Imagination and creativity. Stages of artistic creativity and stages of creative imagination Functions and types of imagination

Stages of creative imagination

The emergence of a creative idea;
- “nurturing” a plan;
- implementation of the plan.
Synthesis, realized in the processes of imagination, is carried out in various forms:
- agglutination - “gluing together” incompatible qualities and parts that are different in everyday life;
- hyperbolization - increasing or decreasing an object, as well as changing individual parts;
- schematization - individual ideas merge, differences are smoothed out, and similarities appear clearly;
- typification - highlighting the essential, repeated in homogeneous images;
- sharpening - emphasizing any individual characteristics.

Now let us turn to the question of how we can promote the development of thinking. First of all, it is necessary to note the special role of self-organization, awareness of the techniques and rules of mental activity. A person must understand the basic techniques of mental work, be able to manage such stages of thinking as setting a problem, creating optimal motivation, regulating the direction of involuntary associations, maximizing the inclusion of both figurative and symbolic components, using the advantages of conceptual thinking, as well as reducing excessive criticality when assessing the result - all this allows you to activate the thought process and make it more effective. Passion, interest in the problem, optimal motivation are one of the most important factors in productivity of thinking. Thus, weak motivation does not provide sufficient development of the thought process, and vice versa, if it is too strong, then this emotional overexcitation disrupts the use of the results obtained, previously learned methods in solving other new problems, and a tendency towards stereotyping appears. In this sense, competition is not conducive to solving complex mental problems.

Question 28, 29. Definition of thinking. General characteristics of thinking

Thinking- this is a socially conditioned, inextricably linked with speech, mental process of searching and discovering an essentially new, indirect and generalized reflection of reality in the course of its analysis and synthesis. Thinking arises on the basis of practical activity from sensory knowledge and goes far beyond its limits.).

Basic functions of thinking

Establishing universal connections.

Understanding the essence of a specific phenomenon as a variety of a certain class of phenomena.

Generalization of the properties of a homogeneous group of phenomena, etc.

Mental operations

In psychology, the following thinking operations are distinguished: analysis, synthesis, generalization, comparison, classification (systematization), abstraction, concretization. With the help of these thinking operations, one penetrates into the depths of a particular problem facing a person, examines the properties of the elements that make up this problem, and finds a solution to the problem.

Analysis is a mental operation of dividing a complex object into its constituent parts. Analysis is the identification of certain aspects, elements, connections, relationships, etc. in an object. With the help of analysis, the most significant signs are revealed. Analysis helps the investigator identify the most significant, most necessary things from the testimony.

Synthesis is a mental operation that allows one to move from parts to the whole in a single analytical-synthetic process of thinking. Analysis and synthesis usually appear in unity. They are inseparable and cannot exist without each other: analysis, as a rule, is carried out simultaneously with synthesis, and vice versa. Analysis and synthesis are always interconnected.

Comparison– a mental operation that reveals the identity and difference of phenomena and their properties, allowing for the classification of phenomena and their generalization.

Generalization– a mental operation that allows you to mentally combine objects and phenomena according to their common and essential characteristics. Generalization can be carried out at two levels. The first, elementary level is the connection of similar objects based on external characteristics (generalization). But generalization of the second, higher level is of great cognitive value, when significant common features are identified in a group of objects and phenomena

Abstraction- a mental operation of reflecting individual properties of phenomena that are significant in some respect.

In the process of abstraction, a person, as it were, “cleanses” an object from side features that make it difficult to study it in a certain direction; correct scientific abstractions reflect reality deeper, more fully than direct impressions. Based on generalization and abstraction, classification and specification are carried out.

Classification– grouping of objects according to essential characteristics. In contrast to classification, the basis of which should be features that are significant in some respect, systematization sometimes allows the choice as a basis of features that are unimportant (for example, in alphabetical catalogs), but operationally convenient.

Specification– a mental operation of cognition of an integral object in the totality of its essential interrelations, a theoretical reconstruction of an integral object. Concretization is the opposite process of abstraction. In concrete ideas, we do not strive to abstract from the various signs or properties of objects and phenomena, but, on the contrary, we strive to imagine these objects in all the variety of properties and characteristics, in a close combination of some characteristics with others.

Logical forms of thinking

In psychological science, such specific forms of thinking are distinguished as concepts, judgments, and inferences.

A concept is a form of thinking that reflects the individual and the particular, which is at the same time universal. The concept acts both as a form of thinking and as a special mental action.

Concepts can be general and individual, concrete and abstract, theoretical and empirical.

Single concept- this is a concept that reflects the characteristics inherent only to a separate object or phenomenon. Single concepts represent a body of knowledge about any one subject, but at the same time they reflect properties that can be covered by another, more general concept.

