abstract

by discipline:

"Industrial Technologies and Innovations"

“Creative activities, activities in the field of art and organization of entertainment”

Completed: Art. gr. B3121 Gaidukova Xenia

Accepted: Art. pr. Shatalov P.V.

Voronezh 2017

1. Introduction……………………………………………………………………....3

2. The concept of creative activity and its types…………………………........ 4

3. Agency for the organization of holidays…………………………………..…..10

4. Conclusion……………………………………………………………………..14

5. List of used literature..…………………………………..…15

Introduction

Each person in life needs to show certain activities for various reasons: by virtue of earnings or because of love for their work. There can be many reasons. There are currently about 7 billion people on earth. We are all different, and each of us has his own activity. But we are all united by this common need to do something, the need for a purpose in life. Otherwise, our life will seem meaningless to us. Or rather, it will not seem, but it will be like this: you have no purpose in life - that means you do nothing, that means you do not bring any benefit to society, that means you “burn through” your life for nothing.

The concept of creative activity, its types and directions.

Creative activity is a form of human activity aimed at creating qualitatively new social values. The impetus for social activity is a problematic situation that cannot be resolved on the basis of available data in traditional ways. The original product of activity is obtained as a result of an unconventional interconnection of elements of a problem situation, the involvement of implicitly related elements, the establishment of new types of interdependence between them. The prerequisites for creative activity are the flexibility of thinking (the ability to vary solutions), criticality (the ability to abandon unproductive strategies), the ability to converge and link concepts, the integrity of perception, and more. Creativity is the result of activity. However, within the activity itself one can see acts of extraordinary ingenuity, radical novelty. Although there are such moments, acts of activity, in which the creative principle is not so clearly expressed. Thanks to many momentary, instantaneous impulses, an idea is born, carrying with it a certain creative potential, the embodiment of which can be admired after many, many years.

The author in the process of creative research can achieve a result that he did not expect. This is the main advantage of the free expression of their ideas by an artist, writer or artist. Creative activity, in addition to well-known areas, can be implemented in some special way. For example, a world-famous musician, for a number of objective reasons, began to feel a certain limitation of his concert activity and decided to expand his potential. Using personal experience, as well as some technical means, the artist creates a previously unknown musical instrument that revolutionizes the world of music. This is where true creativity lies. History knows many such examples.

Among the main types of human creative activity, we can distinguish the following:

1. Social creative activity

2. Scientific creative activity

3. Technical creative activity

4. Artistic creative activity

Creativity as a social action. The concept of social action is associated primarily with the practical activities of people in the sphere of material production and the change or improvement of existing social relations. Activity should be understood as any manifestation of social activity, which is a way of existence of social reality. Social creativity is the voluntary, feasible participation of a group of people in improving, improving social relations, transforming the situation that is developing in the society around them. Such activity is always associated with the personal initiative of a person, the search for non-standard solutions, the risk of choice, personal responsibility to the public. In terms of the topic under consideration, it is significant that the following social actions can be singled out according to their direction and results (with a certain degree of conventionality): reproductive - aimed at preserving and maintaining the normal functioning of a particular social institution (in the political field, in the field of science - a system of information and education, in technology - standardization). In this case, the interpretation of creativity as a specific type of social action makes it possible to combine its analysis in the psychological and logical aspects with a discussion of the problem on a broader sociological plane. The foregoing is fully applicable to the understanding of scientific creativity.

Creativity in science. Scientific creativity is "an activity aimed at the production of new knowledge, which receives social approbation and is included in the system of science", "a set of higher cognitive processes that expand the boundaries of scientific knowledge". Creativity in science requires, first of all, the acquisition of fundamentally new socially significant knowledge; this has always been the most important social function of science. Consideration of scientific creativity in the aspect of social action requires, as we see, the involvement in the analysis of a set of problems caused by the structure of modern science: the ratio of experimental and fundamental research, management of scientific activity, personnel, information system, financing, planning and organization of science, implementation of scientific research results into production , the social orientation of scientific action, etc. Such questions are within the competence of the now emerging "science about science", science of science.

Technical creativity. The transformation of science into a direct productive force in modern conditions finds its expression in the emergence and functioning of a single system "science - technology - production". Therefore, the analysis of scientific creativity as a social phenomenon also requires the consideration of creativity in technology as one of the necessary components of a holistic social action. The starting point for the analysis of technical creativity is the understanding of it as an essential aspect of social practice. Practice is a socio-historical activity of people aimed at transforming nature and improving the system of social relations. In practice, a person opposes nature as an object of his activity, transforms it expediently and satisfies his needs. Human needs are based on production and determine the production of necessary products. Practical action is realized on the basis of the social subject's awareness of the purpose of the activity, the means of achieving it, as well as the features of the object of transformation. In the process of practice, human needs are objectified, the subjective becomes objective. Objectification is the transformation of the goal from the form of subjective activity into the form of an object. In its highest and most complete form, objectification appears in terms of the expression of the essential forces of man: as a creator. Idea is the universal means of creative activity. The reflection in the idea of ​​the properties of an object coincides with the desire of a person to transform it into a socially significant value. In practice, the object is transformed in accordance with human needs. The content of the idea here passes into the form of activity and from it into the form of being of the created object.

