Relationship between creativity and human imagination. Imagination and creativity
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Introduction………………………………………………………………………...…2
1. Imagination…………………………………………………………………..4
1.1 Nature of imagination………………………………………………………...4
1.2 Types of imagination………………………………………………………....5
1.3 Functions of imagination and its development…………………………………....9
1.4 Imagination and creativity……………………………………………….10
2. Creativity…………….................................................. .....................................12
2.1 The nature of creativity……………………………………………………….12
2.2 Creativity (creativity)………………………………..12
2.3 Relationship between creativity and intelligence…………………….14
2.4 The essence of creativity…………………………………………………..15
2.5 Creativity and success…………………………………16
2.6 Development creativity……………………………………...17
Conclusion………………………………………………………………………….20
Literature………………………………………………………………………….22
ATkeeping
At present, the general situation of the instability of society has a variety of influences both on society and on the personality of a person. There is a blurring of value orientations, norms of behavior, the very processes of socialization and adaptation. Under these conditions, the demand for a harmoniously developed, socially active personality able to independently make decisions and be personally responsible for their implementation.
The role of imagination in the knowledge and transformation of the surrounding world is great, since the ability to imagine what has not yet been and make it a reality is the key to progressive forward movement. In this aspect, the most important condition and prerequisite for a more complete development of the personality is the creation of conditions for the disclosure of human abilities. Realization of personality abilities, formation of an image of the future, activity planning is one of the most important and little-studied problems of psychology. The study of imagination will allow practitioners to solve the issues of planning, creative change in the environment and the individual in it, positive interaction between man and society.
As part of psychological research this topic was covered in the works of well-known domestic psychologists such as Vygotsky L.S., Basin E.Ya., Brushlinsky A.V., Dudetsky A.Ya., Ponomarev Ya.A., Rubinshtein S.L., Yakobson P.M., and others.
Despite their great importance, the problems of creativity and creative abilities have not yet been sufficiently developed. However, research is being carried out in this direction by both domestic and foreign psychologists.
Creativity is studied from the point of view of ability (Bogoyavlenskaya).
Creativity is considered as a characteristic of personality, the question is raised about creative personality. This line includes, in particular, approaches in terms of self-actualization, which postulate the original creative potential (Maslow, 1999), or the equally classic works of F. Barron, who relied on the concept of “setting for originality”, which underlies creativity (Barron, 1968).
Creativity is seen as an activity in the context of life, in the context of social relations. Here attention is paid to the social environment (Csikszentmihalyi, 1999), social processes(Shabelnikov, 2003), motivation (Maddi, 1973), intellectual activity (Bogoyavlenskaya, 2002), life strategy (Altshuller, Vertkin, 1994); creative career (Crozier, 2000), creative lifestyle (Poluektova, 1998).
Any creative process is associated with imagination, and creativity can be called the quintessence of imagination and developed creative abilities. The ability to find non-standard solutions in today's life is valued no less, and even more than the baggage of theoretical knowledge of a graduate.
The purpose of this work is to study mental processes: imagination and creativity. The paper will give definitions of the concepts of imagination, creativity, as well as trace and establish links between these processes.
Objectives: to study the influence of the role of imagination and creativity on the development of cognitive processes.
1. ATimage
1.1 The nature of the imagination
In cognitive processes, along with perception, memory, thinking important role imagination plays in human activity. In the process of reflecting the surrounding world, a person, along with the perception of what is affecting him at the moment, or the visual representation of what has affected him before, we create new images.
Imagination is the mental process of creating something new in the form of an image, representation or idea.
The process of imagination is peculiar only to man and is a necessary condition for his labor activity.
Imagination is always directed to the practical activity of man. A person, before doing anything, imagines what needs to be done and how he will do it. He already creates in advance the image of a material thing, which will be produced in the subsequent practical activity of a person. This ability of a person to imagine in advance the final result of his work, as well as the process of creating a material thing, sharply distinguishes human activity from the "activity" of animals, sometimes very skillful.
The physiological basis of imagination is the formation of new combinations from those temporary connections that have already been formed in past experience. At the same time, simple updating of existing temporary connections does not yet lead to the creation of a new one. The creation of a new one presupposes such a combination, which is formed from temporary connections that have not previously entered into combination with each other. In this case, the second signal system, the word, is of great importance. The process of imagination is a joint work of both signal systems. As a rule, the word serves as a source of the appearance of images of the imagination, controls the path of their formation, is a means of their retention, consolidation, their change.
Imagination is always a certain departure from reality. But in any case, the source of imagination is objective reality.
In psychology, voluntary or involuntary imagination is distinguished. The first manifests itself, for example, in the course of purposeful solving of scientific, technical and artistic problems in the presence of a conscious and reflected search dominant, the second - in dreams, the so-called altered states of consciousness, etc.
Dream forms a special form of imagination. It is directed to the sphere of a more or less distant future and does not imply the immediate achievement of a real result, as well as its complete coincidence with the image of the desired one.
However, a dream can be a strong motivating factor. creative search.
1.2 Types of imagination
There are several types of imagination, among which the main ones are passive and active.
The passive, in turn, is divided into voluntary (dreaming, dreams) and involuntary (hypnotic state, dream, fantasy).
Active imagination includes artistic, creative, critical, recreative, and anticipatory. Close to these types of imagination is empathy - the ability to understand another person, to be imbued with his thoughts and feelings, to rejoice, to empathize.
Under conditions of deprivation, they increase different types imagination, therefore, apparently, it is necessary to give their characteristics.
Active imagination is always aimed at solving a creative or personal problem. A person operates with fragments, units of specific information in a certain area, their movement in various combinations relative to each other. Stimulation of this process creates objective opportunities for the emergence of original new connections between the conditions fixed in the memory of a person and society.
There is little daydreaming and "groundless" fantasy in the active imagination. Active imagination is directed to the future and operates with time as a well-defined category (i.e. a person does not lose the sense of reality, does not put himself outside of temporary connections and circumstances). Active imagination is directed more outward, a person is mainly occupied with the environment, society, activity and less with internal subjective problems. Active imagination is stimulated by the task and directed by it, it is determined by volitional efforts and lends itself to volitional control.
Recreating imagination is one of the types of active imagination, in which people construct new images, ideas in accordance with stimulation perceived from the outside in the form of verbal messages, diagrams, conditional images, signs, etc.
Despite the fact that the products of the recreating imagination are completely new images that were not previously perceived by a person, this type of imagination is based on previous experience. K.D. Ushinsky considered the imagination as a new combination of past impressions and past experience, believed that the recreating imagination is the product of the influence of the material world on the human brain.
Primarily recreative imagination is a process in which there is a recombination, a reconstruction of old perceptions in a new combination of them.