Specific concept– a concept that is easy to identify, represent, form and classify.

Abstract concept– a concept that is difficult to identify, imagine, classify.

Theoretical concept– this is a concept, the specific content of which is the objective connection between the universal and the individual (whole and different).

Empirical the concept captures identical objects in each separate class of objects based on comparison.

Concepts are formed in socio-historical experience. A person acquires a system of concepts in the process of life and activity.

Judgment- the main form of thinking, during which connections between objects and phenomena of reality are affirmed or denied.

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COURSE WORK

on the topic: “The role of imagination in artistic creativity”

Introduction

1. Imagination as a subject of research in psychology

1.1 The essence of the concept of imagination

1.2 Functions and types of imagination

2. The importance of imagination in artistic creativity

2.1 Main stages of creative imagination

2.2 The influence of imagination on the formation of a creative idea

2.3 The importance of imagination in creating an artistic image

Conclusion

List of used literature

Introduction

Recently, there has been a noticeable awakening of research interest in the problem of imagination. The study of such an interesting and not fully studied process as imagination is relevant at any time, and understanding its role in artistic creativity is especially important, since in our time culture is being revived at a tremendous pace, and, accordingly, interest in performances, exhibitions, vernissages, concerts and others events.

The need for creative activity is determined by the social need for a specific new product. This is what leads to the emergence of a creative idea, a plan, and serves as a motivating force in the creation of something new. At the same time, the process of creating a qualitatively new product of activity is determined by the functioning of a person’s mental processes, as well as his subjective personal structures. However, artistic creativity as one of the types of creative activity of an individual is more often characterized by the presence and development of its abilities, which gives rise to the problem of correspondence between mental processes and creative activity, especially since imagination as a mental process is not clearly defined.

Purpose of the work: to study the role of imagination in artistic creativity.

Consider the concept of imagination, its types and functions;

Determine the meaning of imagination in artistic creativity.

When writing the work, twenty-three sources of literature were used, the main of which were the works of: Vygotsky L.S., Basin E.Ya., Dudetsky A.Ya., Ponomarev Ya.A., Rubinshtein S.L., Yakobson P.M. ., and others. Vygotsky’s book L.S., “Imagination and Creativity in Childhood,” examines the psychological and pedagogical foundations for the development of children’s creative imagination. The work of V. I. Petrushin “Psychology and Pedagogy of Artistic Creativity” reveals the historical stages in the formation of the psychology of artistic creativity, and examines the development of mental cognitive processes in artistic creativity.

Coursework materials can be used in preparation for the final state certification in the disciplines “Psychology” and “Pedagogy”, and can also be used in the work of a creative team.

1. ImaginationHowitemresearchVpsychology

1.1 Essenceconceptsimagination

Imagination is the mental process of creating new images based on past perceptions. It arose and developed in the process of labor, based on the need to change certain objects, to imagine something that a person did not directly perceive and does not perceive.

In other words, imagination is a special form of the human psyche, standing apart from other mental processes and at the same time occupying an intermediate position between perception, thinking and memory (characteristic only for humans).

Imagination is based on the transformation and creative combination of existing ideas, impressions and knowledge. The most fantastic fiction always consists of elements taken from life, from past experience. According to I.M. Sechenov: “Not a single thought passes through a person’s head throughout his entire life that is not created from elements registered in memory. Even the so-called new thoughts that underlie scientific discoveries are no exception to this rule."

Imagination uniquely reflects reality. It is conditioned by life. Images of the imagination differ from images of ideas. Images of the imagination are images of objects and phenomena that we have not previously perceived (for example, an atomic explosion and its consequences or the state of weightlessness in space, etc.). They can arise only on the basis of existing ideas, thanks to their processing and combination. And this is impossible without thinking. But imagination is closely connected not only with memory, ideas and thinking. It is greatly influenced by a person’s needs, desires, interests, will, and attitude to reality. In turn, under the influence of imagination, certain feelings and desires arise.

Depending on the content of the activity, there are such types of imagination as artistic, scientific, technical, etc.

A well-developed imagination is one of the conditions for innovation in all areas of life. It is necessary not only for scientists, artists, writers, but also for designers, engineers, specialists in management and marketing, and representatives of a large number of other professions and specialties. imagination artistic creativity psychology

Types of imagination

1. Involuntary (or passive), that is, images arise spontaneously, in addition to the will and desire of a person, without a predetermined goal, by themselves (for example, dreams).

Failure to satisfy a material or spiritual need can involuntarily evoke in the mind a vivid image of a situation in which this need could be satisfied. Feelings and emotional states that arise in a given environment can also cause the appearance of images of involuntary imagination.

2. Voluntary (or active) - using it, a person, of his own free will, by an effort of will, evokes appropriate images in himself, forces his imagination to work in order to solve his problems.

