the unfulfilled task burdens them. Sometimes these are people with a developed sense of duty, sometimes they are simply afraid of censure, sometimes this is a psychasthenic personality trait. Others enthusiastically take on everything new, but then cool down and do not bring anything to the end.

Of the various ways of educating industriousness, the most fruitless of all are verbal exhortations. “A stupid person who is aware of his stupidity is no longer so stupid, but a sloth can be aware of his laziness, complain about it and stay with it,” said Jules Renard.

Perhaps the evolutionary-biological approach will help to better understand the essence of laziness. After the stress associated with obtaining food, the animal needs rest and recuperation. Peace and relaxation are periodically necessary for him and therefore give pleasure. Thus, the "pleasure of lazy rest", in the words of Francois de La Rochefoucauld, has a biological meaning. But, like any "delight", it can be torn off from a biological function and turned into an end in itself. Just as the natural enjoyment of food can lead to gluttony and gluttony, so the enjoyment of rest and peace can acquire a self-sufficient value. "The feast of laziness" becomes a highly valued pleasure. It can be seen that not one talent was ruined by laziness.

Creative problem solving [How to develop creative thinking] Boris Lemberg

What hinders creativity

What hinders creativity

Barriers to creativity can prevent us from unleashing the creativity that we are all endowed with and that we are all capable of. Knowing about such barriers should prepare you to spot them when they come your way and equip you with the ability to overcome them.

functional obsession means a tendency to see only obvious ways of looking at a problem. These are situations in which a person does not leave his comfort zone, thinking about solutions to a problem.

This tendency is directly related to the person's past experience. When you are locked in a certain, severely limited perception, it prevents you from looking at a problem from different points of view. If you are limited to the usual way of doing things, it will actually be very difficult for you to come up with new and creative solutions.

Self-censorship is an inner voice that holds you back and seeks to prevent you from making a fool of yourself or looking stupid. These are the negative thoughts that are swirling around in your brain, such as “it will never work”, “it won’t work this way”, “I will look stupid”, etc.

Self-censorship seems to keep you from making mistakes. The trouble is that with such a stubborn internal limiter, you deny yourself the experiment and block your imagination. Plus, you deprive yourself of the right to make a mistake, which not only greatly narrows your horizons, but also keeps you in a state of continuous emotional stress, and stress, as you know, does not lead to good.

Microcontrol stifles a person's ability to be creative, because this way of behavior indicates too many details related to how exactly this or that problem should be solved. By focusing on the little things, you reduce your ability to think about yourself, your pleasure, you deprive yourself of the right to use your creative talent, and, again, you keep yourself stressed by complaining about the insane amount of little things you have to think about.

Rationalization means that when thinking about some business, problem or task, you use only the logical side of consciousness. And very often creative solutions come to us not from logical constructions, but from the subconscious. It is for this reason that sometimes in order to find the perfect solution, you need not to rack your brains, but to go for a walk or even just dream.

Myths about creativity act as barriers by virtue of their power to shape everyday behaviour. We will talk about these myths separately so that you understand how effectively they can destroy the craving for creative solutions.

Risk Visualization means that a person, before proposing an idea, paints in great detail in his imagination how he will fail and how badly other people will think of him. In other words, he focuses not on the idea, but on the impression he will make. I note that, in addition to the neuroticism that such an attitude towards one’s ideas creates and maintains, this puts an obstacle in the way of making and executing a decision that could be really creative, and kills an idea that had every chance of being alive and fresh. A person is especially prone to this behavior when his usual role - for example, at work - does not call for creativity, or when he believes that colleagues or loved ones will think badly of him if he starts to try and come up with better ways to perform habitual actions. and solve incoming tasks. Risk visualization is, again, the fear of angering someone by starting a change that overturns the usual view.

And, of course, this is again a neurotization factor. In general, as you may have noticed, barriers to the manifestation of creativity are at the same time direct roads to chronic stress, neurosis or depression. Those barriers that we will consider next will further strengthen your hunch.

Lack of time. Lack of time and/or opportunities…People often feel they are too busy with day to day activities to make time for creativity, and constantly demanding tasks prevent them from focusing on being creative. “What is the creative approach here ?! To deal with this rubbish somehow! ” The choice is yours. Set aside time for creativity, and even better - realize your right to be creative! A creative approach to solving the same everyday problems does not mean that the problems will not be solved. But the fact that their decision will take you less strength is for sure. What's more, chances are you'll even enjoy this routine. Rest assured that by giving themselves the right to a creative attitude, people managed to bring a creative element to everything that used to only anger - whether it was getting up in the morning for work or ironing shirts. And they didn't waste any time.