Anticipatory imagination underlies a very important and necessary human ability - to anticipate future events, to foresee the results of one's actions, etc. Etymologically, the word "foresee" is closely related and comes from the same root with the word "see", which shows the importance of understanding the situation and transferring certain elements of it into the future based on knowledge or prediction of the logic of events.
Thanks to this ability, a person can see with his "mind's eye" what will happen to him, to other people or things around him in the future. F. Lersh called this the Promethean (looking forward) function of the imagination, which depends on the value life perspective: the younger the person, the more and brighter the forward orientation of his imagination is presented. In the elderly and old people, the imagination is more focused on the events of the past.
Creative imagination is a type of imagination during which a person independently creates new images and ideas that are of value to other people or society as a whole and which are embodied (“crystallized”) into specific original products of activity. Creative imagination is a necessary component and basis of all types of human creative activity.
Images of creative imagination are created through various methods of intellectual operations. In the structure of creative imagination, two types of such intellectual operations are distinguished.
The first is the operations through which ideal images are formed, and the second is the operations on the basis of which the finished product is processed.
One of the first psychologists who studied these processes, T. Ribot identified two main operations: dissociation and association.
Dissociation is a negative and preparatory operation in the course of which a sensitively given experience is fragmented. As a result of the preliminary processing of experience, its elements are capable of entering into a new combination unthinkable. Dissociation is the first stage of creative imagination, the stages of material preparation. The impossibility of dissociation is a significant obstacle to creative imagination.
Association - the creation of the integrity of the image of their elements, isolated units of images. Association gives rise to new combinations, new images. There are other intellectual operations, such as the ability to think from an anthology with partial and purely random similarities.
Passive imagination is subject to internal, subjective factors, it is tendentious.
Passive imagination is subject to desires, which are thought to be realized in the process of fantasizing. In the images of the passive imagination, the unsatisfied are “satisfied”, for the most part unconscious needs of the individual. The images and representations of the passive imagination are aimed at strengthening and preserving positively colored emotions to repress, reduce negative emotions and affects.
During the processes of passive imagination, an unreal, imaginary satisfaction of any need or desire occurs. In this passive imagination differs from realistic thinking, the elements of concepts and other information emphasized through experience.
Synthesis, realized in the processes of imagination, is carried out in various forms:
* Agglutination - "gluing" of various Everyday life incompatible qualities, parts;
* Hyperbole - exaggeration or understatement of the subject, as well as changing individual parts;
* Typification - highlighting the essential, repeating in homogeneous images;
* Sharpening - emphasizing any individual features.
1.3 Functions of the imagination and its development
In human life, imagination performs a number of specific functions. The first of these is to represent reality in images and be able to use them when solving problems. This function of imagination is connected with thinking and is organically included in it.
The second function of the imagination is to regulate emotional states. With the help of his imagination, a person is able to at least partially satisfy many needs, to relieve the tension generated by them. This vital function is especially emphasized and developed in psychoanalysis. The third function of the imagination is associated with its participation in the arbitrary regulation of cognitive processes and human states, in particular, perception, attention, memory, speech, emotions. With the help of skillfully evoked images, a person pays attention to the necessary events. Through images, he gets the opportunity to control perception, memories, statements. The fourth function of the imagination is to form internal plan actions - the ability to perform them in the mind, manipulating images. The fifth function is the planning and programming of activities, the implementation process.
With the help of imagination, we can control many psychological states of the body, tune it to the upcoming activity. There are known facts that with the help of imagination, by a purely volitional way, a person can influence organic processes: change the rhythms of breathing, pulse rate, blood pressure, body temperature. These facts underlie auto-training, which is widely used for self-regulation.
With the help of special exercises and techniques, you can develop the imagination. AT creative types labor - science, literature, art, engineering and others - the development of the imagination occurs in the pursuit of these types of activities. In autogenic training desired result is achieved through a special system of exercises that are aimed at learning to relax individual muscle groups (arms, legs, head, torso), arbitrarily increase or decrease pressure, body temperature (in the latter case, exercises are used to imagine heat, cold).
1.4 Imagination and creativity
Images of fantasy are never completely divorced from reality, having nothing in common with it. Any product of fantasy, if decomposed into its constituent elements, then among them it will be difficult to find something that would not actually exist. Even when we subject the works of abstract artists to this kind of analysis, in their constituent elements we see, at least, geometric figures familiar to all of us.
The effect of unreality, fantasticness, novelty of products of creative and other imagination is achieved for the most part due to the continuous combination of known elements, including changes in their proportions.
There are individual typological features imagination associated with the specifics of memory, perception and thinking of a person. For some people, a concrete, figurative perception of the world may prevail, which internally appears in the richness and diversity of their imagination. Such individuals are said to have an artistic type of thinking. By assumption, it is physiologically related to the dominance of the right hemisphere of the brain. Others have a greater tendency to operate with abstract symbols, concepts (people with a dominant left hemisphere of the brain).
The imagination of a person acts as a reflection of the properties of his personality, his psychological state at this point in time. It is known that the products of creativity, its content and form well reflect the personality of the creator. This fact has found wide application in psychology, especially in the creation of psychodiagnostic personality techniques.
2 . The role of creativity in the development of cognitive processes
2.1 The nature of creativity
imagination creativity creativity ability
Of course, it is impossible to understand the nature of creative abilities without understanding the essence of creativity.
Creativity is a human activity aimed at creating some new, original product in the field of science, art, technology, production and organization. A creative act is always a breakthrough into the unknown, a way out of an impasse in such a way that new opportunities for development appear, be it one's own, personal development human, the development of art, the improvement of production or the market.
The creative act is preceded by a long accumulation of relevant experience, which is consolidated in skills, knowledge and skills; formulation of the problem; elaboration of all possible solutions. The accumulation of knowledge and "experience can be characterized as a quantitative approach to the problem, when an existing problem is tried to be solved by old traditional methods, with the help of habitual and stereotypical thinking operations. The creative act itself is characterized by the transition of the number of all kinds of ideas and approaches into their new peculiar quality, which is the true solution to this problem.The famous "Eureka!" Archimedes?The discovery of the law appeared to him as if suddenly, when he was taking a bath.But it was the result of long, concentrated reflections on the problem.
2.2 Creativity (creativity)
Research on creativity, which developed intensively in America in the 60s, led scientists to the conclusion that creativity is not a synonym for learning ability and their relationship with intelligence is ambiguous.
The selection of a universal creative ability, called creativity (from English creativity - literally: creativity), happened not so long ago and is associated with the name of Guilford, who proposed a three-factor model of intelligence. Guilford pointed out the fundamental difference between the two types of mental operations. Thinking aimed at finding the only correct solution to the problem was called convergent (converging). The type of thinking that goes in different directions, looking for a solution in different ways, is called divergent (divergent). divergent thinking may lead to unexpected, unforeseen conclusions and results.