Voluntary imagination is associated with the activity of the second signaling system, with its ability to regulate the functions of the first signaling system, which underlies, first of all, the figurative reflection of reality. The main forms of voluntary imagination are:

a) recreating - the process of creating images based on personal experience, perception of speech, text, drawing, map, diagram, etc.;

b) creative - a more complex process - this is the independent creation of images of objects that do not yet exist in reality. Thanks to creative imagination, new, original images are born in various areas of life.

3. A dream is a unique type of imagination - it is a representation of the desired future. It can be useful and harmful. A dream, if it is not connected with life, relaxes the will, reduces a person’s activity, and slows down his development. It's empty. Such dreams are called daydreams.

If the dream is real and connected with reality, it helps a person to mobilize all his strength to achieve the goal. In this case, the dream is an incentive to action and development of the best personality traits.

Imagination, or fantasy, as thinking, belongs to the number of higher cognitive processes in which the specifically human nature of activity is clearly revealed. Without imagining the finished result of your work, you cannot get to work. In presenting the expected result with the help of fantasy, there is a fundamental difference between human labor and the instinctive behavior of animals [Vygotsky]. Any labor process necessarily includes imagination. It acts as a necessary side of artistic, design, scientific, literary, musical, and creative activity in general. Strictly speaking, in order to make a simple table using a homemade method, imagination is no less necessary than for writing an opera aria or story: you need to imagine in advance what shape, height, length and width the table will be, how the legs will be fastened, how it will correspond to its the purpose of a dining table, a laboratory table or a writing table - in a word, before starting work you need to see this table as if it was ready.

Imagination is a necessary element of human creative activity, expressed in the construction of an image of the products of labor, and also ensures the creation of behavior programs in cases where the problem situation is characterized by uncertainty. At the same time, imagination can be a means of creating images that do not program active activity, but replace it

Imagination is the ability to imagine an absent or really non-existent object, hold it in consciousness and mentally manipulate it. The value of the human personality largely depends on what types of imagination predominate in its structure. If in a teenager and young man the creative imagination, realized in specific activities, prevails over passive empty daydreaming, then this indicates a high level of personality development.

Active imagination is characterized by the fact that, using it, a person, of his own free will, by an effort of will, evokes in himself the corresponding images. Images of passive imagination arise spontaneously, regardless of the will and desire of a person. Productive imagination is distinguished by the fact that in it reality is consciously constructed by a person, and not simply mechanically copied or recreated. But at the same time, she is still creatively transformed in the image. Reproductive imagination aims to reproduce reality as it is, and although there is also an element of fantasy, such imagination is more like perception or memory than creativity.

The formation of an image of the imagination always occurs based on memory images. However, the degree of this dependence may be greater or lesser. In this regard, a distinction is made between reproductive and creative imagination.

Recreating imagination is the creation of an image based on a verbal description or conventional image of a recreated object. By reproducing imagination, psychologists understood the activity of the psyche in which we reproduce in our minds a number of images that we have experienced, but restore them when there are no immediate reasons for restoration.

Creative imagination is a type of imagination aimed at creating new socially significant images, which forms the basis of creativity. Creative imagination is the independent creation of new, original images. The artist’s creative imagination allows him to visually recreate pictures of the past, historical events in the life of society, as well as the future, sometimes only assumed, fantastic.

Special types of imagination are fantasies, hallucinations, dreams, daydreams, daydreams. Dreams can be classified as passive and involuntary forms of imagination. Their true role in human life has not yet been established, although it is known that in human dreams many vital needs are expressed and satisfied, which, for a number of reasons, cannot be realized in life. For example, in psychology, the terms “imagination” and “fantasy” have long been considered identical by the absolute majority of authors. And although there was no complete unanimity in the identical understanding of these words before (for example, they were opposed by A.P. Nechaev), recently there has been a tendency towards an increase in the number of supporters of their semantic division.

The principles of differentiation are not always clear and motivated. Sometimes this is either just a cursory remark regarding the fact that “fantasy is a type of imagination” (E.I. Ignatiev), or a more extensive, but also unknown on what basis, reasoning that “in the imagination a person uses the models and functions of the originals, preserving this is a report on your assumption; in fantasy, this report is significantly weakened; according to this feature, fantasy occupies an intermediate place between imagination and dream - in the latter, the mentioned report is completely absent! Most often, however, the essence of the distinction is expressed in the fact that imagination is considered a mental activity, during and as a result of which the connection with reality is supposedly more clearly visible than in the process of fantasizing. From these positions, creative imagination is separated from creative fantasy, and images of imagination from images of fantasy (N. S. Shabalin).

Hallucinations are fantastic visions that apparently have almost no connection with the reality around a person. Usually they are the result of certain mental or bodily disorders.