Being socially a certain integrity, practice is found in various forms. One of its essential manifestations is technical practice. The content and levels of this type of practice form the operation, manufacture and design of technology. The product of technical practice is the technique, reliability and efficiency of the functioning of technical devices. Its means are various devices, industrial equipment and test benches, and from the point of view of ideas - scientific, technical and natural science theories. Technical practice forms the immediate basis of technical creativity. Outside of it, without connection with it, there is and cannot be creativity in the field of technology. The creative process in technology, covering both the search for an idea and its implementation, both the development of a person’s spiritual potentials and the creation of an object, is a kind of synthesis of spiritual and material production.

Essence of artistic creation. Unlike scientific and technical creativity, artistic creativity does not have a direct focus on novelty, it is not identified with the production of a new one, although originality is usually present among the criteria for artistic creativity and the evaluation of artistic talent. At the same time, art never denied the strength and power of scientific methods and used them to the extent that they helped to solve the main task of art - the creation of aesthetic values. But at the same time, there is always in art an understanding of superiority over science in the ability to use the power of fiction, intuition and fantasy. Art as a type of human life activity differs, in particular from science, in that the elements of illusory and fantasizing are not only present in the final results of artistic creativity, but also have the same greater value than the results of direct scientific analysis, synthesis, experiment and observation. Thanks to fantasy and fiction, integrity and imagery are realized in art, and art acquires strength and independence.

The relationship of types of creativity An analysis of the social nature of creativity presupposes consideration of its specific types, and along with them, consideration of the types of activity. First of all, two major types of activity can be distinguished: material-practical and spiritual-theoretical. Both, in turn, include a number of smaller varieties. Practical activity is connected with various branches of production, management, service (industry, agriculture, medicine, etc.). Spiritual and theoretical activity finds expression in various forms of social consciousness (morality, science, art, legal consciousness, religion, etc.).

In accordance with various types of theoretical and practical activities, types of creativity can also be defined: scientific, technical, artistic, lawmaking, etc. This conclusion is generally fair, but it is also necessary to take into account specific historical conditions and the interest of individual classes, social groups in progress any particular area of ​​public life. In pre-Marxist sociology, the concept of creativity referred only to the work of artists and scientists, while other types of activity were declared uncreative (especially physical labor). But over time, the relationship between different types of creativity people began to interpret as mutual influence, and not in terms of displacement or complete absorption of one of them by another.

Creative activity is a multi-valued concept. It can be fine arts, and the creation of musical compositions, and poetry, and the organization of any creative evenings or master classes. In general, the organization of something is the creative process.

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Continuity and innovation permeate the entire cultural life of society. Representatives of each new generation are engaged not only in the assimilation, but also in the innovative processing of the cultural achievements of the past, the creation of new cultural values, or, in other words, creativity.

Modern definitions of "creativity" can be found in various literature (philosophical, cultural, psychological, pedagogical) and other areas. In this regard, some definitions are of a scientific (theoretical) nature, others, on the contrary, are of an active nature, and others represent a more emotional, individual view or attitude towards creativity. Let's try to consider several definitions of "creativity" and derive a more complete one, suitable for the topic of our study.

Creativity is a process of activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end expresses some aspects of his personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production. Creativity is a human activity that creates fundamentally new material and spiritual values. Creativity always involves a certain rejection of the old and the creation of cultural innovations. But in different cultures, the direction and nature of creativity can vary significantly. The Western model of creativity is focused mainly on changing the external environment by a person, bringing the world in line with the creative person's own plan. In the East, among humanitarian-educated people, internal creativity prevails, in which the transforming activity is directed by the creator towards himself. Its goal is to transform its own spiritual world.

Yu.B. Borev defines creativity as a historically evolutionary form of human activity, expressed in various activities and leading to the development of personality. The main criterion for the spiritual development of a person is the mastery of a complete and full-fledged process of creativity. Creativity is a derivative of the individual's realization of unique potentials in a certain area. Therefore, there is a direct connection between the process of creativity and the realization of human abilities in socially significant activities, which acquire the character of self-realization. Thus, creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, which helps to expand the limits of human capabilities. If a person has mastered creativity to the full extent - both in terms of the process of its flow and in terms of results - it means that he has reached the level of spiritual development. He can experience the moments of unity of all internal forces. If a person has reached the level of spiritual development, no matter what activity he is engaged in, one thing remains - to wish him a happy journey. And look at him at least sometimes. After all, no doubt, he will teach something good.

