According to the type of product that is obtained as a result of creative activity, there are three types of creativity: scientific; technical; artistic.

Scientific- (the image of a nut) creativity reveals new facts and laws, something that exists, but that was not known.

Scientific symbols are conventional, i.e. are the result of an agreement ("convention") between specialists. One and the same scientific image, generally speaking, can be designated by different symbols. As is well known, scientific terminology is not a matter of truth, but of convenience. A scientific symbol in itself (as such) does not carry any rational information: such information is contained only in its meaning. So, for example, by studying the structure of the word "crystal", one cannot learn anything about crystals. This is a consequence of the fact that the scientific symbol does not coincide with the scientific image. In contrast to this, the artistic symbol, coinciding with the artistic image, sometimes contains very valuable rational information.

Technical- (the image of a centaur) creativity invents something that was not there - new devices, methods of action, etc.

There are two forms of obtaining a creative result (solution): invention; rationalization.

The invention is a new technical solution of a problem with significant differences in any field of economic activity, social and cultural construction or national defense. As a rule, the result of the invention should give a positive effect.

Only such activity can be classified as creative, the result of which can be the creation of things of high social significance. The result of creative activity does not always coincide with the result of its practical applicability and significance.

artistic- (image of solution) creativity includes a figurative understanding of the world and the creation of a new reality, occurs at two levels - professional and amateur.

Art is always organically connected with the individuality and personality of the artist. A work of art cannot be repeated, like any individuality, neither in content nor in form, and requires a new picture in each work.

An artistic image is an original poetic form of embodiment, objectification of a well-known meaning (for example, three heroes - an image of the Russian land; a thin mountain ash - an image of female loneliness). With the help of an artistic image, art conveys meaningful information about the world. Strictly speaking, art thinks in images. The artist's thinking is associative, emotionally saturated. In his imagination, first, a certain ideal model of the spiritual content that he wants to put into the created work is born.

Art does not just reflect life like a soulless mirror, but embodies it the way a person sees, feels, understands. A person considers each object or phenomenon from the point of view of its significance for his own life, the life of other people and the world around him. In an artistic image, reality is transformed, and the same meaning can be embodied in a variety of images. One can consider an artistic image as a unity of the objective and the subjective, since it both reflects life and subjectively refracts it.

Outwardly, such incompatible varieties of artistic, scientific and technical creativity turn out to be closely related in practice. An imaginative artist needs a strict calculation in the construction of the composition of the picture, the ability to prime the canvas, mix paints. The architect must not only imagine the appearance of the future building, but also know how to implement the project on a specific area, in certain seismic conditions, how to bring water to the building, how to achieve the best illumination of the interior space. He draws this knowledge from the theories discovered by scientists. Inventors, on the contrary, strive to clothe technical innovations in aesthetic forms, so an exhibition of modern car models is not much different from a vernissage in an art gallery.

1.4.The specifics of artistic creativity

Artistic creation is a mysterious process. This is the process of creating a work of art, the artistic value of which always contains, to a greater or lesser extent, an element of novelty. Kant said: “Homer or Wieland cannot show how complete fantasies and at the same time ideas rich in thoughts appear and combine in his head, because he himself does not know this and therefore cannot teach this to anyone else.” More A.S. Pushkin wrote: "Every talent is inexplicable."

The logic of artistic creativity: a generalized experience (a generally significant emotion); expressive speculative model (artistic image); expressive material model (work of art). Artistic image as a process, the main stages of its creation.

Image

(from lat.) imago - image, imprint, reflection, ideal model;

(from Greek) eidos - eidos, visible essence, essence;

(from German) Gestalt - Gestalt, form, prototype, structure.

The ambiguity of this concept predetermines the richness of single-root words and derivative phrases and expressions of different semantic and emotional content - from positive (exemplary, figurative, education, etc.) to purely negative (exemplary, ugly, etc.).

From Ozhegov's dictionary:

1. In philosophy: the result and the ideal form of reflection of objects and phenomena of the material world in the human mind;

2. View, appearance. For example: create something. in his own image and likeness. Lose the image (appearance) of the human. In the image (in the form) of someone;

3. At the sensory level of knowledge - sensations, perceptions, ideas. For example: a bright image of the mother;

4. At the level of thinking - concepts, judgments, conclusions. For example: works mainly in the laboratory. How did he get here? Figurative thinking, etc.;

5. Artistic image - a form of reflection of reality specific to art and expression of thoughts and feelings of the artist;

6. In a work of art: type, character. For example: Plyushkin is the image of a miser. The artist got into character.

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, expresses some aspects of his personality in the final result. It is this fact that gives the products of creativity an additional value in comparison with the products of production. Creativity is 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 the 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 inventor's creative work is determined: the inventor must introduce something new into the context of reality, into the actual course of some kind of 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 identified 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 basis 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 that serve 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.