A dream is an imagination aimed at the future, at the prospects of human life and activity. A dream differs from a dream in that it is somewhat more realistic and more closely related to reality, since it is, in principle, feasible. Dreams and daydreams occupy a fairly large part of a person's time, especially in youth. For most people, dreams are pleasant thoughts about the future. Some also experience disturbing visions that generate feelings of anxiety, guilt, and aggressiveness.

In dreams, a person creates images of what he wants. The importance of dreams in a person’s life is enormous. It corrects the direction of a person’s activities, encourages them to fight difficulties, and under its influence the will, character, and abilities of the individual are formed. A useful, socially oriented dream raises a person to fight and inspires him to work. But there are dreams that are pointless, completely divorced from reality. Such dreams turn into empty fantasy, into “Manilovism.” Such dreams are often called daydreams. Dreams take a person away from the world of real objects and phenomena into the world of fantasy, making his work uninteresting and tiresome. The main means of combating dreams is active participation in work, in the life of the team. Dreams, unlike hallucinations, are a completely normal mental state, representing a fantasy associated with a desire, most often a somewhat idealized future.

If we proceed from a broad understanding of imagination as covering any mental process in images, then precisely because this term will include memory in this case, it will be necessary, introducing duality into terms, to designate imagination in a narrower and more specific sense of the word in its difference from memory. It is therefore more appropriate to retain the term “imagination” to designate this latter specific process. Imagination is a departure from past experience, it is the transformation of the given and the generation on this basis of new images, which are both products of human creative activity and prototypes for it.

1.2 Functions and types of imagination

Researchers identify the following functions of imagination:

1. Represent reality in images and be able to use them when solving problems. This function of imagination is connected with thinking and is organically included in it.

2. Regulation of emotional states. With the help of his imagination, a person is able, at least partially, to satisfy many needs and relieve the tension generated by them. This vital function is especially emphasized and developed in psychoanalysis.

3. Voluntary regulation of cognitive processes and human states, in particular perception, attention, memory, speech, emotions. With the help of skillfully evoked images, a person can pay attention to the necessary events. Through images, he gains the opportunity to control perceptions, memories, and statements.

4. Formation of an internal plan of action - the ability to carry them out in the mind, manipulating images.

5. Planning and programming activities, drawing up such programs, assessing their correctness, the implementation process.

The importance of imagination is that it allows a person to imagine the results of work before it begins. With the help of imagination, we can control many psychophysiological states of the body and tune it to upcoming activities. There are known facts indicating that with the help of imagination, purely by will, a person can influence organic processes: change the rhythm of breathing, pulse rate, blood pressure, body temperature. These facts underlie auto-training, which is widely used for self-regulation.

The main function of imagination is to organize such forms of behavior that have never yet been encountered in human experience, while the function of memory is to organize experience for such forms that approximately repeat those that have already existed before. Depending on this, the imagination develops several functions of a completely different nature, but closely related to the main function of finding behavior that corresponds to new environmental conditions.

The first function of imaginative behavior can be called sequential, and it is of most importance for the teacher. Everything that we know from something that has not been in our experience, we know with the help of imagination; More specifically, if we study geography, history, physics or chemistry, astronomy, or any science, we are always dealing with the cognition of objects that are not directly given in our experience, but constitute the most important acquisition of the collective social experience of humanity. And if the study of objects is not limited to just a verbal story about them, but strives to penetrate through the verbal shell of description into their very essence, it must certainly deal with the cognitive function of the imagination, it must use all the laws of the activity of the imagination.

Another function of the imagination should be called emotional; it lies in the fact that every emotion has its own definite, not only external, but also internal expression, and, therefore, fantasy is the apparatus that directly carries out the work of our emotions. From the doctrine of the struggle for the general motor field, we know that not all of our impulses and drives receive their fulfillment. The question is, what is the fate of those nervous excitations that arise quite realistically in the nervous system, but do not receive their implementation. It goes without saying that they take on the character of a conflict between the child’s behavior and the environment. From such a conflict, under severe stress, illness, neurosis or psychosis arises, if it does not receive any other way out, i.e. unless it is sublimated and transformed into other forms of behavior.

And here is the function of sublimation, i.e. the socially highest realization of unrealized possibilities falls to the imagination. In a game, in a lie, in a fairy tale, there is an endless source of experiences, and fantasy, thus, opens, as it were, new doors for our needs and aspirations to enter life.

This emotional function of fantasy imperceptibly transforms into a new function in the game. We can say that the psychological mechanism of play is entirely reduced to the work of the imagination and that an equal sign can be drawn between play and imaginative behavior. Play is nothing more than fantasy in action, and fantasy is nothing more than inhibited and suppressed, undiscovered play. Therefore, the imagination also has a third function, let’s call it educational, the purpose and meaning of which is to organize a person’s everyday behavior. Thus, the three functions of fantasy are entirely consistent with its psychological property - this is behavior aimed at forms that have not yet been in our experience.