Creativity is an attribute of human activity, its necessary, essential, inalienable property. It predetermined the emergence of man and human society, and underlies the further progress of material and spiritual production. Creativity is the highest form of activity and independent activity of a person and society. It contains an element of the new, involves original and productive activity, the ability to solve problem situations, productive imagination, combined with a critical attitude towards the result achieved. The scope of creativity covers actions from non-standard solution of a simple problem to the full realization of the unique potentials of an individual in a certain area.

Creativity is:

activity that generates something qualitatively new, which has never existed before;

creation of something new, valuable not only for this person, but also for others;

The process of creating subjective values.

There are different types of creativity:

production and technical

inventive

scientific

political

organizational

philosophical

artistic

mythological

religious

everyday household items, etc.

in other words, the types of creativity correspond to the types of practical and spiritual activity.

Researchers of the creative factor of a person and the phenomenon of the intelligentsia single out artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.

S. L. Rubinshtein for the first time correctly pointed out the characteristic features of inventive creativity: “The specificity of an invention, which distinguishes it from other forms of creative intellectual activity, lies in the fact that it must create a thing, a real object, a mechanism or a technique that solves a certain problem. the originality of the creative work of the inventor is determined: the inventor must introduce something new into the context of reality, into the actual course of some activity.This is something essentially different than solving a theoretical problem in which it is necessary to take into account a limited number of abstractly distinguished conditions.At the same time, reality is historically mediated human activity, technology: it embodies the historical development of scientific thought. Therefore, in the process of invention, one must proceed from the context of reality, in which something new must be introduced, and take into account the corresponding scientific context. This determines the general direction and the specific character ter various links in the process of invention".

Through creativity, historical development and the connection of generations are realized. It continuously expands the possibilities of a person, creating conditions for conquering new heights. A precondition for creative activity is the process of cognition, the accumulation of knowledge about the subject that is to be changed.

Creativity can take various forms - from the discovery of new laws of nature to the invention of new means and tactics for the destruction of people in the course of hostilities. One and the same discovery can be used both for the benefit and to the detriment of a person. So, the two main driving forces of cultural creativity are an individual and a people or a multitude of people who form a cultural community and create something new in their daily activities. Culture acts as a field for the realization of human creative abilities. However, it not only encourages a person to be creative, but also imposes certain restrictions on him. Cultural prohibitions are designed to protect society from the destructive actions of criminal anti-social elements, limit the influence of supporters of fascism, racism, various forms of extremism that disrupts public life, and prevent predatory attitudes towards nature.

Creativity, as a necessary condition, includes the habituation of its subject into culture, the actualization of some results of people's past activities. The interaction between different qualitative levels of culture that arises in the creative process raises the question of the relationship between tradition and innovation, because it is impossible to understand the nature and essence of innovation in science, art, technology, to correctly explain the nature of innovation in culture, language, and in various forms of social activity without regard to dialectics of the development of tradition. Consequently, tradition is one of the internal determinations of creativity. It forms the basis, the original base of the creative act, instills in the subject of creativity a certain psychological attitude that contributes to the realization of certain needs of society.

The people are made up of individuals. It is the individual who is capable of active creative activity. When we say that the people create culture, this means that the authorship of individual creations is not emphasized and does not remain in people's memory. Different people contribute to what is called the creativity of the people. Before a personality can start active creative actions, it must be formed in a social environment that supports creativity, and does not extinguish, suppress it. If the creativity of an individual coincides with the main direction of social progress, then it can make a significant contribution to world culture. The names of many prominent philosophers, scientists, inventors, artists, writers have firmly entered the history. Often, thanks to their titanic efforts, a real breakthrough took place in culture from one qualitative state to another. The activity of the individual can sometimes be directed against the main line of social progress. There are not so many people whose creative activity can be assessed completely unequivocally - either as good or as bad. Thus, the creators of nuclear weapons not only brought the world to the brink of survival, but also laid the foundation for the development of nuclear energy, which contributed to the solution of complex economic problems.