Scientific and artistic creativity

Introduction

Chapter 1 Creativity as a form of human activity

1.1 Definition of creative activity

1.2 Socio-historical foundations of the creative process

1.3 Concepts of artistic creation

Chapter 2 Psychological features of the creative process

2.1 The artist's world of feelings

2.2 Children's creativity and development of artistic abilities

Conclusion

Bibliography

Introduction

In the creative activity of a great artist, as well as a scientist who makes genuine discoveries, the highest possibilities of human nature are manifested. It is necessary to consider in detail, comprehend, understand the manifestations of such intense creative activity, to see the features of its course in order to understand the essence of man.

When referring to the scientific analysis of the artist's work, one has to take into account certain difficulties in interpreting the nature of the course of mental processes that we encounter. They are associated with the specific features of the artist's work, which are associated with its complexity and the fact that the creative process has a pronounced personal meaning for the artist.

So, for example, we can talk about that peculiar state and well-being that often arises in an artist, which they themselves call inspiration, creative delight, sudden insight, etc. This state has very peculiar features.

This work does not pretend to be a comprehensive study of the psychology of artistic creativity. Its task is to trace in general terms the stages of the creation of a work of art, to tell about the main patterns of this process, which form the concept of the psychology of artistic creativity.

CHAPTER 1 Creativity as a form of human activity

1.1 Definition of creative activity

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. So, for example, A. S. Pushkin, seeing Anna Kern, wrote the famous poem “I remember a wonderful moment” and there are many such examples in any kind of art.

Human creativity is multifaceted. It shows up everywhere. There are many inventors and innovators among us. The Russian philosopher V. I. Vernadsky reflected on how a Martian sees our planet, if, of course, there is life on Mars. And an idea was born in the scientist's head: probably, aliens contemplate not the blue of the seas, not the greenery of the forests, but some kind of glow of thought.

In fact, over the dead matter in the life following it, another layer arose - the sphere of thought. Enormous spiritual riches, which are created by man, seemed to encircle the entire globe. The flame of thought hotly envelops our planet, spreading beyond the biosphere, that is, the sphere of active life, above it ... Vernadsky called it a "thinking layer" - this is the sphere of spiritualized thought, the majestic manifestation of the human mind.

It is not easy to distinguish between creative and non-creative human activity. Berdyaev emphasized: creativity is inseparable from freedom, and this should be, first of all. Freedom of the spirit. The secret of creativity is the secret of freedom. The riddles of creative abilities are inherent in every person, in any normally developing personality.

The manifestation of creative abilities range from large and obvious to modest and subtle. 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 manifested in solving everyday creative problems (they can be observed in the usual thought process).

1.2 Socio-historical foundations of the creative process

An artist, as a person who devotes himself to activities in the field of art, could appear only under certain conditions for the development of society and human culture. It was formed not earlier than there was a clear need of society for a work of art, and consequently for people who could create such works.

In the life of human society, at a certain level of historical development, such specific values ​​as works of art appeared. And this social value had to become sufficiently general and significant to take a certain place in people's minds.

The emergence of professional artists in society is associated with the division of labor, which created certain material and spiritual conditions for this. At a certain, at a fairly early historical stage in the development of mankind, a social need arises - in understanding the surrounding life and the existence of people.

There is also a need for a stable capture of any events, of what is significant for the people of their time, for the era as a whole. And now cultural monuments appear, oral and written works are born.

The emergence of the artist is closely linked with the social development of society. That is why the work of the artist reveals what lives his time, his era. This is reflected both in the selection of subjects by him, and in the nature of the illumination of the phenomena of life shown by him. At the same time, in a society divided into classes, the artist, along with the fact that he embodies in his works that general thing that characterizes the era as a whole. It also expresses in them, in a more or less distinct form, how that class lives, that social group to which it belongs, whose views and attitudes towards life it shares.

1.3 Concepts of artistic creation

In this sense, the artist is always tendentious. The idealistic concept that the creative process of the artist takes place in a dream state. He is, as it were, in a state of sleep when the stanzas of a poem or a literary novel appear in his head. The romantic poet Novalis spoke about this.

Hegel wrote in his “Aesthetics”: “It is absurd to think that a true artist is not aware of what he is doing ... A person does not achieve consciousness of what lives in him without reflection, and therefore, on any great work of art, one can see that its material was weighed for a long time and deeply and thought out in all directions ... "

But despite Hegel's critical remarks, there are a lot of idealistic and anti-scientific concepts about the psychology of the artist's creativity in philosophical, aesthetic and other literature.