The first and most important purpose of imagination as a mental process is that it allows you to imagine the result of work before it begins, to imagine not only the final product of work (for example, a table in its completed form, like a finished product, but also its intermediate results, in this case those details , which must be prepared sequentially to assemble the table). Consequently, a person’s imagination in the process of activity creates a mental model of the final or intermediate product of labor, and contributes to its objective embodiment.

Thus, in a problem situation from which an activity begins, there are two systems of consciousness anticipating the results of this activity: an organized system of images (conceptions) and an organized system of concepts. The possibility of choosing an image is the basis of imagination, the possibility of a new combination of concepts is the basis of thinking. Often such work occurs on “two floors” at once, because systems of images and concepts are closely related: the choice, for example, of a method of action, is carried out through logical reasoning, with which vivid ideas of how the action will be carried out are organically fused.

2. The importance of imagination in artistic creativity

2.1 Main stages of creative imagination

Based on the impossibility of associative psychology to explain the creative nature of the imagination, intuitionistic psychology did in this area the same as in the area of thinking: in both cases, in Goethe’s words, it made the problem a postulate. When it was necessary to explain how creative activity arises in consciousness, the idealists answered that consciousness is inherent in creative imagination, that consciousness creates, that it is characterized by a priori forms in which it creates all the impressions of external reality. The mistake with associative psychology, from the point of view of intuitionists, is that they proceed from human experience, from his sensations, from his perceptions, as from the primary moments of the psyche and, based on this, cannot explain how creative activity arises in the form imagination. In fact, say intuitionists, all activities of human consciousness are imbued with creativity. Our perception itself is possible only because a person brings something of himself into what he perceives in external reality. Thus, in modern idealistic teachings, two psychological functions have swapped places. If associative psychology reduced imagination to memory, then intuitionists tried to show that memory itself is nothing more than a special case of imagination. On this path, idealists often go so far as to regard perception as a special case of imagination. Perception, they say, is an imaginary image of reality constructed by the mind, which relies on external impressions as a fulcrum and which owes its origin and emergence to the creative activity of cognition itself. Thus, the controversy between idealism and materialism in the problem of imagination, as well as in the problem of thinking, came down to the question of whether imagination is the original property of cognition, from which all other forms of mental activity gradually develop, or whether imagination itself should be understood as a complex form developed consciousness, as the highest form of its activity, which in the process of development arises on the basis of the previous one.

Creative imagination is considered as a special activity, representing a special type of memory activity, and, consequently, thinking. Therefore, first the entire process of creative imagination takes place in the mind and only then is it embodied in reality.

Stages of creative imagination

1. The emergence of a creative ideal.

2. “Nursing” the idea

3. Implementation of the plan.

There are general psychological mechanisms of all creative activity, which are actualized, however, in different ways in different manifestations of creativity. For example, significant psychological mechanisms such as imagination, emotional stress, memory, which Sechenov characterized as the cornerstone of all mental development, are of significant importance in artistic creativity. Of course, here we are talking specifically about the mechanisms of creativity, and not about the specific direction of their action.

Often the most significant features of artistic creativity are associated with the role and significance of the personal element in the creative process. The uniqueness of artistic creativity is seen precisely in the fact that it has a pronounced personal character.

In works of art the results are presented, to a certain extent the process of creative activity itself is directly or indirectly objectified, and some features of the creative act are materialized (or can be materialized). (For example, Pushkin, in the text of “Eugene Onegin,” noted how and when he began to distinguish the “distance of a free novel.”) A work of art provides the basis for a possible introspective analysis: from results to origins. It allows you to carry out a thought experiment - to build a hypothesis based on the nature of the materialization of artistic thought: how the work itself was created, what were some of the features of the creative act itself.

The analysis of the psychological aspects of artistic activity can be facilitated by taking into account a wide variety of data. Among them are the artist’s own testimonies, memories of people surrounding the author of the work, testimonies of contemporaries, relevant correspondence, preparatory materials, sketches, sketches, early editions, text editing and - what is especially interesting - characteristics of the artist’s personality, his interests (not only artistic), habits, direction of thought, his culture, etc.

Of significant interest are the preparatory materials, variants, sketches, sketches, literary editing and correction, etc. As a document itself; art, and not judgments about it, they are more reliable evidence. These materials make it possible to identify some stages in the formation of works, but they are the result of the materialization (even if incomplete, becoming) of the artist’s creative thought and do not always provide a sufficient idea of the true motives that prompt the artist to move in one direction or another.

