Creativity is the great gift of the Creator to man. Molded “in the image and likeness” of God, each of us is created to create. Each of us contains a number of unique talents.

Marina Trushnikova

Do you feel this power in yourself - the power of Creativity? Can you hear her call? Are you implementing it?

Yes, I know that “there are more important things in this life: work, children, health. But creativity... it’s not for everyone... it’s self-indulgence... where can I find time for it?..”

But I also know your aching feeling in your chest - you want... You want to live to the fullest, fly on the wings of inspiration, draw, sing, write poetry! Is not it?

Sometimes, standing at the easel, I . I feel like the angels behind me are jealous of my ability to give physical embodiment to incorporeal images. They can't do that. I can . I can, like the Creator, create worlds. Create something that can be seen, touched, shared with other people.

This is a Gift that is given to us in this life. So why do we sometimes consciously refuse it?

I think it will not be a discovery for anyone to say that the creative channel is often for ourselves, that it is not yours, that you are not capable of it. You protected yourself from possible criticism by stopping creating.

It’s calmer this way. They block it in childhood. The teacher gave a bad mark for your masterpiece, your parents criticized your poems, your classmates laughed at your hairstyle - it doesn’t matter what the reason was.

You closed yourself off, you said, but the emptiness in your soul awakens and asks you to fill it. Getting older and wiser we return to creativity. With the embarrassment of a teenager, we try ourselves in what we wanted so much in childhood. And that's great! Go ahead, be brave! Remove restrictions that have become unnecessary!

Give yourself the opportunity to create, play,

like a child, soar on the wings of inspiration!

Soaring in this case is not a metaphor. It is a tangible state of mind. Most pleasant!

At the research meetings of the “Artists” group, we conducted immersions in lives where we were artists, in those lives where creative qualities were manifested at a high level. And you should see how a person glows with overwhelming happiness when he is in the energies of such an incarnation! This state is so resourceful, so joyful! All blocks and complexes about oneself as a creative person are simply washed away.

And people start drawing and writing poetry. The creative flow just bursts through. Once you feel yourself in this flow, you want to enter it again and again.

Because... omnipotent, creative, to be equal to God in some way - isn’t this the best thing a person can feel?

Dear reader, how does your creativity manifest itself? Have you already felt this joy, this soaring, this delight? Did they create something without regard to “what people will say?”, “who needs it?”, “I can’t do it”? Did you catch yourself being childish and playing?

Will you be able to finish your life and say that you were happy on Earth, CREATING?..

Marina Trushnikova
1st year graduate
Institute of Reincarnation

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

Another enemy of creativity? excessive self-criticism. Accurate 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.

The third enemy of creativity? laziness. However, such reasoning is also possible here. People strive to improve production in order to increase its productivity and reduce costs. Are they driven by the desire to achieve maximum benefits with minimal effort, in other words, to work less? get more. It turns out that laziness serves as a stimulus for all innovations that make work easier, and therefore is the “true mother of inventions,” as Norbert Wiener puts it.

Despite all the seduction of such reasoning, we still have to admit that laziness does not at all contribute to creative activity. Just as the natural enjoyment of food for a person can lead to gluttony and gluttony, just as the enjoyment of rest and peace can acquire a self-sufficient significance. The “feast of laziness” becomes a highly prized pleasure. Apparently, more than one talent was ruined by laziness.

· uncritical acceptance of other people's opinions (conformism, agreement)

· external and internal censorship

· rigidity (including the transfer of patterns, algorithms in solving problems)

desire to find an answer immediately

Dialogue of creative thinking

Understanding creativity means understanding the mind of the creator, but not describing (or prescribing) how to create. The most terrible thing is this creature, incapable of inventing, but knowing “how it’s done.” There is only one way to grasp the inner life of the inventor of ideas and poems - through the mental dialogue of the inner “I”.

The creative process includes psychological, emotional, uniquely personal, paradoxically random moments. But you still need to agree with the possibility of finding, even through the logic of the internal dialogue in the creator’s head, depicting and understanding creativity as a logical process. But how can we agree with this, since there is no logic in creativity (more precisely, creativity cannot be the subject of the science of logic). Thinking as creativity is artistic thinking, but it is radically illogical!

Thinking is always theorizing, and the essence of any creativity as thinking can only be understood based on the processes of theorizing. The initial setting of thinking (a situation when thinking is necessary, when sensation and imagination cannot be done) is the need to reproduce in consciousness the possibility of an object, something that does not yet exist, is not given in sensations, but which can exist in some ideal, invented situations.