E. Hartmann, the author of the "Philosophy of the Unconscious", speaks in the second half of the 19th century with a statement about the impossibility of supposedly the science of creativity, since "the unconscious process underlying (creativity) is by no means accessible to self-observation."

However, if we turn to the objective data of the creative process - plans, sketches, sketches, draft versions of works of art, as well as to the testimonies of the artists themselves, it becomes obvious that this process is conscious, and therefore amenable to scientific study.

Outwardly, Hartmann's other statement may seem more justified, which is expressed in the following form: “The concept of genius is a passive perception independent of the will; least of all is it the fruit of the most intense search; on the contrary, it arises completely unexpectedly, as if falling from the sky - while traveling, in the theater, in conversation, wherever it can be least expected and always suddenly and instantly. However, in this case, Hartmann confuses the psychological conditions under which an idea can arise, the idea of ​​a work (unexpectedly, at some point) with the reasons for its appearance, which consist precisely in the long and intense preparation of the artist for future creative acts, as we will see. further.

In the 20th century, the concept of the role of the unconscious in the work of the artist appears in different forms. Thus, Freud's theory turned out to be fashionable and spread among critics and artists. This is a theory that raises the beginning of the unconscious in the life and activities of people, claims that the force that drives the actions and behavior of people is sex; (libido), acting in various, sometimes veiled forms. And the creativity of the artist, determined by irrational impulses, is nothing more than a kind of manifestation of libido. These sexual aspirations find their expression in the chosen theme and the nature of the very content of the works of art.

Based on the Freudian concept, the bourgeois psychoanalyst Otto Rank interpreted the creative activity of the actor and the playwright accordingly. The "Oedipus complex", which consists in the son's erotic desire for his mother and in the latent hatred for his father, is put at the forefront in the approach to a number of works of dramatic literature. Suffice it to say that Hamlet's behavior is explained by the Freudians mainly with erotic motives. It was as if he experienced an unconscious, unnatural passion for the Queen Mother, and this determined his actions.

It is absurd to think that the principle of pan-sexualism, asserted by Freud, and reducing artistic creativity to subconscious, predominantly sexual instincts, even in a sublimated, i. live in human society. Such a principle represents in a distorted form the whole system of human motivation. He crosses out the huge role of consciousness in determining the actions of a person, which is well known to everyone from direct experience.

In fact, (it is the conscious aspirations of the artist to perform creative work, associated with a deep understanding of his activities in the field of art as a creative reflection of reality, that lead to the activation of all the forces of the will and mind of the artist to carry out creative acts. And only with this approach to The psychology of creativity can explain the complex structure and variety of creative operations that an artist performs during long-term work on a work of art.

More recently, Erich Neumann, author of Depth Psychology and Ethics, stated the following: “We know that the creative power of the unconscious seizes the individual with the autonomous power of instinctive drive and takes possession of him without the slightest regard for the life of the individual, his happiness, his health. The creative impulse is generated by the collective: like any instinct, it serves the will of the people, but not the individual. The understanding of creativity as following a certain fate is today quite typical for a number of foreign thinkers.

These are the most common idealistic concepts about the essence of the artist's creative process. All of them distort the real process of the artist's activity, the conditions for its emergence and course, primitivize the complex and multifaceted nature of human mental processes and reduce them to one or another manifestation of unconscious instincts. Instead of studying the creative work of the artist in its diversity, they arbitrarily snatch out individual statements of artists about the process of creative activity for the sake of a certain concept and interpret them. Thus, under the guise of an "in-depth" approach to the phenomena of creativity, in fact, an anti-scientific approach to them is being asserted.

But if we reject such theories as incorrect and unscientific, then it does not follow from this that we also discard those real facts in the creative activity of the artist, which served as an impetus for the emergence of such concepts.

The task of scientific psychology is to explain all the variety of mental processes and states that take place during the creative activity of the artist, which proceeds in different ways and is characterized by various features depending on the field of art and on the individual qualities of the artist.

When we analyze the creative process of an artist using their individual statements, letters, notes, diaries, as well as observations of their work by close people, we are faced with a very complex and psychologically complex process.

Chapter 2 Psychological features of the creative process

2.1 The artist's world of feelings

In creative activity, if it becomes a life vocation, the whole person is involved, with his inherent attitude to reality, with his beliefs and views, with the main circle of his requests and interests, with the world of his feelings and motives for his behavior. During the creative process, all the spiritual forces of the artist are mobilized, not all the past experience of impressions, various kinds of experiences, etc. And this complexity of psychological activity explains some specific features of the process of the artist's creative work.