Lack of sleep. Lack of sleep forms barriers not only to creativity, but to many other things. Be as creative about lack of sleep as you are about lack of time. Organize your day, get in the habit of going to bed at a strictly defined time, during the day do not neglect physical activity and a healthy diet. Even if exercise and a healthy diet are not for you, then at least start going to bed at a set time. You will very quickly get into a rhythm, your body will understand how much time it needs for a good sleep, you will fall asleep on time, get enough sleep and get up in the morning without the help of an alarm clock. Be motivated by the fact that you are more likely to start generating ideas if you get good sleep and feel refreshed and refreshed.

Criticism. Criticism from other people can discourage creativity for a long time. How to deal with those who unreasonably criticize you? Moreover, it is unreasonable why the barrier is called “criticism”, and not “criticism”, which can be quite constructive. Criticism means an inadequate assessment, when you are wrong in advance, when you and your idea are condemned even before you have implemented it. The most advanced critics will condemn you even before you express your idea. For they assume that you have nothing of value to offer.

Many of us have encountered such critics - at work, in our own home, or earlier, while studying at school. If you think of even one instance of criticism directed at you, you will also remember how much it dampened your enthusiasm - and if you were criticized regularly, you may have begun to doubt your own creative potential. Well, understand one thing: when the critic condemned you and your idea, when he bowed you in every way for your creative undertaking, he was not talking about you, but about himself. He did not trust himself, he did not see the creative potential in himself. Why? Because only limited people see limitations in others. I definitely recommend that you put such critics out of your head: let them limit themselves. And you - awaken and unfold your creative potential.

Rules and procedures. If the organization you work for has a lot of rules and well-defined policies and procedures, they can sometimes stifle creativity because of the bureaucracy they create. If you can't move your project forward without a bunch of signatures, it's going to be hard for you to maintain momentum.

Now ask yourself – which of the above barriers applies to you personally? Recognizing your own barriers is half the battle, for by doing so, you become aware of what is blocking your creative outburst. And having realized, you can begin to act to overcome obstacles. Good luck!

From the book Gifted Child [Illusions and Reality] author Yurkevich Victoria Solomonovna

5. About naive and cultural creativity Marina Isaevna Fidelman, who recently defended her dissertation under my supervision, conducted a very interesting experiment.

From the book Motivation and Personality author Maslow Abraham Harold

Levels of Creativity Freud's classical theory is not suitable for our purposes, and the evidence we have is partly inconsistent with it. To a large extent, this theory represents the psychology of the id, which was engaged in the study of instinctive drives and

From the book Developmental Training with Adolescents: Creativity, Communication, Self-Knowledge author Gretsov Andrey Gennadievich

Part 4 Creativity Training

From the book Psychology of General Abilities author Druzhinin Vladimir Nikolaevich (PhD)

Creativity Training Program Creativity means digging deeper, seeing better, correcting mistakes, talking to a cat, diving into the depths, walking through walls, setting the sun on fire, building a castle in the sand, welcoming the future. E. Torrens Proposed

From the book NLP: Managing Creativity author Dilts Robert

Psychogenetics of creativity Recall that psychogenetics solves the problem of the correlation of the determinants of the phenotypic variability of a trait, that is, the causes of individual differences between people, including differences in abilities. As we noted above, in psychology

From the book Creative Confidence. How to unleash and realize your creative powers by Kelly Tom

Formation of Creativity and Learning Let us conditionally assume that the hypothesis about the positive influence of the environment on the formation of creativity is correct. The development of creativity goes through at least two phases: 1. The development of "primary" creativity as a general creative ability,

From the book Creative Problem Solving [How to Develop Creative Thinking] the author Lemberg Boris

Section 1.1. Fundamentals of Creativity The Problem Area of ​​Creativity (By: Tools For Dreamers, pp. XIII–XV) Imagination is more important than knowledge. Albert Einstein The footprints of any animal tell what it was; only the footprints of a man speak of what he has created. J. Bronowski, The Ascent of Man Look around

From the author's book

Section 2.4. Types of Creativity One of the provisions of NLP says that certain types of strategies can contribute to the effectiveness of a person in some types of contexts, but turn out to be less effective in other contexts. It can be assumed that Mozart's strategy was different

From the author's book

Section 2.5. Increasing creativity Understanding the cognitive structure of creativity opens up the possibility of intensifying and managing the creative process in order to make it more effective. Three key processes can serve to accomplish this. First

From the author's book

Section 4.4. Summary: Principles of Creativity NLP is based on the following assumption: the map is not the territory. Part I set out to explore a number of principles and patterns related to how we create maps of reality, in particular in relation to

From the author's book

Section 5.6. Evaluation of progress in creativity Evaluation of progress in creativity is a function of assessing the extent to which a person has managed to expand their perception of the problem space. When evaluating progress in relation to problem solving, it is important to remember that

From the author's book

Section 7.2. Processes That Facilitate Creativity Once a problem space has been identified, the solution space can be explored by adding new elements to the existing problem space map or modifying the map in some way.