Thought arises when it is necessary to reproduce in consciousness (internally, for oneself) the possibility of an object in order to “understand” the object as it is, why it exists this way and not otherwise. It is this “in order to” that forces us to use the verb “to understand,” which cannot be replaced by any other verb, and forced us to define thinking through thinking (understanding). Understanding is the difference between thought and representation. The future possibilities of an object are quite possible to imagine, but turning them onto the object as it is, taking them as an “X-ray” of a present object is possible only by understanding, comprehending, possible only in concept. Separating the “essence of things” (their potential) from their existence means constructing in the mind an “idealized object” as a “means” to understand a real object that exists outside of our consciousness and activity. The eye loses focus; to see two objects at the same time? inside us and outside? impossible, we stop seeing and begin to understand. Such simultaneous existence of one? knowable, changeable? an object in two forms (in the form of an object of idealization and in the form of an idealized object) is the initial definition of thinking, which is rooted in the very “indivisible core” of human practical activity.

Primitive man began to think, painfully relating an “idealized object” (a supposed axe), still quite vague, indefinite, still identical to an idea, with a real, external object (a fragment of a stone), cross-checking these objects with each other. In the discrepancy between these two objects, in the gap between them, in the necessity and impossibility of their coincidence, the seed of thought is located, thinking grows. This is the original idea of ​​theorizing.

In thinking, I fix, consolidate the subject of reflection as something existing outside of thought and clarified by it, as something that does not coincide with thought (the idealized object). Only then is it possible to constitute thought itself as something that does not coincide with real practical action, although it constitutes it? practical action is a necessary definition. But this is the initial assumption of the theory. “This is only in theory, not in reality”? such an accusation constitutes a negative definition of thinking. And at the same time a fundamental paradox of thought.

It is possible to feel, imagine, perceive something, but it is possible to think only about something. In sensations and ideas, I merge with the object of my sensation; I feel the blade of the knife as my pain. In thought I separate from the object of thought and do not coincide with it. But the whole point is that an object that does not coincide with thought is an object of reflection; it exists for thought only to the extent that it correlates with the mental object. And at the same time, he is something “unthinkable”, existing outside of thought (outside of me and independently of my consciousness), given to thought as a riddle and never completely assimilated by it. It is in thought that I am confronted with the existence of things in their “metaphysical” integrity, self-closure, externality to the subject. But at the same time... The fairy tale about the white bull can continue indefinitely.

Of course, the logic of practice forms the rational basis of the paradox under consideration, but now we are talking about something else, since in thinking,? What is his “mission”? practice precisely acts as a paradox, constantly being resolved, reproduced and deepening... One can even say that thought is practice in its paradoxicality.

Theoretical creativity is the invention of any ideas, any, the most grotesque idealized objects in order to understand the object as it is (or as if it were), outside of my practical activity and independently of it. The desire for the transpersonal, the superpersonal, this is the pathos of thinking. Only in detachment (theoretical in its potential) from oneself does it become possible to treat oneself as an “alter ego”, and the seed of internal dialogue arises. Poetry is radically non-dialogical, Bakhtin wrote about this very precisely. This is why the internal dialogue of thinking as creativity is only possible for the theoretical mind. It is no coincidence that, as a subject of logical research, creative thinking should be taken as theoretical thinking, as the internal dialogue of a theorist. This should be the language (speech) of internal dialogue, in which there is a continuous interchange of texts, their polyphony, counterpoint, and not just coexistence.

Approaching his logic from the outside, the philosopher faces a paradox. The philosopher has to criticize his own logic (logic in general) in the name of some logic that does not yet exist, but is in a state of formation. Here the logic of creativity can only be understood as the creativity of logic... What remains in general from that iron logic, and why is this “dialogic” needed at all, this verification of “logic” by “logic”?

Isn’t this whirling of the squirrel of thinking in the wheel of “dialogue” simply an escape from life, from practice, from the old wisdom of Goethe - “theory, my friend, is brimstone, but the tree of life is ever green...”?

Only in the communication of “I” and “YOU”, in the relationship “between”, is something new born. In other words, the nature of creativity is dialogical and non-subjective. Personality is not the center and source of creative activity, since it expresses a pluralistic (rational and irrational, rational and emotional, etc.) existence. A personality is creatively active only in a dialogical relationship with the “Other”. The dialogical relationship is transformed into “WE” as a dual existence of “I” and “YOU”, directing its creative intentions to the separate “I” and “YOU”. “I” is not the source of creativity; it finds creativity in itself as the creative intention of “WE”. The productive ability of a dialogical situation, appearing in the subject-transsubject relationship “I” - “YOU” - “WE”, becomes a source of novelty for the individual. Otherwise, creativity can be defined as the implementation of the creative intention “WE” - reality in the personal reality of the subject

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

It’s normal to be guided by authorities, but for the development of style it is more useful to analyze works, 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 club, photo club... You are subscribed to a hundred public pages about art, each of them has 50 posts a day, in total you will have to look at 5000 photos daily. It's not about learning something.