So, in certain periods of the artist's life, when he is all directed with his thoughts, desires, hopes in the field of creativity, despite the generally conscious direction of creative activity, many of his unconscious aspirations can manifest themselves, can suddenly emerge about consciousness of the event of his past experience, some images unexpectedly appear in the imagination, as well as creative solutions, new combinations of images, etc. At such moments, individual elements of the work can be experienced as a sudden insight, intuitive comprehension of some new aspects of human life in familiar plot, etc.

Scientific consideration of the psychology of artistic creativity is associated with the study of many problems. Here is the question of the stages of the artist's creative process, the role of individual components of his mental life in this process - thinking and fantasy, memory and feelings, etc. Here is the question of the nature of inspiration and the psychological conditions that contribute to its emergence, the relationship and unconscious elements in the artist's work, etc.

All these complex and sometimes contradictory phenomena of mental activity during the artist's creative process, contrary to the views of idealists, are certainly accessible for scientific consideration, especially since there is not a single area of ​​mental activity that would fundamentally not lend itself to scientific psychological study.

The responsiveness of the artist to the phenomena of reality, psychologically manifested in various forms, is a responsiveness of a special kind. The artist not only responds with an experience to this or that phenomenon, incident, event, but also rethinks it, sees in it something that can become a stronghold for creative reincarnation and be captured in various images of art.

The craving for the creative capture of what the artist was affected by the influences of life and the search for those expressive forms and means in which artistic content can be embodied has a different level and different motivating force.

Of course, the activity of any person is always determined not by one, but by a whole group of motives. This also applies to the work of the artist. However, in this group of motives there are always those that have a dominant character. And now, when art - whether it be the work of a composer, novelist, director, painter - has become a vocation, turned into a great, and sometimes all-consuming passion, then it changes the psychology of a person, direction of his personality. And this is reflected in his "greed" for his favorite work.

So, the ninety-year-old Titian continued to engage in creative work until his last breath. His tireless, creative work is convincingly evidenced by the impressive painting “Saint Sebastian”, painted to the fullest extent of the master, located in the State Hermitage Museum in Leningrad, which he painted at the age of 90, shortly before his death from the plague.

When, in old age, I. E. Repin's right hand began to dry, he began to learn to paint with his left hand, if only to work. O. L. Knipper-Chekhova, already in her declining years, spoke about what a never-ending “hunger” she had for acting roles that she would like to play. “So I’ll die forever hungry!”

All this leads to a different, higher level of mobilization of creative potentials.

So, such an organization of a person’s personality has taken place, which indicates that a person-artist has really formed. , which allow him to convincingly capture what he would like to embody in a work of art.

2.2 Children's creativity and development of artistic abilities

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, therefore, he does not gain experience in 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 competitive examination problems at a university (based 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 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 investigate 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 ensure finding a new angle of view in the course of a particular study. Only practical 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 the values ​​already known to society and in some cases, at a certain level of their development and depending on the organizing activity of their elders, they can create new values ​​for society as well.

The absence of social novelty in the results of 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 manifested equally in the activities of scientists and 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, that is, important for the formation of a person as a social subject.

Creativity exists in the life activity of every child. This is clearly evident already at preschool age, when almost every child is engaged in word creation. The beginning of creativity appears both in the games of the child and in his drawing. It is enough to recall bright, memorable, unusual in terms of color scheme and shape of objects, drawings of children. But children's creativity, that is, the creation by a child of something new in his life, does not always acquire socially significant forms. And as he begins to assimilate the socially accepted forms of perception of things and events, his creative activity is significantly reduced. At the same time, in some children, the craving for art, for creativity becomes not a passing episode, but a significant fact of life. At the same time, it is characteristic, as observations of gifted children show, that the child's craving for art has a different character.

In this regard, it is extremely interesting to trace the path to the musical creativity of P. I. Tchaikovsky and N. A. Rimsky-Korsakov during their childhood.

So, Tchaikovsky as a child perceived music in primarily as a source of strong emotional impact, and such were his first childhood impressions associated with music.

Fanny Durbach, who lived in the Tchaikovsky family as a governess, tells about little Tchaikovsky: “After lessons or long fantasies on the piano, he always came to her, always nervous and upset.” Once the Tchaikovskys had guests and the whole evening was spent in musical entertainment. When Fanny Durbach came to the boy in the nursery, he was still awake, and with shining eyes, luridly excited, he was crying. When asked what was the matter with him, he answered: “Oh, this music, music! Get me out of her! I have it here, here,” the boy said, sobbing, pointing to his head, “she haunts me.”

As for Rimsky-Korsakov, the emotional side of music played almost no role for him in his childhood. He came to music both from his imagination and from his rare ability to master musical material. In his memoirs of childhood, Rimsky-Korsakov wrote: “For the sake of playing, for the sake of monkeying, in exactly the same way as I put and take apart watches, I sometimes tried to compose music and write notes.”