The transforming activity of a person educates him, the subject of creativity, instills in him the appropriate knowledge, skills, educates the will, makes him comprehensively developed, allows you to create qualitatively new levels of material and spiritual culture, father-in-law, to create. Thus, the principle of activity, the unity of labor and creativity reveal the sociological aspect of the analysis of the foundations of creativity. The culturological aspect proceeds from the principle of continuity, the unity of tradition and innovation. Creative activity is the main component of culture, its essence. Culture and creativity are closely interconnected, moreover, they are interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize its task only by interacting with the spiritual experience of mankind, with the historical experience of civilization. Creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, new more progressive forms of management, education, etc. and pushing the limits of human capabilities. Creativity is based on the principle of activity, and more specifically, labor activity. The process of practical transformation of the surrounding world by a person, in principle, determines the formation of the person himself. Creativity is an attribute of the activity of only the human race. The generic essence of a person, his most important attributive property, is objective activity, the essence of which is creativity. However, this attribute is not inherent in a person from birth. At this time, it is present only as a possibility. Creativity is not a gift of nature, but a property acquired through labor activity. It is transformative activity, inclusion in it that is a necessary condition for the development of the ability to be creative.

G.S. Batishchev in his book "The Dialectic of Creativity" wrote that creativity and activity are fundamentally opposite forms of human activity. A different opinion is held by philosophers who consider creativity as a human activity of the highest level of cognition and transformation of the surrounding natural and social world, creating new objects and qualities, patterns of behavior and communication, new images and knowledge.

The development of any activity, in turn, is determined by the dialectic of the relationship between process and result orientation. In the case of complete disregard for the intended goal, the activity is likened to "field behavior" (according to Levin) or is characterized by dispersion and randomness. When focused only on the result, the activity loses its own goal-setting creative character, and its subject turns into a Homo faber - a doer. It is the harmonious combination of discipline and diligence with initiative that ensures the creative nature of labor, its true purposefulness.

In this sense, creativity as a process of exploring the unknown, creating a new one, knowing one's nature, self-improvement of the individual and the creation of goodness, beauty and harmony is the essence of the human race, which means both the process and the result of realizing the potential of each individual.

The condition of creative activity is the combination and simultaneous development of visual and creative skills - mastery of creative operations with the development of expressive means of the language of fine arts. All creative operations, as mentioned above - change, transformation, layout, are trained on abstract material better and more fully than when depicting integral objects. Creative skills are most trained on non-standard tasks.

An equally important condition for the formation of abilities for creative activity is the principle of differentiation and integration. Creativity itself, built on a non-standard combination of different elements, cannot be built on ready-made, rigidly formed forms. Therefore, all abilities for creativity must be built on the development of the qualities of mental processes serving it - perception, memory, thinking and imagination. In each phase, different qualities of mental processes are leading.

These qualities should in each case focus on the formation of the ability to:

to independently see and pose problems and topics;

possess the skills of independent search for their implementation;

· To be fluent in all special skills, creative style of activity.

In the formation of creative abilities, self-knowledge and the search for an individual style of activity based on psychophysiological characteristics are mandatory, which include: the speed of inclusion in work, the duration of working capacity, the conditions necessary for the awakening and flow of creativity. In addition, you need to analyze your mental processes, try to find ways of activity that will help compensate for the missing qualities.

The way of creative activity is the improvement of the way of activity. The method of creative activity is equal to the way of activity and the way of creativity (type of thinking). Mode of activity - covers the real features of the labor process, directly performed actions. It is devoid of creativity.

An important concept in this topic is "method". A method is a sum of techniques that best suit a person's approach to displaying reality and remain beyond the reader's perception. A method is a sequence of scientifically substantiated actions of a mental and practical nature necessary for solving problems of one type or another. "Method of creative activity" - a combination of real components of activity, thanks to which the intended result is achieved. The mode of activity always includes certain methods as one of the means of activity. However, in another respect, on the contrary, the concept of "method" is broader.

Self-knowledge includes the choice of one's theme in art, finding the conditions most favorable for creativity, developing a mode and rhythm of activity corresponding to the dynamics of working capacity.

The classics in the psychology of creativity argue that only a person who has found his own individual style of activity becomes a genius in any kind of creativity.

In addition, systematic and constant involvement in creativity and the search for something new in the performance of all types of activities are necessary, the requirement not to allow the standard and template to appear anywhere. Initially, this causes volitional efforts, and then turns into a habit and turns on automatically as a personal formation.

The maintenance of creative potential is facilitated by setting new goals and objectives, mastering more complex types of creative activity, since functioning in a practiced type of activity reduces energy tone and creativity.

Creative activity in the proper sense is called, as we have already said, activity that produces new, original products of high social value. Scientific research or invention, the creation of a work of art, the finding by a Stakhanovist worker of a way to increase labor productivity, or by an innovator-collective farmer of a new method of increasing productivity are typical examples of creative activity.

The processes of creativity can proceed very differently, depending on the content of the activity itself and on the individual characteristics of the personality and talent of the creator. However, we can point out some points that are characteristic of most cases of creative activity.