Ya.A. Ponomarev identifies four phases of the creative process:

The first phase (conscious work) is preparation (a special active state as a prerequisite for an intuitive glimpse of a new idea).

The second phase (unconscious work) is maturation (unconscious work on a problem, incubation of a guiding idea).

The third phase (the transition of the unconscious to consciousness) is inspiration (as a result of unconscious work, the idea of a solution enters the sphere of consciousness, initially in a hypothetical form, in the form of a principle, a plan).

The fourth phase (conscious work) is the development of the idea, its final design and verification.

Stages of artistic creativity:

1. Thinking over an idea (inspiration plays a huge role here).

2. Creating a model (modeling the creation in the mind; active participation of the imagination).

3. Sketching the solution outlined in the model (modeling on paper).

4. Completion of compositional construction (detailed modeling).

5. Adjusting the composition (thinking about the correctness of the structure).

6. Final processing (necessary corrections; completion of work).

The most important stage of creativity is thinking about an idea. The moment when the image of the anticipated creation appears, in fact, the very purpose of the work appears. This stage directly depends on inspiration, one of the most inexplicable mental processes.

2.2 The influence of imagination on the formation of a creative idea

When considering the mechanism of imagination, one cannot help but touch upon the process of transforming a creative idea.

The so-called creative act, or what is modestly called “problem solving,” has the same psychological structure. Let's imagine it in the form of five stages:

I. Accumulation of knowledge and skills necessary for a clear understanding and formulation of the problem. A clear formulation of the problem is half the solution.

II. Concentrated effort and search for additional information. If the problem still cannot be solved, the next stage begins.

III. Seeming avoidance of the problem, switching to other activities. This is the incubation period.

IV. Illumination or insight. This is not always a brilliant idea, sometimes only a guess of very modest proportions. Outwardly, insight looks like a logical break, a leap in thinking. For highly gifted people this leap is enormous. But in any act of creativity, even when a schoolchild solves arithmetic problems, there is such a gap.

V. Verification.

Consequently, even if the stages of scientific and artistic creativity do not completely coincide, they are similar in many respects. This especially applies to the subconscious periods of incubation and insight, but there are also similarities between the concept phase in artistic creativity and the formulation of a problem in scientific creativity.

The research materials showed that a full-fledged image of the imagination is formed, firstly, under the condition of optimal interaction of all three of its cycles: disposition, perception itself and conceptual and semantic generalization and, secondly, the most complete completeness of such characteristics of the artistic image of perception as dynamism, integrity, interaction of the image with details and sensory texture of the image.

As a result of various combinations of these properties, three main “modifications” of the image of imagination arise: symbolic, “mimetic” and artistic-realistic.

A “symbolic” artistic image has a predominantly philosophical and meaningful character, in it the semantic side comes to the fore, the external, concrete sensory side is absorbed by the content and itself plays an auxiliary role, acting here as a distinguisher of meaning, as a symbol, as a sign.

The “mimetic” image of the imagination is characterized by the identification of external and internal form. The external form of the image here completely subjugates the content, identifying it with itself. The artistic-realistic image is characterized by a dialectical unity of internal and external forms, overcoming, or rather transformation of the external form through the internal, with the leading role of the latter.

The intermediate points of the “scale of expressiveness,” as the study proves, were the following “subtypes” of imagination images: “associative-nominal”, in which the external form completely predominates, “plot-role” context, conveying a “real” collision, “undefined” by the internal form , “associative-artistic”, which is based on an association with fragments borrowed from works of art and, finally, an “artistic” image in which the external form is “reorganized” by the internal one. In the resulting sequence of images, with some convention and assumption, one can trace the psychological mechanisms of the dynamics of the formation of an artistic image of the imagination: from “photographic”, “scanning” identification of an object, recognition of familiar objects and phenomena in it to generalized, symbolic, and sometimes fantastic imaginary images.

The main mechanism for producing a mimetic image is recognition of a familiar phenomenon in a test object: it looks like “a chair”, “like a dog”, “like a snake”, etc. The nature of recognition itself is devoid of dynamics and emotionality and can hardly be classified as psychological and aesthetic mechanisms. The next two types, in which the internal form received its development, can be called pre-aesthetic. It is characterized by the integrity and dynamism of the produced samples, as well as nuanced details and emotional response.

Dynamism and integrity are manifested in the following reactions: “a giraffe is dancing a tap-hole,” “a man is jumping,” “an arched back,” “two chicks, they are cold, they are huddled together,” “at a ballerina, a ballerina is dancing.”