Thus, we may encounter a different approach to art in a person who is starting to become an artist.

Subsequently, all aspects of his mental life are included in the process of creative activity. During the period of age development in the future artist, on the basis of his natural predisposition, the formation of talent takes place in the process of musical activity, that is, a person who has natural inclinations to work in one or another field of art turns his inclinations into real creative abilities.

So, for example, in the process of “effectively operating with sounds,” writes S. L. Rubinshtein, “under the influence of various conditions, including the sensitively perceived intonation structure of the native language, the musical structure of folk tunes, and classical samples of musical creativity, a selection of a small the number of core musical "moves", to which great musicians are joined by an insignificant number of not selected, but happily re-found... works and is the main act of formation of musical abilities.

Thus, it is not the instincts supposedly inherent in a person that make him an artist, but a complex process of development of his natural inclinations, accompanied by a transformation of the mental structure of the personality. Depending on the characteristics of the development process of a growing individual, the nature of stimulation of his creative abilities and aspirations, environmental conditions, we can talk about an earlier or later maturation of the artist's talent and its embodiment in real works of art.

We know well from the biographies of many outstanding artists that the desire for creative activity may arise in some at an earlier stage of development, in others somewhat later. So, for example, if Mozart, Tchaikovsky, Lermontov began to engage in creative activity at a very early age, then Tyutchev, Aksakov became artists much later, already in their mature years.

The process of forming a person as an artist occurs simultaneously with the formation of him as a human individuality, with his own attitude to the values ​​of culture and human relationships, with his own approach to the surrounding phenomena of life. This is how that individual vision of the world is created, which is reflected in the work of each talented artist. It manifests itself in the topics he loves, in the character of the interpretation of life events, natural phenomena, and behavior that is specific to him.

2.3 Stages of creating a work of art

The identification of the psychological stages of creating a work of art is, in fact, a kind of reconstruction of this process, which acts as a certain typical and generalized model. We know very well that not a single artist is engaged in specifically fixing the stages of his creative work. Therefore, it is quite difficult to recreate the stages of psychological processes that ultimately lead to a completed work of art.

The artistic creativity of various artists is characterized by great diversity. This diversity is generated not only by the properties and features of the area of ​​art in which the artist works, but also by the peculiarities of his personality, as well as the nature of the work being created.

It is one thing to create a song or a multi-part sonata, a short story or a long novel; a small landscape or a large multi-figured composition. In the mental processes that characterize the creative activity of the artist, we can also meet with the interweaving of several stages of work, which appear in a certain simultaneity.

In addition, as a result of the accumulation of creative experience, the artist often "winds down" individual acts of creative activity. They become more concise and short, and therefore are less comprehended in their constituent links by the artist. These features of changes in the flow of complex thought processes contribute to the fact that the artist can, in a state of great activity and emotional upsurge, as if instantly, intuitively come to an important creative decision.

However, we also know something else. In the course of the accumulation of creative experience, the artist begins to better realize which methods of work, which ways of approaching creative tasks are more fruitful and successful for him, and accordingly.

The identification of the psychological stages of creating a work of art is, in fact, a reconstruction of this process, which acts as a certain typical and generalized model. The artist does not fix the stages of his creative work.

Conclusion

When we watch an artist work on a painting. Before our eyes, the path to the solution of the problem set by him is often open for study. However, as soon as we expand the field of observation to the entire work of a given artist throughout his life, our idea of ​​the level of creative maturity and competence changes and goes into perspective and goal, forming a single style with a very complex structure.

When we consider a whole period, for example, the whole history of art in general, our desire to keep the structure of models as simple as possible will encounter an extremely powerful obstacle in the form of a huge number of forces that stand in the way of our desire for understanding.

Bibliography

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CREATIVITY AS A SPECIAL TYPE OF ACTIVITY

The concept of "creativity" includes the following features:

1. Creativity - an activity aimed at meeting the needs of a person in creating new spiritual and material values.

2. Creativity is original in its essence, since new techniques, methods and means are used in the process of creative activity.

3. Creativity - combining known actions to obtain a new result.

4. Creativity reflects reality. A person in the process of creative activity reveals the possibilities of new connections in his activity, expands and deepens his knowledge of reality. Therefore, creativity is a form of cognition of reality.

5. Creativity - the process of setting and solving non-standard tasks, the process of resolving various kinds of contradictions.

6. Creativity is a form of qualitative development of activity.

7. Creativity is the highest form of qualitative development of a person and is inherent only in a person.

8. Creativity is the highest type of human activity, it is primary in relation to performing activities.

9. Creativity acts in the unity of spiritual and material principles. In this unity, the spiritual principle precedes material creativity. In the process of spiritual creativity or thinking, future actions are planned, the materialization of which is carried out in practice. Thinking is revealed in two functions - reflection and creativity. The main reason for the emergence of consciousness - thinking lies precisely in the creative transformation of reality.