1) Inspiration

The first thing that always attracts attention when analyzing the creative process is that state of special tension and the rise of all the forces and abilities of a person, which is denoted by the word inspiration. It is usually associated with the most important, decisive moments of creative activity - with the emergence of the concept and idea of ​​a work, with finding a solution to a scientific problem, the principle of invention or the idea of ​​​​an operational plan, with the creation of central images of a work of art and its most penetrating and exciting moments.

The state of inspiration is characterized primarily by a complete focus on the subject of creativity and distraction from everything else.

One of M. A. Sholokhov's fellow countrymen, his fishing companion, told such a story. “Abandoning his fishing rods, Sholokhov sat down on the banks of the Don with a pipe in his teeth. He sat like that, not moving, looking at one point, for more than an hour. In vain did his companion speak to him—he received no answer. The tense posture, the motionless gaze fixed on the water, the complete indifference to the surroundings frightened the comrade. He decided to follow Sholokhov's every step. Finally, as if waking up from oblivion, Sholokhov began to collect tackle and ran home. He then sat at the table all day and all night and wrote.

The result of such exceptional concentration of attention is the maximum sharpening of consciousness, its maximum clarity. “Inspiration,” in the words of Pushkin, “is the disposition of the soul towards the most lively acceptance of impressions and the consideration of concepts, consequently, and the explanation of them.” This is the reason for the extraordinary productivity of work in a state of inspiration.

But just because the consciousness is entirely concentrated on the subject of creativity, the very process of creativity is very little realized in a state of inspiration. The artist usually cannot answer the question of how the most inspired images were born in him, the scientist cannot say how the decisive idea of ​​his discovery came to his mind in the moment of “enlightenment”. In a state of inspiration, a person is less than ever able to follow how his processes of thinking and imagination proceed. Therefore, in a state of inspiration, creative processes are little conscious. But this does not mean that creativity itself in a state of inspiration is, as is sometimes thought, "unconscious". Just the opposite. The unconsciousness of creative processes is a consequence of the maximum consciousness of creativity itself.

Inspiration is characterized not only by focusing attention on the subject of creativity, but also by emotional immersion in it, deep capture by those feelings that are excited by the subject of creativity.

We have cited examples related to this in §§ 42 and 54. Inspiration is a state of great emotional upsurge, in which, however, exceptional clarity of consciousness is preserved.

One of the most important psychological features of a truly productive creative process, which is most clearly manifested in a state of inspiration, is the joint work of imagination and thinking. Creativity is equally impossible without imagination and without strict critical thought. According to the figurative expression of Leo Tolstoy, "a thinker, an artist and a critic must act simultaneously in a writer."

2) Preparatory stages of the creative process

It often happens that the main ideas that provide a solution to a scientific problem, or the central moments of a work of art, are created during relatively short periods of great upsurge of inspiration. But this does not mean that the whole process of creativity is exhausted by such "flashes of inspiration". Brief periods of exceptional creative productivity are always only the result of a great deal of preliminary work. If the solution to the most complex scientific problem sometimes comes to the mind of a scientist as if suddenly, without any effort, at the most unexpected moment - on a walk, in a tram, in a theater, in bed before falling asleep or after waking up - then in reality, of course, not this one. the moment gives the decision; it is only the end point of a long process of creative work. Preliminary work, which serves as a preparation for a creative solution to a problem, consists in studying, thinking about this problem and in collecting the necessary materials. Such preparation takes place not only in the work of a scientist, but also in the work of a writer, an artist. From the materials that Tolstoy used when writing War and Peace, he, in his own words, "formed a whole library."

However, the preparatory work is not limited to collecting materials specifically for the implementation of this plan. Of no less importance is what can be called the collection of materials "for the future", which is a necessary moment in the creative activity of both the scientist and the artist. Every good specialist is constantly busy collecting factual data in the field of his specialty and thinking, comprehending them. Therefore, when confronted with any new problem, he already has a considerable supply of preparatory material, facts and ideas. The ability to give quick solutions to new questions is the result of such a general training in a certain area of ​​​​creative activity.

In some specialties, this kind of “preparing oneself” for solving creative problems is even more important than long preliminary work specifically on this problem. This is the case, for example, in the activities of a military commander, who is often deprived of the opportunity to study and ponder the problem that confronts him for a long time and therefore must prepare himself, his mind in advance to quickly give a creative solution to new, unexpected, unforeseen problems.