A detailed perception of details is manifested in the following statements: “ear, muzzle of a fawn, eye, mouth, nose,” “heron with a beak,” “someone’s face, eyes, nose, mouth.” However, the central mechanism for producing a pre-aesthetic image is the mechanism of interaction between integrity, dynamism and sensory sensitivity. Examples of interaction: “Forest bear, head, eyes, cute, beautiful bear”, “cute turtle”, “graceful snake, fox”.

Another pre-aesthetic type of perception can be called plot-role-playing. It retains all the features of the holistic-dynamic type, but significantly develops the dynamic situation of the image into a short story.

It should be noted the so-called. “quasi-artistic” type of image, in which reminiscences from works of art are mainly reproduced: “looks like a little devil, such a face, nose, mouth, beard resembles the little devil from the film “Evenings on a Farm near Dikanka”, who flew through the air with his paws forward, and his hind legs dangling "; “... the figure of Rodin, it turned out to be a picture, Botticelli - two winds are flying, in my opinion, in “Spring”.

In the process of creating a “quasi-artistic” image, the respondent, as we see, uses ready-made “artistic clichés” borrowed from works of art. And finally, the artistic image itself, which is a product of creative imagination and represents the most optimal version of the mechanism of interaction of such specific properties as dynamism, integrity, emotionality and sensory, predetermines artistic “meaning formation”.

The main mechanism for producing an imaginary image is the associative search for the second, allegorical meaning presented in the experiment of the test object, in its “meaning” for translation into the artistic plane, i.e., in the creation of an artistic metaphor as an elementary model of an artistic image. The resulting “conjugation” effect is the energy “accumulator” of the voltage of the produced image. “Yes, this root is much more interesting than the previous one, a momentary association of a defeated doe, something trembling, something dying, a drooping face, a moment of melancholy is captured, the last song, something kind, graceful, tender, like ancient statues, eyes, eyelashes, the association is so interesting that I wouldn’t want to see anything else, see time I follow with my gaze the first impression, it’s hard to get rid of it, it pursues, guides me and gives me joy and pleasure.”

It should be noted that the “scale of expressiveness” of the image of imagination identified in the experiment acquired artistic and aesthetic specificity in the responses of the subjects: the recreated “mimetic” images were interpreted mainly as comic and ugly, “realistic” - as beautiful, “symbolic” - as sublime and tragic .

2.3 The importance of imagination in creating an artistic image

Imagination plays an essential role in every creative process. Its significance is especially great in artistic creativity. The essence of artistic imagination lies, first of all, in being able to create new images that can be a plastic carrier of ideological content. The special power of the artistic imagination lies in creating a new situation not by violating, but subject to the preservation of the basic requirements of life reality. The power of creative imagination and its level is determined by the ratio of two indicators:

1) the extent to which the imagination adheres to the restrictive conditions on which the meaningfulness and objective significance of its creations depends;

2) by how new and original they are, different from the generation directly given to him.

An imagination that does not simultaneously satisfy both conditions is fantastic, but creatively barren.

When analyzing the mechanism of imagination, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones. Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections. Even if you come up with something completely extraordinary, then upon careful examination it will turn out that all the elements from which the fiction was formed were taken from life, drawn from past experience, and are the results of a deliberate analysis of countless facts. The synthesis of ideas in the processes of imagination is carried out in various forms. The most elementary form of image synthesis - agglutination - involves the “gluing together” of various qualities, properties, parts that are not connected in everyday life. Many fairy-tale images are constructed through agglutination (mermaid, hut on chicken legs, Pegasus-centaur, etc.), it is also used in technical creativity (for example, an amphibious tank combining the qualities of a tank and a boat, an accordion - a combination of a piano and a button accordion) .

In terms of the form of transformation of the representation of agglutination, it is close to hyperbolization, which is characterized not only by an increase or decrease in the object (a giant as huge as a mountain, and a boy as big as a finger), but also by a change in the number of parts of the object and their displacement: multi-armed gods in Indian mythology, dragons with seven heads, etc. .d.

A possible way to create a fantasy image is to sharpen and emphasize any features. Using this technique, friendly cartoons and evil caricatures are created. If the ideas from which the fantasy image is constructed merge, the differences are smoothed out, and similarities come to the fore, the image is schematized. A good example of schematization is the artist’s creation of an ornament whose elements are taken from the plant world. Finally, the synthesis of representation in the imagination can be carried out using typification, widely used in fiction, sculpture, painting, which is characterized by the identification of the essential, repeated in homogeneous facts and their embodiment in a specific image.

The course of the creative process involves the emergence of many associations (however, their actualization differs from what is observed in memory processes). The direction that associations take turns out to be subordinated to the needs and motives of creativity.