Guilford identified four main dimensions of creativity:
originality - the ability to produce unusual responses;
productivity - the ability to generate a large number ideas;
flexibility - the ability to easily switch and put forward a variety of ideas from different areas of knowledge and experience;
The ability to improve an object by adding details.
In addition, creativity includes the ability to detect and pose problems, as well as the ability to solve problems, i.e. ability to analyze and synthesize.
Unlike intellectuals, who can solve even complex tasks already set by someone, creatives are able to independently see and pose problems.
2.3 Relationship between creativity and intelligence
Some authors believe that extensive knowledge and erudition sometimes make it difficult to see the phenomenon in a different, creative perspective. Others argue that the inability of consciousness to be creative is due to the fact that it is logical and limited by strictly ordered concepts, which suppresses fantasy and imagination.
For development high level creative abilities (creativity) requires a level of mental development that would be slightly above average. Without a certain base of learning, without a good intellectual foundation, high creativity cannot develop. However, after reaching a certain level of development of the intellect, its further increase does not affect the development of creative abilities. When the intellect is very high (more than 170 IQ units), there is no manifestation of creative abilities. It is known that people with encyclopedic knowledge rarely have high creative potential. Perhaps this is due to the tendency to streamline and accumulate knowledge, ready-made facts. And for spontaneous creativity, it is sometimes important to abstract from what is already known.
The stereotyped thinking, its orientation towards an unambiguous, correct answer often makes it difficult to find an original, new solution.
Mini-tests to study the ability to think outside the box, to overcome stereotyped thinking.
a) It is proposed to solve a non-standard problem: Two people approached the river. A boat was parked on the deserted shore, in which only one person could fit. Both of them crossed the river in this boat and continued on their way. How did they do it?
(Correct answer: The travelers approached different banks of the river, and first one crossed, and then the other.)
The task is hindered by the stereotyped understanding of the first phrase (“Two approached the river”), which suggests that the travelers were walking together and in the same direction.
b) How to cross out, without lifting the pencil from the paper, four points, which are the vertices of the square, with three straight lines and return to the starting point?
AT stereotypes prevent this task from finding a solution. Here it is necessary to abandon the stereotyped idea that it is impossible to go beyond the limits of the space limited by points.
2.4 Essence of creativity
The essence of the creative act, creative abilities, various researchers reveal from different angles. Let's look at some definitions.
“Creativity is the ability to bring something new to experience” (Barron).
“The ability to recognize problems and contradictions” (Torrens).
“The ability to generate original ideas in the face of new problems” (Ballah).
"The ability to abandon stereotypical ways of thinking" (Gilford).
“The ability to be surprised and learn, the ability to find a solution in non-standard situations, this is a focus on discovering something new and the ability to deeply understand one’s experience” (E. Fromm).
There is also such an interesting definition: creativity is “the ability to think about”.
One of the most famous researchers of creativity is the American scientist Paul Torrance understands creativity as the ability to heighten the perception of shortcomings, gaps in knowledge, sensitivity to disharmony, etc. He believes that the creative act is divided into:
Perception of the problem
search for a solution;
the emergence and formulation of hypotheses;
modification of hypotheses;
finding a result.
2.5 Creativity and success
High learning abilities and creativity do not always coincide. Underachieving students may be highly creative, and vice versa.
According to Torrens (1962), about 30% of children who are expelled from school for inability, poor progress, and even stupidity are children who are highly creatively gifted. Torrens conducted lengthy studies, tracing the fate of children who showed high creative abilities. It turned out that after 20 years, many of them had achieved nothing in life and occupied a low social status (“scavengers”).
And here interesting questions arise about what gives a person creative abilities. Are they always in demand? What, besides creative abilities, does a person need in order to realize his creative potential, make a discovery, achieve something in life, become successful, benefit society?
2.6 Development of creativity
Creativity is stimulated by being receptive to new ideas rather than being critical of them, and creative solutions seem to come more often in a moment of relaxation, distraction, rather than a moment of focus on solving problems.
There is a well-known example with the famous chemist Dmitri Mendeleev, who saw the periodic table chemical elements in a dream. (This does not mean that the more you sleep, the more likely you are to make a discovery.)
Creativity can be developed. This can be done especially effectively by organizing special classes with young children who have not yet developed the habit of stereotyped decisions and the search for the correct answer approved by adults. But adults can also develop their creative abilities and creativity.
It is convenient to do this in a group when various ideas are expressed - in the form of a "brainstorming". By the way, in the West, this method is successfully used by large firms in crisis situations, when the old ways of working are ineffective. A group of developers gathers to generate new ideas. At the first stage, nothing is criticized. At the second stage, the most interesting proposals are selected. At the third stage, the possibility of their application is checked.
Story scientific discoveries is replete with examples when, it would seem, a completely wild idea turned out to be the most fruitful and led to the discovery of new facts, the invention of more advanced technologies.
In M. Arista's book "The Life of Inventions" such an example is given. Engineer Shukhov once sat up in his office after work. He watched as the cleaning lady lifted the heavy flower pot and placed it on top of a light wicker basket turned upside down while dusting. This caught the attention of the engineer. He thought, “Why does such a fragile basket support such a large load?” And I realized that the rods form a hyperboloid of revolution between themselves, the curvilinear surface of which is made of rectangular elements. This idea was embodied in an elegant and extremely durable building structure - a tower, on top of which a huge water tank was installed. This invention proved to be extremely useful for the water supply of cities and railways.
Exercises for the development of creative abilities among students
a) Non-standard use of objects
Within three minutes, come up with as many non-standard ways you can use a common item. Number your options and write them down on a piece of paper. Nobody says anything out loud. I mark the time. So, this object is a newspaper (brick, ruler, rope, etc.).
After the time has elapsed, the facilitator stops the students and asks: who came up with 20 options? fifteen? 12? It is proposed to read your list to the one who has the most options. When reading the list, the facilitator approves, encourages, notes originality, does not criticize anything, and does not express doubts. Then he asks the rest of the participants to complete the list - to suggest options that have not yet been sounded. Mandatory comments like: "Great, very interesting, look how unusual!" etc.
b) Synonyms
Within two minutes, think of as many synonyms for the word "tall" as you can.