In the field of art, creative activity is absolutely impossible without "collecting material for the future." Let us recall the words of Gorky that we quoted: “It is necessary to take a very good look at a hundred and another priests, shopkeepers, workers, in order to approximately correctly paint a portrait of one worker, priest, shopkeeper.” If the writer for the first time began to “look narrowly” at a certain category of people only when he starts working on a work, it would take him several years to create each individual image. The creative work of an artist presupposes the presence of a sufficiently large stock of life observations. In the continuous replenishment of this reserve, that observation of the artist, which is a necessary condition for artistic creativity, is reflected.

Studying the qualities of the mind and volitional qualities of a person, we noted that the true speed of thought, as well as true decisiveness, has nothing to do with haste. The negative meaning of haste must also be kept in mind when analyzing creative processes. Any major work must be not only carefully prepared, but also "carried out". In the words of Alexei Nikolaevich Tolstoy, "impatience must be restrained." Great figures of art and science were able to nurture their creative ideas for years and as a result of this they created really significant works.

Darwin's work on the Origin of Species is very instructive from this point of view.

In 1837, separate outlines of ideas relating to the theory of evolution appear for the first time in his notebook. There are reasons to think that in 1839 the general outlines of the theory were already outlined. However, only three years later, in 1842, Darwin sketched on paper the first, still relatively brief, outline of his theory. This "Essay of 1842" already contains all the main sections, all the main ideas of the "Origin of Species", but it is 12 times shorter than the famous book and has the character of rough, unformed sketches. Two years later, Darwin writes four times more detailed and much more polished "Essay of 1844". It took, however, another 15 years before Darwin found it possible to start writing the book itself. These 15 years were entirely devoted to further collecting materials and finding new proofs of the main provisions of the theory. By the end of this period, Darwin had accumulated such a huge amount of draft notes that, according to him, it took a whole year just to go through them and put them in order.

It is easy to understand that after such preparatory work, the writing of the book could be done in a very short time: Darwin began writing On the Origin of Species in July 1858, and in April 1859 the book was already in print.

3) Labor and creativity

Creativity is, first of all, a great, constant and intense work. Only he can create who knows how to work, who is capable of assiduous, tireless, sometimes painstaking work, of “terrible work,” as L. N. Tolstoy called the creative work of the writer. Gorky argued that he owed his success primarily to "the ability to work, love for work."

The main condition for the productivity of creative activity is constancy in work and systematic, regular work.

The fact that the most important moments of creativity are connected with the state of inspiration can give the impression, on a superficial approach, that creative work is carried out mainly in short bursts and does not require diligent and regular work. This impression, however, is profoundly mistaken. First, as we have already seen, a rich creative output in moments of inspiration is created not only by these moments, but by all the long previous work. Secondly, the very state of inspiration is for the most part the result of systematic, regular work. You need to be able to force yourself to work regularly and in the absence of inspiration; only under this condition can one count on any frequent appearance of inspiration itself.

It is extremely instructive to get acquainted with the attitude towards this question of Tchaikovsky, who can serve as a model of a truly inspired artist. “You always need to work,” he wrote, “and a real honest artist cannot sit idly by, under the pretext that he is not in the mood. Inspiration is such a guest who does not like to visit the lazy. She comes to those who call her. The whole secret is that I worked daily and accurately. In this regard, I have an iron will over myself, and when there is no particular desire to study, I always know how to force myself to overcome disinclination and get carried away. I set myself at all costs to do something every morning and I will achieve a favorable state of mind for work.

Turgenev had the same attitude towards creative work when he wrote to one young writer: “There is nothing to wait for the so-called blessed moments of inspiration: it will come - so much the better, but if not - still work.”

Inspiration is the state most favorable for creative work. But it comes by itself as a result of this work. “It seems to me,” Gorky wrote, “that inspiration is mistakenly considered the stimulus of work, it is probably already in the process of successful work, as a consequence of it.”

Review questions

1. What is the relationship between motives and tasks of activity?

2. What is called the "height of motivation"?

3. What is a skill?

4. What is the relationship between skills and creativity?

5. List the most important points that characterize the formation of skills.

6. What is the difference between true skill and mere skill?

7. Under what conditions does a repetition become an exercise?

8. What is a habit and how does it differ from a skill?

9. What are the characteristics of the state of inspiration?

10. What forms do the preparatory stages of the creative process have in various activities?

11. What conditions contribute to the productivity of creative work and, in particular, the emergence of a state of inspiration?

CREATIVE ACTIVITY

the form of activity of a person or a team is the creation of a qualitatively new one that has never existed before. The incentive to T. is a problematic situation, to-ruyu it is impossible to resolve the tradition. ways. The original product of activity is obtained as a result of the formulation of a non-standard hypothesis, the discretion of non-traditions. interrelations of elements of a problem situation, involvement of implicitly related elements, establishment of new types of interdependence between them. The prerequisites for Etc. are flexibility of thinking (the ability to vary methods of solution), criticality (the ability to abandon unproductive strategies), the ability to converge and link concepts, integrity of perception, etc. The makings of creative abilities are inherent in any person, any normal child. You need to be able to open them and develop them. Manifestations of creative abilities range from large and bright talents to modest and unobtrusive ones. But the essence of the creative process is the same for everyone. The difference lies in the specific material of creativity, the scale of achievements and their societies, and significance.