10. Creativity - the essence of a person, the method and form of his initiative, self-development and self-affirmation.

11. Creativity is a manifestation of the laws and categories of dialectics. Dialectical logic is the logic of creative thinking. Dialectics, thinking, practice - all of them are united in creativity.

The essence of creativity and its laws is known through the structure of creativity. In the theory of creativity, the problem of structure is fundamental. Difficulties in identifying the structure of creative activity are associated with a variety of types, stages, stages, phases, subordination and features of the manifestation of creativity.

Creationis a psychologically complex process. It is not limited to any one side, but exists as a synthesis of the cognitive, emotional and volitional spheres of human consciousness. Creativity is closely related to personality traits (character, abilities, interests, etc.).

For all the versatility of the creative process, imagination occupies a special place in it. It is, as it were, a center, a focus, around which, figuratively speaking, other mental processes and properties are crowded, which ensure its functioning. The flight of fantasy in the creative process is provided by knowledge (obtained by thinking), supported by abilities and purposefulness, accompanied by an emotional tone. And all this totality of mental activity, where the imagination plays the main role, can lead to great discoveries, inventions, the creation of various values ​​in all types of human activity.

Creativity is the highest level of knowledge. It cannot be done without the prior accumulation of knowledge. You can discover something new only by mastering all the knowledge already obtained in this area.

Creativity has general principles and stages, regardless of the type of activity. At the same time, this does not exclude the regularities and stages characteristic of creativity within a specific content.

Stages of the creative processtaken in general terms.

1. The birth of an idea, the implementation of which is carried out in a creative act.

2. The concentration of knowledge directly and indirectly related to this problem, obtaining the missing information.

3. Conscious and unconscious work on the material, decomposition and connection, enumeration of options, insight.

4. Verification and revision.

Creativity can be considered in two ways - as a component of any activity and as an independent activity. There is an opinion that in any activity there is an element of creativity, that is, a moment of a new, original approach to its implementation. In this case, any stage of activity can act as a creative element - from posing a problem to finding operational ways to perform actions. When creativity is aimed at finding a new, original, perhaps previously unknown solution, it acquires the status of activity and is a complex multi-level system. In this system, specific motives, goals, methods of action are singled out, and the features of their dynamics are recorded.

The basis of the creative process is an intuitive mechanism, which is determined by the duality of the result of the activity. One part of the result of an activity, corresponding to a consciously set goal, is called a direct product, and the other, not corresponding to the goal and obtained in addition to a conscious intention, is called a by-product. An unconscious, by-product of activity can lead to an unexpected solution, the way of which is not realized. This solution is called intuitive. The main features of an intuitive solution are the presence of a sensual image, the integrity of perception and the unconsciousness of the way the result is obtained.

In modern interpretations of the creative process, much attention is paid not so much to the principle of activity as to the principle of interaction, since the activity approach is based on the correspondence between the goal and the result, while creativity, on the contrary, arises in conditions of mismatch between the goal and the result.

Creativity is understood as a developing interaction, the movement mechanism of which has certain phases of functioning. If we compare the phases of solving a creative problem by an adult, mentally developed person with the formation of the ability to act in the mind in children, it turns out that the forms of behavior of children at the stages of development of the ability to act in the mind are similar to the forms of behavior of adults at the corresponding stages of solving a creative problem.

1. The phase of arbitrary, logical search. At this stage, the knowledge necessary for solving a creative problem is updated, the solution of which cannot be obtained directly by logical inference from the existing premises. The researcher consciously selects facts that contribute to an effective solution, generalizes and transfers previously acquired knowledge to new conditions; puts forward hypotheses, applies methods of analysis and synthesis of initial data. At this stage, a conscious idea of ​​the result of the activity and ways of its purposeful achievement prevails.

2. Phase of an intuitive decision. This phase is characterized by an unconscious search for a way to solve problems, which is based on the principle of duality of the result of a person's action, i.e., the presence of direct (conscious) and side (unconscious) products of action. Under certain conditions, a by-product can have a regulatory effect on human actions. These conditions are:

The presence of a by-product in an unconscious experience;

High level of search motivation;

Clearly and simply formulated task;

Lack of automation of the method of action.

The need for an intuitive solution to the problem arises if at the previous stage the chosen logical methods were inadequate for solving the problem and other ways to achieve the goal were required. The level of awareness of behavior at the stage of intuitive decision is reduced, and the solution found looks like unexpected and spontaneous.