When analyzing the answers, which is carried out similarly to the first exercise, the attention of students is drawn to such an originality parameter as "flexibility". Usually the word “high” is associated with size, size, and synonyms will be typical: long, tower, etc. Flexibility of imagination allows you to break out of stereotypical associations: maybe someone will remember that “high” is also said about the tone of voice, and then the associative series will be supplemented with synonyms “thin”, “sonorous”, etc. The concept “high” is applicable to moral qualities, aspirations, and then the associations “noble”, “purposeful”, etc.
c) unpredictable consequences
In conditions of limited time, it is proposed to write down on their slips of paper various options for the consequences of some fantastic event: for example, what will happen if eternal darkness comes on Earth? What are the consequences of the fact that all cats on Earth will disappear?
d) Circles. On forms where 20 circles are drawn, within 5-10 minutes, depict as many original drawings as possible, using circles as a basis.
There are many different games and activities to develop creativity. Their description can be found in the literature.
Conclusion
Through active cognitive activity, not only the comprehension of information, the reflection of the objective world, but also the transformation into a subjective image, the creation of a new idea, ideas, the development of creative abilities, an increase in the intellectual level, professional skills take place.
During the research work the hypothesis associated with the assumption of a significant influence of the role of imagination and creativity in the development of cognitive processes was confirmed.
The processes of imagination and creativity, their influence on the development of cognitive processes were studied.
In the course work, a holistic approach was used, revealing the nature of imagination, types of imagination, the interaction of imagination and creativity, creativity and creativity, etc.
As a result of the study, the following questions were studied:
* Interaction of activity and mental processes
* The role of imagination in the development of cognitive processes
* The role of creativity in the development of cognitive processes
The main goals and objectives were achieved:
* Knowledge and experience about the role of imagination and creativity in the development of cognitive processes were accumulated, game, problematic methods were used to develop creative capabilities, professional skills, and enhance mental activity;
* The role of imagination as a strong motivating factor of creative search in cognitive activity.
* The role of creativity as the emergence of new opportunities in the development of cognitive processes.
* Experience has been accumulated, consolidating in skills, knowledge, in setting goals, in working out all kinds of solutions.
Literature
1. Dudetsky A.Ya. Yulystina E.A. Psychology of imagination. M., Smolensk, 1997.
2. Zhdan A.N. History of psychology, M., 1997.
3. Zavalishina D.N. Psychological analysis operational thinking, M., 1985.
4. Ilnitskaya I.A. Problem situations as a means of activating mental activity, Perm, 1983.
5. Gippenreiter Yu.B. Introduction to General Psychology, M., 2000.
6. Krupetsky V.A. Psychology of mathematical abilities of schoolchildren, M., 1968.
7. Kudryavtsev V.T. The principle of self-development of the subject of activity // Psychological magazine, 1993, No. 3.
8. Montiev A.N. Activity. Consciousness. Personality, M., 1975.
9. Thinking: process, activity, communication, M., 1982.
10. Nemov R.S. Psychology, book. 1, M., 1995.
11. Psychology of cognitive processes, Samara, 1992.
12. Ponomarev Ya.A. Psychology of creativity, M., 1976.
13. Pushkin V.N. Heuristics - the science of creative thinking, M., 1967.
14. Rubinstein S.A. Fundamentals of General Psychology, S-P., 1998.
15. Tikhomirov O.K. Psychology of thinking, M., 1984.
16. Ponomarev Ya.A. knowledge, thinking and mental development, M., 1967.
17. Tunik E.V. D. Johnson Creativity Inventory, S-P., 1997.
18. Chesnokova I.I. The problem of self-consciousness in psychology, M., 1997.
19. Stolyarenko L.D. Fundamentals of psychology, Rostov-on-Don, 2001.
20. Tsvetkova L.S. Brain and intellect (impairment and restoration of intellectual activity), M., 1995.
21. Shadrikov V.D. Psychology of activity and human abilities, M., 1996.
22. Shemyakin F.N. On the theoretical issues of the psychology of thinking: On thinking and ways of its research // Questions of Philosophy, 1959, No. 9.
23. Stern V. Mental talent, S-P., 1997.
24. Elkonin D.B. On the problem of periodization psychological development in childhood// Psychology of personality, M., 1982.
25. Esaulov A.F. Activation of educational and cognitive activity of students, M., 1982.
26. Esaulov A.F. Problems of solving problems in science and technology, L., 1979.
27. Jung K. Psychological types// Psychology individual differences, M., 1982.
28. Yakimanskaya M.S. At the origins of pedagogical psychology // Soviet Pedagogy, 1989, No. 8.
29. Yaroshevsky M.G. History of psychology, M., 1985.
30. Yaroshevsky M.G. Psychology in the XX century, M., 1974.
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The role of imagination in creativity is unique. It can be defined as the process of transforming ideas about reality and creating new images on this basis. That is, the imagination turns on every time we think about an object without having direct contact with it. Creative imagination allows this representation to be transformed.
Creativity is a process that results in fundamentally new or significantly improved ways of solving certain problems. Clearly, creative thinking and imagination are linked.
We can highlight the following features of creative imagination:
- with its help, completely new images are created, not on the basis of their description, but on the basis of the subject's own thoughts;
- can be both arbitrary and involuntary;
- the capacity for creative imagination is partly determined at birth, but it can be developed;
- the relationship of imagination and creativity can be seen in their similar stages and techniques.
Stages of creative imagination:
- The emergence of a creative idea. A vague image appears in the mind, the first ideas. It doesn't always happen consciously.
- Carrying out an idea. Reflections on how an idea can be brought to life, mental improvement, etc.
- Implementation of the idea.
Techniques of creative imagination can be distinguished by studying the results of creative processes. For example, in order to come up with most of the fabulous objects and creatures, the following techniques were used:
- Agglutination– creating an image from two different ideas (mermaid, centaur).
- Analogy- creating an image by analogy with another.
- Exaggeration or understatement(Gulliver and Lilliputians).
- Typing- assignment of an object to a certain type.
- Addition– the object is assigned new functions and properties (flying carpet).
- moving- subjective transfer of the object to new, unusual situations.
Methods for developing creative imagination
The development of creative imagination proceeds from the involuntary to the arbitrary, and from the recreative to the creative. Like other mental processes, it passes certain stages development. The first covers childhood and adolescence, is characterized by magical, fantastic ideas about the world and the absence of a rational component. At the second stage, complex changes occur, due to rearrangements in the body and self-consciousness, the processes of perception become more objective. The rational component appears at the third stage of the development of the imagination, it begins to obey reason, and it is precisely because of this practicality that it often falls into decay in adults.
The connection between imagination and creativity is expressed in the fact that they are based on ideas. You can develop your imagination using the following techniques:
Introduction
1. Imagination: essence and types
2. Imagination and creativity
2.1 The role of imagination in scientific, technical and artistic creativity
2.2 Development of imagination in children in the process of creative activity
2.3" Brainstorm» as a kind of creative imagination
Conclusion
List of used literature
Introduction
Imagination in its own, completely specific sense of the word can only be in a person. Only a person who, as a subject of public practice, really transforms the world, develops a true imagination.