With the traditional forms of teaching the student, acquiring and assimilating in the account. process some information, becomes able to reproduce the methods of solving problems indicated to him, proving theorems, etc. However, he does not take part in the creative search for a way to solve the problem posed and, therefore, does not acquire. the experience of such a search. The more the problem to be solved differs from the familiar one, the more difficult it is for the student to find the search process itself, if he does not have special skills. experience. Therefore, it is not uncommon for a graduate cf. school, successfully mastered the material school. programs that can't cope with . course exams. tasks at the university (built on the same material), since they require a non-standard approach to their solution.

Putting forward a new hypothesis in connection with a new problem requires special activities, which depend decisively on the abilities of the researcher. These are formed in the activity of the students themselves. No story about the role of hypotheses can replace in the development of a person's ability to explore even a small, but independently put forward hypothesis. It is also known that in order to solve a number of problems it is necessary to consider traditional methods. way from a completely new, unexpected angle. However, knowing this does not ensure that this new angle of view is found in the course of a particular study. Only practical. research experience develops this ability.

To form a creative experience, it is necessary to design a special. ped. situations that require and create conditions for creative solutions. The possibility of constructing such situations is due to the fact that the creativity of Ch. arr. is carried out on problems already solved by society and the ways to solve them are already known. Therefore, for the learning process, T. d. requires adjustments. Students only in cases, to a certain extent. level of their development and depending on the organizing activities of teachers can create new values. The absence of societies, novelty in the results of students' creativity does not lead to a fundamental change in the structure of their creative process. Therefore, in relation to the learning process, creativity should be defined as a form of human activity aimed at creating qualitatively new values ​​for him, having societies, meaning, i.e. important for the formation of the individual as a society, a subject.

Problem situations can be put before students decomp. ways: by a clear statement of the problem by the teacher; by creating a situation in which students are required to understand and formulate the problems in it themselves; by creating a situation with a more or less clearly defined problem, but according to the logic of finding a solution, a student must come to a new, complementary, problem that he himself identified and provided for when constructing the situation. A special variant is the case when, in the course of solving a certain problem, the student independently discovers a new problem that was not foreseen when constructing the situation.

The occurrence or existence of a single problem does not determine the possibility of its solution. For the latter, it is necessary to carry out independently. search, which requires certain initial data, i.e. reliance on the known, which makes it possible to implement this search. Uch. A problem situation can be defined as a task with the necessary data as a condition. To these data, a question is posed, in one form or another formulating a problem for subsequent solution. Then the content of any task will be a problem based on a contradiction between the known and the desired. In the process of solving these problems, built on the need to selectively activate what they already know, students can independently penetrate into the deeper aspects of phenomena. In the practice of teaching, it is also necessary to apply tasks that require only the formulation of a hypothesis. In this case, the student is not required to make a reasonable full decision. He must only construct a plan for searching for an answer, which so far appears to him only hypothetically. The solution of these problems develops in students the ability to mobilize their existing knowledge and include it in the process of analyzing new situations, the desire to find a new approach, a new type of solution. That. the FOUNDATIONS are being laid, etc. SM Mikhailov.

Lit .: Alekseev N. G., Yudin E. G., Research of creativity in science and teaching creativity at school, in the book: Nauch. creativity, ed. Edited by S. R. Mikulinsky and M. G. Yaroshevsky. Moscow, 1969. L with p and with p I. Ya., Search tasks in teaching as a means of developing creative abilities, ibid.; Kapitsa P. L., Some principles of creative upbringing and education of modern. youth, VF, 1971, No. 7; Ponomarev Ya. A., Psychology of creativity and, M., 1976; Luk A. N., Psychology of creativity, M., 1978.

Russian Pedagogical Encyclopedia. - M: "Great Russian Encyclopedia". Ed. V. G. Panova. 1993 .