3. The phase of verbalizing an intuitive solution. The intuitive solution to the problem at the previous stage of the creative process is carried out unconsciously. Only the result (fact) of the decision is realized. At the stage of verbalization of an intuitive solution, the solution method is explained and its verbal formulation is carried out. The basis for understanding the result and the method of solving the problem is the inclusion of a person in the process of interaction (communication) with any other person, for example, an experimenter, to whom the process of solving the problem is described.

4. Phase of formalization of the verbalized solution. At this stage, the task of logical design of a method for solving a new problem is formulated. The process of formalizing the decision occurs at a conscious level.

The phases of the creative process are considered as structural levels of the organization of the psychological mechanism of behavior, replacing each other in the course of its implementation. The solution of creative problems is carried out through various combinations of levels of organization of the psychological mechanism of creativity. The general psychological criterion of creativity is a change in the dominant levels of organization of the psychological mechanism of creativity, i.e., those levels that are involved in the process of solving a creative problem (problem statement, choice of means of solution, etc.).

Creative activity arises in the conditions of solving creative problems, and any person can feel like a creator for some time. Nevertheless, a differential psychological analysis of people's behavior in various life situations shows that there is such a type of personality that uses original ways of solving any life problems - this is the type of creative personality. The main feature of a creative person is creativity.

Creativity - integrative quality of the human psyche, which provides productive transformations in the activity of the individual, allowing you to satisfy the need for research activity. A creative person differs from other people in a number of ways:

- cognitive (high sensitivity to subsensory stimuli; sensitivity to the unusual, unique, singular; the ability to perceive phenomena in a certain system, in a complex way; memory for rare events; developed imagination and fantasy; developed divergent thinking as a strategy for generalizing many solutions to one problem, etc.);

- emotional (high emotional excitability, overcoming the state of anxiety, the presence of sthenic emotions);

- motivational (the need for understanding, research, self-expression and self-affirmation, the need for autonomy and independence);

- communicative (initiative, tendency to leadership, spontaneity). Creativity as one of the activities and creativity as a stable set of features that contribute to the search for a new, original, atypical, ensure the progress of social development. At the level of public interests, creativity is indeed considered as a heuristic way of life, but at the level of a social group, the behavior of a creative person can be assessed as an activity that is not consistent with the norms and regulations adopted in a given community of people. Creativity can be viewed as a form of behavior that is not consistent with accepted norms, but at the same time does not violate the legal and moral prescriptions of the group.

The content of human labor in modern conditions is measured not only by the degree of its intensity, but also by the level of manifestation of creativity. Moreover, an objective trend is observed - with the development of society, the intensity and amount of physical labor decreases, while intellectual, creative labor increases.The assessment of labor and the worker is also changing. . Creative work, and hence a creatively working person, is acquiring greater social significance.

In modern conditions, philosophers, sociologists, teachers, psychologists pay attention to the problem of creativity and creative personality. It has been convincingly proven that the inclinations of creative abilities are inherent in any person, any normal child. The difference lies only in the scale of achievements and their social significance.

Important is the conclusion of psychological and pedagogical science that creative abilities must be developed from an early age. In pedagogy, it is considered proven that if creative activity is not taught from a sufficiently early age, then the child will suffer damage that is difficult to repair in subsequent years. Therefore, creativity must be taught from an early age, and this can be taught.

A common way to develop creative abilities is to include children in creative activities.

As you know, the main work of children is study. Therefore, it is necessary to make this work of students creative.

Unfortunately, reproductive education dominates in our school. The learning process is often the transfer of information from the teacher to the students. In this case, the teacher acts as a transmitter of "memory devices". And the student succeeds the better, the more accurately in the next lesson he reproduces the knowledge received in finished form.

Reproductively acquired knowledge and skills are not applied in practice.

In labor training, even more than in other academic subjects, reproductive methods of teaching are used. Teachers rarely resort to solving technical problems, using problematicness, technical experimentation, heuristic conversations, etc. The polytechnic principle of education requires a significant deepening. At the present stage of the development of science and technology, labor training must be arranged in such a way that students not only get acquainted with modern achievements in technology and production, but also receive generalized knowledge about them, are involved, even in the smallest possible way, in the improvement of production.

It can be argued that only in the process of learning at school, even the most creative one, it is impossible to develop the creative personality traits to the proper extent. We need direct, practical activity in a specific form of creativity - technical, artistic, etc.

Children's technical creativity of students - the most massive form of attracting students to creativity.

In the definition of the concept"children's technical creativity" There are 2 points of viewpedagogical and psychological.

teachers consider children's technical creativity not only as an activity aimed at familiarizing students with the diverse world of technology, developing their abilities, but also as one of the effective wayslabor education and political education.