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

Uncertainty

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

It's normal to have many hobbies. Such people of the Renaissance are called scanners. You are probably smart and well-read, broad-minded and capable of many things. The question is, are you happy with yourself? If you want to achieve more, you will have to prioritize and focus on what is important at the moment.

Inaction

You save beautiful pictures for the future. The browser is bursting with bookmarks, and VK albums are bursting 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? Correct as you learn. Practice every day to get results.

Burnout

A person cannot be productive 24/7. If you are tired from studying and practicing, you need a break. Do non-creative things: clean up, visit relatives, pay bills, go shopping, or laze around. Give your brain time to rest and return to work when you feel energized.

Probably, any parent would like to raise their child to be a creative person. What is creativity? A person can be called creative if he has a free flight of imagination, fantasy, intuition, which can lead to invention and finding non-standard solutions in various situations.

The concept of creativity is often associated with talent and genius. There are many theories and studies on this matter. Is it possible to raise a genius? Will talent make it through if it is not developed in any way? Some believe that all children are geniuses from birth, and if you do not suppress their abilities, but help them in every possible way, then you can give the world a new Leonardo. Unfortunately, this is not entirely true. Genius is a very complex concept; many studies, on the contrary, say that you cannot become a genius, you can only be born one. But every person has talents from birth. They can and should be developed. But here another problem arises - often parents do not want to see the child’s true passions, inventing (quite sincerely wishing him happiness) talents for him.

But you can be a talented person, but at the same time uncreative. And then the talent is not fully realized. A person happily does what he loves, the work progresses in his hands, but at the same time he is not able to come up with something new in his field and remains only a performer. And, conversely, in a matter that does not require special talent, a creative person is capable of making a revolution. That is why the development of talent and creativity are two different things.

The origins of creativity undoubtedly lie in the subjective emotional experience of early childhood. In order to cultivate the ability to be creative in a child, it is necessary for the adults themselves to change. They are too constrained, afraid to play and have fun with the child, constantly observing the “rules of adult behavior.”

When encouraging a child’s creativity, you need to accept that he sees many things in his own way, perceives the world differently than you. When teaching your child, do not follow stereotypes, even if someone you know has had a positive experience of “exactly this kind of” training. Based on your child’s inclinations. After all, the main thing is not the cultivation of talent or genius, but whether the child’s inner world will be rich and varied, whether his capabilities will be realized, whether he will be capable of creativity.

Games and toys

The child plays, this is his main and most important activity in childhood, he uses all the objects that he finds in his game. This may sound strange, but the fewer toys a child has, the more developed his imagination will be. No, I am not calling for your children to have a difficult childhood with wooden sticks instead of soldiers. But avoid toys where everything has already been invented for the child. For example, coloring books that provide samples. Of course, various mosaics and games like “fold the pattern” develop attention, perseverance and creativity, but often a lot of attention is paid to folding pictures according to a pattern; ask the child to come up with pictures, patterns, and plots on his own.

Young children need to be taught to play, shown what to do with this or that game. But never prevent them from independently mastering games; the words “wrong” do not apply at all to creativity, especially for children.

Make toys with your child, come up with stories for games. A self-sewn doll is much more interesting to a child than a purchased one.

Creative fantasy games can help not only in the development of a child, but also change an adult. Jointly writing a fairy tale or poem, playing rhymes with a one-year-old baby - all this is the foundation of creative activity. Everyone knows games in which an adult depicts the movements and sounds of various animals, they offer a child a ride, any object can turn into any fairy-tale creature, become animated, any homework can become an interesting game with exciting adventures. All these fun not only contribute to the development of the baby’s imagination, but also train his memory, develop emotions and the desire to understand the world.

Drawing

Many children can start drawing at six to eight months, if, of course, they are given the opportunity. Many will become interested in this after a year, and for some after two. This does not mean that the child does not have the ability or thirst for creativity. To be honest, this doesn’t mean anything at all, except that every child is a unique individual.