With a rich imagination, a person can live in different times, which no other living being in the world can afford. The past is fixed in images of memory, and the future is presented in dreams and fantasies.
Imagine what would happen if a person did not have imagination. We would be deprived of almost all scientific discoveries and works of art, images created by the greatest writers and inventions of designers. Children would not hear fairy tales and would not be able to play many games. How could they get school curriculum without imagination?
Thanks to the imagination, a person creates, intelligently plans his activities and manages them. Almost all human material and spiritual culture is a product of people's imagination and creativity.
Imagination takes a person beyond the limits of his momentary existence, reminds him of the past, opens the future. Along with a decrease in the ability to fantasize, a person's personality is depleted, the possibilities of creative thinking are reduced, and interest in art and science is extinguished.
If you deprive a person of fantasy, progress will stop, therefore imagination is the most necessary ability of a person.
Taking into account the relevance of this problem, what importance imagination has in a person’s life, how it affects his mental processes and states, we define the purpose of this work, which is to study imagination and creativity, as well as the issue of their relationship.
The work consists of an introduction, two parts, a conclusion and a list of references.
1. Imagination: Essence and kinds
Imagination is a form of mental reflection, which consists in creating images based on previously formed ideas. It is a reflection of reality and serves as a means of its knowledge.
Thanks to the imagination, a person creates, intelligently plans his activities and manages them. Almost all human material and spiritual culture is a product of people's imagination and creativity. Imagination takes a person beyond the limits of his momentary existence, reminds him of the past, opens the future. Possessing a rich imagination, a person can “live” in different times: the past is fixed in memory images, arbitrarily resurrected by an effort of will, the future is presented in dreams and fantasies.
The peculiarity of imagination as a process is the formation of visual images of objects that were not previously perceived by the subject. Any imagination generates something new, changes, transforms what is given by perception. These changes and transformations can be expressed in what a person, based on knowledge and experience, imagines, i.e. will create for himself a picture of what he himself has never actually seen. For example, a message about a flight into space encourages our imagination to draw pictures of a fantastic life in its unusualness in weightlessness, surrounded by stars and planets. The factor stimulating the activity of the imagination is the various connections of phenomena, events, objects. They are capable of causing a free play of associations.
The relation of a person to the process of imagination directly determines the existence of different levels of imagination. Let's give a classification of some forms of imagination.
At the lower levels, the change of images occurs involuntarily, which is performed under the influence of little-conscious needs, drives and tendencies, regardless of any conscious intervention of the subject. In the highest forms of imagination, in creativity, images are consciously formed and transformed in accordance with goals. Using them, a person, at his own request, by an effort of will, causes in himself the corresponding images of a person's creative activity. This form of imagination is called active.
Imagination can also be: active, passive, productive (transformative) and reproductive (reproducing).
Active imagination is characterized by the fact that, using it, a person, at his own will, by an effort of will, causes in himself the corresponding images. Creative active imagination - independent creation of new images in relation to the subject. It manifests itself in the products of activity, embodied in practice. images passive Imaginations arise spontaneously, in addition to the will and desire of a person.
Productive imagination differs in that in it reality is consciously ascertained by a person, and not just mechanically copied or recreated. But at the same time, in the image it is still creatively transformed. AT reproductive imagination is tasked with reproducing reality as it is, and although there is also an element of fantasy, such imagination is more like perception or memory than creativity.
There is also imagination recreating and creative .
In the first case, it is the reconstruction of given images. It takes place in those cases when a person, according to one description, must imagine an object that he has never perceived before. The basis for the recreative imagination is knowledge. For example, a person has never seen the sea, but after reading a description of it in a book, he can imagine the sea in more or less vivid and complete images. The re-creative imagination creates what is, what exists, and the way it exists. It should not be a departure from reality, otherwise it will not serve the goals of cognition that it faces - to expand (based on the translation of descriptions into visual images) the circle of human knowledge about the world around. Thanks to the recreating imagination, a person can only imagine, according to one description, both distant countries in which he has never been, and long-gone historical events, and many objects with which he had no chance to encounter in reality.
The second is expressed in self-development the latest images. Creative imagination is the independent creation of new images in the process of creative activity, whether it be art, science or technical activity. Writers, painters, composers, seeking to depict life in the images of their art, resort to creative imagination. They do not just copy life photographically, but create artistic images in which this life is truly reflected in its most striking features, in generalized images of reality.
Discoveries, inventions, the creation of works of art, literature - all this is a creative activity that is a social necessity. The creative imagination is much more complex than the recreative one: it is one thing to imagine a drawing of a machine and quite another to make it.
There are also forms of imagination, such as dreams, drowsy states, dreams, hallucinations, daydreams.
Dreams can be classified as passive and involuntary forms of imagination. It is known that in a person's dreams many vital needs are expressed and satisfied, which, for a number of reasons, cannot be realized in life. Hallucinations are called fantastic visions that have nothing to do with human environment reality. Usually they are the result of certain disorders of the psyche or the work of the body - they accompany many painful conditions. Dreams, unlike hallucinations, are a normal state of the psyche, and are a fantasy associated with desire.
A special place in the imagination is occupied by a dream, which acts as a real or abstract possibility of the desired future. A dream differs from a dream in that it is more realistic and more connected with reality.
It has been established that people dream so much because their mind cannot be unemployed, it continues to function even when no information enters the human brain, when it does not solve any problems. It is at this time that the imagination begins to work. In addition, it was revealed that at will a person is not able to stop the imagination or stop the flow of thoughts.
2. Imagination and creativity
Imagination is closely connected with creativity, and this dependence is inverse, i.e. it is the imagination that is formed in the process of creative activity, and not vice versa. Thus, creative imagination is a kind of imagination aimed at creating new images, which forms the basis of creativity.
The peculiarity of creative imagination is that it is a conscious process at its core. The ability to figuratively predict the results of one's own actions gives direction to creative imagination.
flight of fancy in creative process It is provided with knowledge, supported by abilities, stimulated by purposefulness, accompanied by an emotional tone. In any kind of activity, creative imagination is determined by how it can transform reality, burdened with random, insignificant details.
2.1 The role of imagination in scientific, technical and artistic creativity
Specialization various kinds imagination is the result of the development of various types of creative activity. Therefore, there are as many specific kinds of imagination as there are kinds of human activity, imagination plays a particularly important role in scientific and artistic creativity.