From the author's book

Connecting to Creativity In a world full of creativity, it's dangerous to assume that all good ideas lie on the surface. However, we have seen this sentiment expressed in many multinational corporations: Level 5 executives plan their

From the author's book

Creativity formula: c = me2 The creativity formula will work for you when you understand what it is and literally feel its terms. And they are not complicated. Formula of creativity: c = me2; where c - creativity (creativity); m - the mass of what you know (mass); e -

From the author's book

Creativity Myths Creativity myths, as I've said many times before, can act as barriers to creativity due to their power to shape everyday behaviour.? Creativity is a mystical, magical and incomprehensible phenomenon.? Only true

From the author's book

Part 5 Creativity Techniques We constantly talk about the fact that creativity can be developed, creativity can be learned, and the results of creativity are quite tangible in our material world. All this presupposes the existence of techniques that contribute to the development

With serious attempts to find an answer to the question of what hinders the manifestation of creative abilities were made by G. Lindsay, K. Hull and R. Thompson. They found that the manifestation of creativity is hindered not only by the insufficient development of certain abilities, but also by the presence of certain personality traits. So, one of the striking personality traits that hinder the manifestation of creative abilities is the tendency to conformism. This personality trait is expressed in the desire to be like others, dominating over creative tendencies, not to differ from most people in their judgments and actions.

Another personality trait close to conformism that hinders creativity is the fear of appearing stupid or ridiculous in one's judgments. These two characteristics reflect the excessive dependence of a person on the opinions of others.

With The next reason that inhibits the manifestation of creativity is the existence of two competing types of thinking: critical and creative. Critical thinking focuses on identifying flaws in other people's judgments. A person who has this type of thinking to a greater extent sees only shortcomings, but does not offer his constructive ideas, since he again closes himself in the search for shortcomings, but already in his judgments. With on the other hand, a person who is dominated by creative thinking tends to develop constructive ideas, but does not pay due attention to the shortcomings contained in them, which also negatively affects the development of original ideas.

But, if the negative aspects that hinder the creative process are removed, then the modern concepts of creative thinking involve the passage of several independent stages.

Stages of the creative process

1. Awareness of the problem. In the course of understanding the problem, the moment of occurrence of the problem situation is emphasized. If the task is not given in finished form, its formation is associated with the ability to "see questions". At consideration of the issue is usually stated on the basis of the presence of an accompanying emotional reaction (surprise, embarrassment), which is then characterized as a direct cause that forces one to carefully consider the situation, which leads to an understanding of the available data.

2. Development of a hypothesis. This is where the solution to the problem begins. This stage is most often qualified as the climax of the decision, as its central link, as a kind of leap, i.e. a decisive transition from what is seen to what is not. As at the previous stage, the greatest importance here is given to past experience, to the attraction of theoretical propositions, the generalized content of which takes the decisive person far beyond the limits of available knowledge. The use of previously acquired knowledge as a means of solving by comprehending them and transferring them to new conditions makes it possible to compare part of the conditions, on the basis of which a conjecture, a hypothesis is built (an assumption, an idea, a concept taken on trial, a conjectural decision principle, etc.).

3. Verification of the solution. The final stage is the logical proof of the truth of this judgment and verification of the solution by means of practice. Under favorable conditions, a successfully put forward hypothesis turns into a theory.

The duckling takes any moving object for its mother, follows it and tries to repeat its actions. So a beginner in art blindly imitates an idol and is afraid to formulate a personal point of view.

Focusing on authorities is normal, but for the development of style it is more useful to analyze the work, highlighting the most and least successful features in them. In order not to judge art one-sidedly, it is worth focusing not on a single master, but on several. Let the views contradict each other! By studying opposites, you will quickly come to your own vision.

Too much information

Drama circle, photo circle... You are subscribed to a hundred publics about art, each of them has 50 posts a day, in total you have to look at 5000 photos daily. It's not about learning anything.

Don't be afraid to miss an important post! Block out the information noise and limit yourself to the amount of information that you can process.

Uncertainty

Every day captivates with something new: painting, photography, felting, embroidery, interior design. There are enough materials, but the work is worth it. Why?

It is normal to have many hobbies. Such people of the Renaissance are called scanners. You are probably smart and well-read, have a broad outlook and know how to do a lot. The question is, are you happy with yourself? If you want to achieve more, you have to prioritize and focus on what is important in the moment.

Inaction

You are saving beautiful pictures for the future. The browser is bursting with bookmarks, and VK albums - with numerous saves. Where are the results?

What are you waiting for? The sooner you start working, the sooner you will enjoy the result. Are you afraid of mistakes? Fix as you learn. Practice every day to get results.

burnout

A person cannot be productive 24/7. If you are tired of studying and practicing, you need a break. Engage in uncreative activities such as cleaning, visiting relatives, paying bills, shopping, or lounging. Give your brain time to rest and return to work when you feel energized.