When giving your child the opportunity to draw, think about the format of the paper, offer the child a choice of large and small sheets, he will choose the path himself, just like any artist chooses the format of a future painting. Ideal materials for early creativity are also clay, cutting paper, colored paper, sand, plasticine, salt dough, pebbles, feathers, pasta and cereals... The list goes on and on.

First, an introduction to the material occurs, the child studies what was given to him and puts it into his mouth. He watches with surprise the changes in shape and the appearance of a pattern - this in itself is a valuable experience. Then he begins to understand that he himself is the active principle that leads to changes on paper. Here it is important to observe moderation, combining the child’s independence with communication and learning, which is designed to help him.

What prevents you from being a creative person?

The main thing you need to know to become a creative person is your ability to create. The desire of any child to be creative is very great, but the resistance of the adults around him is also great. No, it’s not out of malice that parents want to show their child the world in all its diversity, but in the end they train him, forcing him to amaze those around him with his amazing knowledge. So for the first time the child is faced with a dilemma - to learn it or to invent it himself. The main authorities - parents - suggest that the first is more interesting to them. Or parents simply scold the child for all the inconvenient manifestations - littering, pouring water, getting dirty, etc.

The second stage is kindergarten. An individual approach to a child is very good, but in ordinary kindergartens, where most children (and not only Russian ones) study, they follow the principle “and now we are all” ... “we draw this,” “we dance this way.” ", "we make such and such movements"... The child learns to get along in a team, but immediately gets a role - a leader or a performer. The first is that no adult is welcome; you can get into big trouble if you keep coming up with new interesting games.

The third stage is school. Here, the development of creative abilities in 70% of cases can be given up even in the best school. The remaining 30% either have a rich creative life outside of school, developing in studios and clubs, or have a very high motivation to study at school. Why? There are children for whom the school curriculum is weak, it is not enough for them to develop, never straining, they lose a lot through no fault of their own. The average child is fine in the high school program, but usually by the time he gets there, he is ALREADY no longer interested in learning, he fulfills the requirements, but nothing more. For a weak student, everything is difficult for him; the program simply does not suit him, but an inferiority complex is formed (even if he pretends that he doesn’t care), which will not help in the future.

A reasonable question arises - what to do? Avoiding school and kindergarten is absolutely not necessary. There is a very simple and effective way to develop a child creatively:

Don’t swear at your child over trifles (he got dirty, spilled something, made a terrible mess, fell into a puddle...)
don’t swear if he doesn’t understand something (otherwise he simply won’t try to understand something anymore)
do not scold for bad grades (grades are a convention, you always know your child’s abilities better)

If a child is scolded, he begins to be afraid, and fear is the main enemy of creativity. Fear of doing something wrong, fear of self-expression. Love your child, help him find his own path in life, do not impose ready-made adult decisions and always accept him as he is.

WITH Serious attempts to find an answer to the question of what interferes with the manifestation of creative abilities were made by G. Lindsay, K. Hull and R. Thompson. They discovered that creativity is hampered not only by the lack of development of certain abilities, but also by the presence of certain personality traits. Thus, one of the striking personality traits that hinders 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 one’s judgments and actions.

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

WITH The next reason inhibiting the manifestation of creativity is the existence of two competing types of thinking: critical and creative. Critical thinking aims to identify flaws in other people's judgments. A person who has developed this type of thinking to a greater extent sees only shortcomings, but does not offer his own constructive ideas, since he again focuses on looking for shortcomings, but in his own judgments. WITH on the other hand, a person whose creative thinking predominates strives to develop constructive ideas, but at the same time does not pay due attention to the shortcomings that they contain, which also negatively affects the development of original ideas.

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

Stages of the creative process

1. Awareness of the problem. In the process of recognizing the problem, the moment when the problem situation arises is emphasized. If a task is not given in a ready-made form, its formation is associated with the ability to “see questions.” U consideration of the issue is usually stated on the basis of the presence of an accompanying emotional reaction (surprise, difficulty), which is then characterized as the immediate cause, forcing a careful consideration of the situation, which leads to an understanding of the available data.

2. Hypothesis development. This is where problem solving begins. This stage is most often qualified as the culmination point of the decision, as its central link, as a kind of leap, i.e. the decisive transition from what is visible to what is absent. As at the previous stage, the greatest importance here is attached to past experience, the use of theoretical principles, the generalized content of which takes the decider far beyond the limits of existing knowledge. The use of previously acquired knowledge as a means of solution by comprehending it and transferring it to new conditions makes it possible to compare part of the conditions, on the basis of which a guess or hypothesis is built (assumption, idea, concept taken on trial, conjectural principle of solution, etc.).

3. Checking 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.