Imagination and creativity
Imagination plays an essential role in every creative process. Its importance is especially great in artistic creativity. Any work of art worthy of this name has an ideological content, but unlike a scientific treatise, it expresses it in a concrete-figurative form. If an artist is forced to deduce the idea of his work in abstract formulas so that the ideological content of the work of art appears along with his images, without receiving adequate and sufficiently vivid expression within them, his work loses its artistry. The visual-figurative content of a work of art, and only it, should be the bearer of its ideological content. The essence of artistic imagination lies primarily in being able to create new images capable of being a plastic carrier of ideological content. The special power of artistic imagination is to create a new situation not by violating, but by maintaining the basic requirements of life reality.
Fundamentally erroneous is the idea that the more bizarre and outlandish the work, the greater the power of imagination it testifies. The imagination of Leo Tolstoy is no weaker than that of Edgar Allan Poe. It's just another imagination. In order to create new images and draw a broad picture on a large canvas, observing the conditions of objective reality as much as possible, special originality, plasticity and creative independence of the imagination are needed. The more realistic a work of art, the more strictly life reality is observed in it, the more powerful the imagination must be in order to make the visual-figurative content that the artist operates with a plastic expression of his artistic intention.
Observance of the reality of life does not, of course, mean photographic reproduction or copying of what is directly perceived. The immediate given, as it is commonly perceived in everyday experience, is largely accidental; it does not always distinguish the characteristic, essential content that determines the individual face of a person, events, phenomena. A real artist not only has the technique necessary to depict what he sees, but he also sees differently than an artistically unreceptive person. And the task of a work of art is to show others what the artist sees, with such plasticity that others can see it. Thus, the portrait of Anna Karenina, painted by a real artist, first revealed to Vronsky that very sweet expression of hers, which, as it seemed to Vronsky after he saw the portrait, he always knew and loved in her, although in fact it was only thanks to the portrait that he really saw it for the first time. .
There is no better way to express what the essence is artistic creativity. Even in a portrait, the artist does not photograph, does not reproduce, but transforms what is perceived. The essence of this transformation lies in the fact that it does not remove, but approaches reality, that it, as it were, removes random layers and external covers from it. As a result, its main pattern is revealed deeper and more accurately. The product of such an imagination often gives an essentially truer, deeper, more adequate picture or image of reality than a photographic reproduction of the immediate given is able to do.
An image transformed inside by the idea of a work of art in such a way that in its entire life reality it turns out to be a plastic expression of a certain ideological content is top product creative artistic imagination. A powerful creative imagination is recognized not so much by the fact that a person can invent, ignoring the real requirements of reality and the ideal requirements of artistic design, but rather by how he knows how to transform the reality of everyday perception, burdened with random strokes devoid of expressiveness, in accordance with with the requirements of reality and artistic design. Imagination creates in visual images, so similar and at the same time not similar to our perceptions that have faded and erased in everyday life, miraculously revived, transformed, and yet, as if more authentic world than given to us in everyday perception. That is why, looking at him, it seems to us, like Vronsky, when he saw the portrait of Anna, that we always saw and knew him just like that, although only the imagination of the artist, who transforms the world of our everyday perception, showed him to us like that.
Imagination in artistic creativity, of course, also allows for a significant departure from reality, a more or less significant deviation from it. Artistic creativity is expressed not only in the portrait; it includes both a fairy tale and a fantasy story. In a fairy tale, in a fantastic story, deviations from reality can be very great. But both in a fairy tale and in the most fantastic story, deviations from reality must be objectively motivated by a plan, an idea that is embodied in images. And the more significant these deviations from reality, the more objectively motivated they should be. Creative imagination comes to work of art to fantasy, to deviation from certain aspects of reality, in order to give figurative clarity to reality, to the main idea or idea, indirectly reflecting some essential aspect of reality.
Some subtle and fragile experiences - significant facts inner life - often seem to be obscured and darkened in the actual conditions of everyday life. The creative imagination of the artist in a fantastic story, deviating from reality, transforms its various aspects, subordinating them to the internal logic of this experience. This is the meaning of those methods of transforming reality that are used by artistic imagination. Creating a picture of reality that deviates from the ordinary up to the most extreme fantasy, the artist’s imagination illuminates all the brighter and more convexly reveals some aspect of reality that is especially significant for him. To move away from reality in order to penetrate into it - such is the logic of creative imagination. It characterizes the essential side of artistic creativity.
No less necessary is imagination - in other forms - in scientific creativity.
Another great English chemist of the XVIII century. J. Priestley, who discovered oxygen, argued that really great discoveries, which "a sensible, slow and cowardly mind would never have thought of," can only be made by scientists who "give full play to their imagination." T. Ribot was even inclined to assert that if we "take stock of the amount of imagination expended and embodied, on the one hand, in the field of artistic creativity, and on the other, in technical and mechanical inventions, then we will find that the second is much larger than the first" . 113
The role of imagination in scientific creativity was also highly regarded by V.I. Lenin. He wrote: "... it is absurd to deny the role of fantasy in the most rigorous science." 114 "In vain do they think," he remarks elsewhere, "that she (fantasy. - S.R.) is needed only by the poet. This is stupid prejudice. Even in mathematics, it is needed, even the discovery of differential and integral calculus would be impossible without fantasy. Fantasy is the quality of the greatest value ... ". 115
Participating together with thinking in the process of scientific creativity, imagination performs a specific function in it, different from that which thinking performs in it. The specific role of the imagination is that it transforms the figurative, visual content of the problem and thereby contributes to its resolution. And only insofar as creativity, the discovery of the new, is accomplished through the transformation of visual-figurative content, it can be attributed to the imagination. Real thought process in one way or another, in one form or another, a visual image also participates in unity with the concept. But the figurative content of perception and the representation of memory that reproduces this content sometimes does not provide sufficient reference points for resolving the problem that confronts thinking. Sometimes you need to transform visual content in order to advance problem resolution; then the imagination comes into its own.
This role of the imagination appears very clearly in experimental research. The experimenter, thinking about setting up an experiment, must, proceeding from his theoretical hypotheses and taking into account the already established laws of a given scientific field, imagine, imagine a situation that is not directly given, which, satisfying all these conditions, would make it possible to test the initial hypothesis. This construction of a specific situation of the experiment in the mind of the experimenter, which precedes the experiment, is an act of imagination operating in scientific research. For such a master of experiment as E. Rutherford was, real progress is possible only with the amalgamation of experiment based on fantasy and fantasy based on experiment.
The imagination necessary for the transformation of reality and creative activity was formed in the process of this creative activity. The development of the imagination took place as more and more perfect products of the imagination were created. In the process of creating poetry, visual arts, music and their development, new, higher and more perfect forms of representation were formed and developed. In the great works of folk art, in epics, sagas, in the folk epic, in the works of poets and artists - in the Iliad and the Odyssey, in the Song of Roland, the Tale of Igor's Campaign - the imagination not only manifested itself, but and formed. The creation of great works of art that taught people to see the world in a new way opened up a new field for the imagination.