Psychologists in children's technical creativity, more attention is paid to the timely identification of studentsabilities to a certain kind of creativity,established level their formation and sequence of development. In other words, psychologists have importantmethods of correct diagnostics of creative abilities students who will help to understand in what type of activity and under what conditions students will be able to express themselves most productively.

Taking into account the pedagogical and psychological points of viewchildren's technical creativity - this is an effective means of education, a purposeful process of learning and developing the creative abilities of students as a result of the creation of material objects with signs of usefulness and novelty.

New in children's technical creativity is mainly subjective. Students often invent what has already been invented, and the manufactured product or the decision made is new only for its creator, however, the pedagogical benefits of creative work are undeniable.

The result of the creative activity of students -a set of qualities of a creative personality:

mental activity;

the desire to acquire knowledge and form skills to perform practical work;

independence in solving the task;

diligence;

ingenuity.

An analysis of psychological and pedagogical research and experience allows us to conclude thattechnical creativity creates, first of all, favorable conditions for the development of technical thinking of students.

First of all , it develops on the basis of ordinary thinking, i.e. all the constituent components of ordinary thinking are inherent in technical thinking. For example, one of the most important operations of ordinary thinking is comparison. It turns out that withoutunthinkable and technical thinking . The same can be said about such operations of thinking asopposition, classification, analysis, synthesis, etc. It is only characteristic that the operations of thinking listed above in technical activity are developed on technical material.

Secondly, conventional thinking creates psycho-physiological prerequisites for the development of technical thinking. As a result of ordinary thinking, the child's brain develops, its associative sphere, memory, and the flexibility of thinking is acquired.

However, the conceptual and figurative apparatus of ordinary thinking does not have the concepts and images that are necessary for technical thinking. For example, concepts taken frommetal technology, include information from various sciences (physics, chemistry, etc.)They are not a mechanical conglomeration of information, but are the unity of the essential features of a technological process or phenomenon, considered from the point of view of different sciences.

In technical thinking, in contrast to ordinary thinking, the images that the student operates are also significantly different. Information about the shape of a technical object, its dimensions and other features is not given by ready-made images, as in ordinary thinking, but by a system of abstract graphic signs and lines -drawing. Moreover, the drawing does not give a ready-made image of a particular concept,you have to present it yourself.

The above features of technical thinking allow us to conclude that the formation of its main components should be carried out not only in the learning process, but also in all types of extracurricular work on technical creativity.

Particular attention in the process of technical creativity of students should be given to the formation of technical concepts, spatial representations, and the ability to draw up and read drawings and diagrams.

In the process of technical creativity, students inevitably improve their skills in the use of machine equipment and tools.

Technical creativity is of no small importance for expanding the polytechnic horizons of schoolchildren. In the process of creative technical activity, students are faced with the need for additional knowledge about technology:

♦♦♦ in the study of special literature;

♦♦♦ in familiarization with the latest technology;

♦♦♦ in expert advice.

Creative activity contributes to the formation of a transformative attitude towards the surrounding reality in schoolchildren. A person who is not engaged in creative activity develops a commitment to generally accepted views and opinions. This leads to the fact that in his activity, work and thinking he cannot go beyond the known.

If young children are included in creative activities, then they develop inquisitiveness of mind, flexibility of thinking, memory, ability to evaluate, vision of problems, ability to foresee and other qualities characteristic of a person with a developed intellect.

One of the main pedagogical requirements for student creative activity is to take into account the age characteristics of schoolchildren. Without taking into account the peculiarities of the development of the psyche of children, it is impossible to correctly correlate the goal, motives and means of achieving the goal.

Of great importance in creative activity iscontinuity of the creative process.

In the development of creative personality traits, it is of great importanceproductivity of creative work. Of particular value is the work aimed atproduction improvement, equipment efficiency improvement, etc.

Creation as the spirit of human freedom; freedom as creativity of the human spirit; spirit as the freedom of human creativity. 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 but perhaps can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, expresses some aspects of his personality in the final result. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

The manifestation of creativity in any sphere of human activity has made it possible in modern studies of this problem (F.I. Ivashchenko, A.I. Kochetov, N.V. Kuzmina, V.P. Parkhomenko, E.S. Rapatsevich, I.M. Rozet) identify the following main types:

a) scientific creativity, which is directly related to research work, to the development of scientific ideas, their logical validity and evidence, to the generalization of the experience of scientists, to the latest recommendations for the development of science, etc.;

b) artistic creativity, which is embodied in works of literature, music, fine arts, etc.;

c) technical creativity related to constructive and technical activities, to the process of developing creative initiative and independence, technical abilities, the formation of rationalization and inventive skills and abilities, ensuring the scientific and technological progress of society.