Synonyms:

See what "CREATIVE ACTIVITY" is in other dictionaries:

Creative activity- the creation of cultural values ​​​​and their interpretation ... Source: Fundamentals of the legislation of the Russian Federation on culture (approved by the Supreme Court of the Russian Federation on 09.10.1992 N 3612 1) (as amended on 05/08/2010) ... Creative activity is an activity that generates something qualitatively ... ... Official terminology

Creative activity- an activity that generates something qualitatively new that has never existed before. It can be a new goal, a new result or new means, new ways to achieve them. Combination occupies an important place in creative activity, ... ... Wikipedia

CREATIVE ACTIVITY Law Dictionary

creative activity- n., number of synonyms: 1 art (45) ASIS Synonym Dictionary. V.N. Trishin. 2013 ... Synonym dictionary

creative activity- 3.51 creative activity: The mental activity of the operator, aimed at the formation of new information that ensures the achievement of some goal. 3.52 Source... Dictionary-reference book of terms of normative and technical documentation

CREATIVE ACTIVITY- - an activity in which creativity as a dominant component is included in the structure of either its goal or methods ... Modern educational process: basic concepts and terms

CREATIVE ACTIVITY- the creation of cultural values ​​and their interpretation (Fundamentals of the legislation of the Russian Federation on culture of October 9, 1992) ... Encyclopedic Dictionary of Economics and Law

creative activity- according to the definition of the Fundamentals of the Legislation of the Russian Federation on Culture of October 9, 1992, the creation of cultural values ​​​​and their interpretation ... Big Law Dictionary

Creative activity- the form of activity of a person or a team - the creation of a qualitatively new one, which has never existed before. The incentive to Etc. is a problematic situation that cannot be resolved by traditional methods. The original product of activity ... ... Pedagogical terminological dictionary

Creative activity- creation of cultural values ​​and their interpretation. Fundamentals of the legislation of the Russian Federation on culture dated 09.10.92 N 3612 I, art. 3 ... Dictionary of legal concepts

Books

• The creative activity of a journalist, Samartsev O.

CREATIVE ACTIVITY - a form of human activity aimed at creating qualitatively new social values. The incentive for creative activity is a problematic situation that cannot be resolved on the basis of available data in traditional ways. The original product of activity is obtained as a result of formulating a non-standard hypothesis, seeing an unconventional relationship between the elements of a problem situation, involving implicitly related elements, and establishing new types of interdependence between them. The prerequisites for creative activity are flexibility of thinking (the ability to vary solutions), criticality (the ability to abandon unproductive strategies), the ability to converge and link concepts, integrity of perception, etc. The makings of creative abilities are inherent in any person, any normal child. You need to be able to open them and develop them. The manifestation of creative abilities varies from large and bright talents to modest and unobtrusive ones. But the essence of the creative process is the same for everyone. The difference is in the specific material of creativity, the scale of achievements and their social significance. Elements of creativity are also manifested in solving everyday life problems (they can be observed in the "ordinary" thought process).
With traditional forms of education, the child, acquiring and assimilating some information, becomes able to reproduce the methods indicated to him for solving problems, proving theorems, etc. However, he does not take part in the creative search for a way to solve the problem and, therefore, does not acquire the experience of such a search. The more different the problem to be solved from the familiar, the more difficult the search process itself for the student, if he does not have specific experience. Therefore, it is not uncommon for a high school graduate who has successfully mastered the material of the school curriculum to fail to cope with the competitive examination tasks at the university (built
on the same material), because they require a non-standard approach to their decision.
Putting forward a new hypothesis in connection with a new problem requires special activities, which depend decisively on the abilities of the researcher. These abilities are formed in the activities of the students themselves. No story about the role of hypotheses can replace in the development of a person's ability to explore even a small, but independently put forward hypothesis. It is also known that in order to solve a number of problems, one has to discard all traditional ways and consider them from a completely new, unexpected angle of view. However, knowing this does not provide a new point of view in the process of a particular study. Only practical research experience develops this ability.
In order to convey creative experience, it is necessary to design special situations that require a creative solution and create conditions for it. The possibility of constructing such situations is due to the fact that teaching creativity is mainly carried out on problems that have already been solved by society and the methods for solving which are already known. Therefore, for the learning process, the definition of creative activity requires adjustment. Children in the overwhelming majority do not create new values ​​for society. They reproduce values ​​already known to society and only in some cases, at a certain level of their development and depending on the organizing activity of their elders, can they create new values ​​for society as well. The absence of social novelty in the results of children's creativity does not lead to a fundamental change in the structure of their creative process. The stages of the creative process, its inherent regularities are equally manifested both in the activities of scientists and in the activities of schoolchildren. At the early stages of education, the manifestation of a common creative path is only complicated by the lack of the necessary culture among students. The sooner children acquire the skill of correct proof, the ability for consistent reasoning, for the ratio of the solution obtained to the problem with the desired one, the more the commonality of the creative process of scientists and children is revealed. Therefore, in relation to the learning process, creativity should be defined as a form of human activity aimed at creating qualitatively new values ​​for him that are of social importance, i.e. important for the formation of personality as a social subject.