Not to a lesser extent, but only in other forms, the imagination is formed in the process of scientific creativity. The infinity revealed by science in big and small, in worlds and atoms, in the innumerable variety of concrete forms and their unity, in continuous movement and change, provides for the development of the imagination in its own way no less than the richest imagination of the artist can give.
Finally, the imagination is formed in practical activity - especially in revolutionary eras, when the practical activity of people breaks established norms and routine ideas, revolutionizing the world.
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Question 46 The role of imagination in solving cognitive and personal problems. The development of the imagination. Imagination and creativity.
Imagination- this is a mental process of creating new images, ideas and thoughts based on existing experience, by restructuring a person's ideas.
Imagination is closely connected with all other cognitive processes and takes special place in human cognitive activity. Thanks to this process, a person can anticipate the course of events, foresee the results of his actions and deeds. It allows you to create programs of behavior in situations characterized by uncertainty.
From a physiological point of view, imagination is the process of the formation of new systems of temporary connections as a result of the complex analytical and synthetic activity of the brain.
In the process of imagination, the systems of temporary nerve connections, as it were, disintegrate and unite into new complexes, groups of nerve cells are connected in a new way.
The physiological mechanisms of imagination are located in the cortex and deeper parts of the brain.
Imagination - this is the process of mental transformation of reality, the ability to build new integral images of reality by processing the content of the existing practical, sensual, intellectual and emotional-semantic experience.
Types of imagination
By subject - emotional, figurative, verbal-logical
According to the methods of activity - active and passive, intentional and unintentional
By the nature of the images - abstract and concrete
According to the results - recreative (mental reproduction of the images of objects that actually exist) and creative (creation of images of objects that do not currently exist).
Types of imagination:
- active - when a person, by an effort of will, causes in himself the corresponding images. Active imagination is a creative, recreative phenomenon. Creative active imagination arises as a result of labor, independently creates images expressed in original and valuable products of activity. This is the basis of any creativity;
- passive - when images arise by themselves, do not depend on desires and will, and do not materialize.
Passive imagination happens:
- involuntary imagination . The simplest form of imagination is those images that arise without special intention and effort on our part (floating clouds, reading an interesting book). Any interesting, fascinating teaching usually causes a vivid involuntary imagination. One of the types of involuntary imagination are dreams . N. M. Sechenov believed that dreams are an unprecedented combination of experienced impressions.
- arbitrary imagination manifests itself in cases where new images or ideas arise as a result of a person’s special intention to imagine something specific, concrete.
Among the various types and forms of arbitrary imagination, one can distinguish recreating imagination, creative imagination and dream. Recreative imagination occurs when a person needs to recreate a representation of an object that corresponds as closely as possible to its description. For example, when reading books, we imagine characters, events, and so on. Creative imagination is characterized by the fact that a person transforms ideas and creates new ones not according to the existing model, but independently outlining the contours of the created image and choosing the necessary materials for it. Creative imagination, as well as recreative one, is closely connected with memory, since in all cases of its manifestation a person uses his previous experience. A dream is a kind of imagination, which consists in the independent creation of new images. At the same time, the dream has a number of differences from the creative imagination. 1) in a dream, a person always recreates the image of what he wants, in a creative one, not always; 2) a dream is a process of imagination that is not included in creative activity, i.e. which does not immediately and directly give an objective product in the form of a work of art, a scientific discovery, etc. 3) the dream is always aimed at future activities, i.e. a dream is an imagination aimed at a desired future.
Imagination functions.
In human life, imagination performs a number of specific functions. First one of them is to represent reality in images and be able to use them when solving problems. This function of imagination is connected with thinking and is organically included in it. Second the function of the imagination is to regulate emotional states. With the help of his imagination, a person is able to at least partially satisfy many needs, to relieve the tension generated by them. This vital function is especially emphasized and developed in psychoanalysis. Third the function of the imagination is associated with its participation in the arbitrary regulation of cognitive processes and human states, in particular, perception, attention, memory, speech, and emotions. With the help of skillfully evoked images, a person can pay attention to the necessary events. Through images, he gets the opportunity to control perception, memories, statements. Fourth the function of the imagination is to form an internal plan of action - the ability to perform them in the mind, manipulating images. Finally, fifth function is the planning and programming of activities, the preparation of such programs, the assessment of their correctness, the implementation process. With the help of imagination, we can control many psycho-physiological states of the body, tune it to the upcoming activity. There are also known facts indicating that with the help of imagination, in a purely volitional way, a person can influence organic processes: change the rhythm of breathing, pulse rate, blood pressure, body temperature.
Imagination carries the following functions (as defined by R. S. Nemov):
- representation of reality in images;
- regulation of emotional states;
Arbitrary regulation of cognitive processes and human states:
- formation of internal action plan;
- planning and programming activities;
- management of psychophysiological state of the body.
The role of imagination in solving cognitive and personal problems.
Imagination is closely related to thinking:
Like thinking, it allows one to foresee the future;
Imagination and thinking arise in a problem situation;
Imagination and thinking are motivated by the needs of the individual;
In the process of activity, imagination appears in unity with thinking;
Imagination is based on the possibility of choosing an image; at the heart of thinking is the possibility of a new combination of concepts.
The main purpose of fantasy is to present an alternative to reality. As such, fantasy serves two main purposes:
It stimulates creativity, allowing you to create something that does not exist (yet), and
It acts as a soul balancing mechanism, offering the individual a means of self-help to achieve emotional balance (self-healing). Fantasy is also used clinically; the results of projective psychological tests and techniques are based on projections of fantasies (as is the case in TAT). In addition, in various psychotherapeutic approaches, fantasy is assigned the role of an exploratory or therapeutic tool.
Development of the imagination
It is very difficult to determine any specific age limits that characterize the dynamics of the development of the imagination. There are examples of extremely early development of the imagination. For example, Mozart began composing music at the age of four, Repin and Serov were good at drawing at the age of six. On the other hand, the late development of the imagination does not mean that this process will be at a low level in more mature years. There are cases in history when great people, such as Einstein, did not have a developed imagination in childhood, but over time they began to talk about them as geniuses.
Despite the complexity of determining the stages of development of a person's imagination, certain patterns in its formation can be distinguished. Thus, the first manifestations of imagination are closely connected with the process of perception. For example, children at the age of one and a half years are not yet able to listen to even the simplest stories or fairy tales, they are constantly distracted or fall asleep, but listen with pleasure to stories about what they themselves have experienced. In this phenomenon, the connection between imagination and perception is quite clearly visible. The child listens to the story of his experiences because he clearly imagines what he is talking about. in question. The connection between perception and imagination is preserved at the next stage of development, when the child in his games begins to process the impressions received, modifying previously perceived objects in his imagination. The chair turns into a cave or an airplane, a box into a car. However, it should be noted that the first images of the child's imagination are always associated with activity. The child does not dream, but embodies the reworked image in his activity, even despite the fact that this activity is a game.
An important stage in the development of imagination is associated with the age when the child masters speech. Speech allows the child to include in the imagination not only specific images, but also more abstract ideas and concepts. Moreover, speech allows the child to move from expressing images of the imagination in activity to their direct expression in speech.
The stage of mastering speech is accompanied by an increase in practical experience and the development of attention, which makes it easier for the child to single out individual parts of the subject, which he already perceives as independent and which he increasingly operates in his imagination. However, the synthesis occurs with significant distortions of reality. Due to the lack of sufficient experience and insufficient critical thinking, the child cannot create an image that is close to reality. The main feature of this stage is the involuntary nature of the emergence of images of the imagination. Most often, images of the imagination are formed in a child of this age involuntarily, in accordance with with the situation he is in.
The next stage in the development of the imagination is associated with the appearance of its active forms. At this stage, the process of imagination becomes arbitrary. The emergence of active forms of imagination is initially associated with a stimulating initiative on the part of an adult. For example, when an adult asks a child to do something (draw a tree, build a house out of blocks, etc.), he activates the process of imagination. In order to fulfill the request of an adult, the child must first create, or recreate, a certain image in his imagination. Moreover, this process of imagination by its nature is already arbitrary, since the child tries to control it. Later, the child begins to use arbitrary imagination without any adult participation. This leap in the development of the imagination finds its reflection, first of all, in the nature of the child's games. They become purposeful and plot-driven. The things surrounding the child become not just stimuli for the development of objective activity, but act as material for the embodiment of images of his imagination. A child at the age of four or five begins to draw, build, sculpt, rearrange things and combine them in accordance with his plan.
Another major shift in imagination occurs during school age. The need to understand the educational material determines the activation of the process of recreating the imagination. In order to assimilate the knowledge that is given at school, the child actively uses his imagination, which causes the progressive development of the ability to process images of perception into images of imagination.
Another reason for the rapid development of imagination in school years is that in the process of learning the child actively receives new and versatile ideas about objects and phenomena. real world. These representations serve as a necessary basis for the imagination and stimulate the creative activity of the student.
The degree of development of the imagination is characterized by the brightness of the images and the depth with which the data of past experience are processed, as well as the novelty and meaningfulness of the results of this processing. The strength and vivacity of the imagination is easily appreciated when the products of the imagination are implausible and bizarre images, for example, in the authors of fairy tales. Weak development of the imagination is expressed in a low level of processing ideas. Weak imagination entails difficulties in solving mental problems that require the ability to visualize a specific situation. With an insufficient level of development of the imagination, a rich and emotionally diverse life is impossible.
Most clearly, people differ in the degree of brightness of images of the imagination. If we assume that there is a corresponding scale, then at one pole there will be people with extremely high indicators of the brightness of the images of the imagination that they experience as a vision, and at the other pole there will be people with extremely pale ideas. As a rule, we meet a high level of development of imagination in people engaged in creative work - writers, artists, musicians, scientists.
Significant differences between people are revealed in relation to the nature of the dominant type of imagination. Most often there are people with a predominance of visual, auditory or motor images of the imagination. But there are people who have a high development of all or most types of imagination. These people can be referred to the so-called mixed type. Belonging to one or another type of imagination is very significantly reflected in the individual psychological characteristics of a person. For example, people of the auditory or motor type very often dramatize the situation in their thoughts, imagining a non-existent opponent.
The development of the imagination in the human race, considered historically, follows the same path as that of the individual. Vico, whose name is well worth mentioning here because he was the first to see the use of myths for the study of the imagination, divided the historical path of mankind into three successive periods: divine or theocratic, heroic or fabulous, human or historical in the proper sense; moreover, after the passage of one such cycle, a new one begins
- vigorous activity (D. in general) stimulates the development of the imagination
Development of various types of creative activity and scientific activity
The use of special techniques for creating new products of the imagination as a solution to problems - agglutination, typing, hyperbolization, schematyping
- agglutination (from lat. agglutinatio - gluing) - a combination of separate parts or different objects into one image;
- emphasis, sharpening - underlining in the created image of some detail, highlighting the part;
- hyperbole - displacement of an object, a change in the number of its parts, a decrease or increase in its size;
- schematization - highlighting the characteristic, recurring in homogeneous phenomena and reflecting it in a specific image.
- typing - highlighting the similarity of objects, smoothing their differences;
Active connection of feelings and emotions.
Imagination and creativity.
The leading connection is the dependence of imagination on creativity: imagination is formed in the process of creative activity. The imagination necessary for the transformation of reality and creative activity was formed in the process of this creative activity. The development of the imagination took place as more and more perfect products of the imagination were created.
Imagination plays a particularly important role in scientific and artistic creativity. Creativity without the active participation of the imagination is generally impossible. The imagination allows the scientist to build hypotheses, mentally represent and play scientific experiments, search for and find non-trivial solutions to problems. Imagination plays an important role in the early stages of solving a scientific problem and often leads to wonderful guesses.
The study of the role of imagination in the processes of scientific and technical creativity is carried out by specialists in the psychology of scientific creativity.
Creativity is closely connected with all mental processes, including imagination. The degree of development of the imagination and its features are no less important for creativity than, say, the degree of development of thinking. The psychology of creativity is manifested in all its specific forms: inventive, scientific, literary, artistic, etc. What factors determine the possibility of human creativity? 1) human knowledge, which is supported by relevant abilities, and stimulated by purposefulness; 2) the presence of certain experiences that create the emotional tone of creative activity.
The English scientist G. Wallace made an attempt to investigate the creative process. As a result, he managed to distinguish 4 stages of the creative process: 1. Preparation (the birth of an idea). 2. Maturation (concentration, "pulling" of knowledge, directly and indirectly). 3. Illumination (intuitive grasp of the desired result). 4. Verification.
Thus, the creative transformation of reality in the imagination obeys its own laws and is carried out in certain ways. New ideas arise on the basis of what was already in the mind, thanks to the operations of synthesis and analysis. Ultimately, the processes of imagination consist in the mental decomposition of the original ideas into component parts (analysis) and their subsequent combination in new combinations (synthesis), i.e. are analytic and synthetic in nature. Consequently, the creative process relies on the same mechanisms that are involved in the formation of ordinary images of the imagination.