In the process of working on a work, there is some identification of the artist with the images he creates. Thus, in the work of an actor, the central problem is transformation into an image. In some other arts you can do without it. But transformation is specific not only to the theater. In a number of other arts, at least in the imagination, the artist also often identifies his creations with himself. Well-known statements by artists such as Flaubert’s “Emma is me” point precisely to this. Kuprin regretted that he could not, at least for a few days, become a horse, a plant or a fish. He wanted to be a woman, to experience childbirth. In Green Hills of Africa, Hemingway tells how one night he experienced everything that a wounded moose must endure, from the shock of a bullet to the end of his suffering. “Writing,” said K. Paustovsky, “has become for me not only an occupation, not only a job, but a state of my own life, my inner state. I often found myself living as if inside a novel or story.” All these very valuable observations by artists should not be taken literally, in the sense of directly identifying the author with his creation. No matter how the artist embodies himself in an image, there is always a distance between them. Let us not forget: the artist not only reproduces life, but also explains it, pronounces a verdict on it. K. S. Stanislavsky, who most fully and comprehensively substantiated the principles of the art of experience with its inherent transformation of the actor into the image, at the same time proceeded from the need to distinguish between the perspective of the role and the perspective of the artist, otherwise he did not allow their identification. In the process of creativity, the identification mechanism does not operate locally, without connection with other psychological mechanisms. Identification is corrected by them, it is not absolute; during the artist’s embodiment into an image, a comparison of values occurs; it (identification) is evaluative in nature.

Associated with the problem of identification is the artist’s ability to get used to the images of his work. Such experience (empathy) can be different not only in different, but even in the same field of art.

Conclusion

Imagination is a mental process that transforms the given and generates new images on this basis. Imagination as a complex mental process consists of several types: active, passive, productive, reproductive, recreating, creative, and others.

Imagination is the basis of visual and figurative thinking, allowing a person to navigate intuitively and solve problems without the direct intervention of practical actions.

Imagination is characterized by no greater connection with the emotional side, no less degree of consciousness, no less and no greater degree of concreteness. Imagination must be considered as a more complex form of mental activity, which is a real unification of several functions in their unique relationships. The first of them is to represent reality in images and be able to use them when solving problems. The second function is to regulate emotional states. With the help of his imagination, a person is able to at least partially satisfy many needs and relieve the tension generated by them. The third function of the imagination is to form an internal plan of action, planning and programming activities.

Imagination occupies an intermediate position between perception, thinking and memory. Imagination is inextricably linked with the process of memory; it transforms what is in memory. It is also associated with perception (enriches new images, makes them more productive) and thinking. Imagination differs from perception in that its images do not always correspond to reality; they contain elements of fantasy and fiction.

Creativity is a necessary condition for the development of reality, the formation of its new forms, along with the emergence of which the forms of creativity themselves change. In the process of creativity, new knowledge is accumulated and previously acquired knowledge is revalued, its system is transformed, the ideological position is clarified or changes completely.

The most significant features of artistic creativity are associated with the role and significance of the personal element in the creative process. The uniqueness of artistic creativity is seen precisely in the fact that it has a pronounced personal character.

Stages of development of artistic creativity: thinking over an idea, creating a model, making sketches for the solution outlined in the model, completing compositional construction, adjusting the composition, final processing.

Imagination and creativity are closely related. Imagination is formulated in the process of creative activity, although creativity cannot be imagined outside the process of fantasy. Creativity without imagination acts as a chain of cause and effect relationships, constantly varying and changing.

A correct understanding of the complexity of the relationship between imagination and creativity is difficult to achieve without taking into account the fact that the social approach to the creative result is always utilitarian. This leads to the fact that when evaluating a creative product, public attention primarily focuses on its originality. We judge, therefore, the intellectual originality of a subject by his creative output. Often the high spiritual level of development that the subject has achieved in the process of creative search and, thanks to it, we are inclined to consider the previous beginning of creativity. This is how the illusion of predetermined creative success is born from the personal qualities of the subject, in particular, from the development of his imagination.

Listusedliterature

1. Basin E.Ya. "Psychology of artistic creativity." - M., 1985.

2. Vygotsky L.S. Imagination and creativity in childhood: Psychol. Essay: Book. For the teacher. - 3rd ed. - M.: Education, 1991.

3. Vygotsky L.S. "Psychology". M.: Publishing house "EXMO-Press", 2002.

4. Vygotsky L.S. “Psychology of Art”, 2nd ed. M., 1968.

5. Vygotsky L.S. “Development of higher mental functions.” - M., 1970.

6. Vygotsky L.S. "Collected Works". At 6t. T.2.-M., 1964.

7. Gamezo M.V., Domashenko I.A. “Atlas of psychology: information. - method. Manual for the course “Human Psychology”. - M.; Russian Pedagogical Agency, 1998.

8. Dudetsky A.Ya. “Theoretical issues of imagination and creativity: a series of lectures of a special course for pedagogical students. University and secondary school teachers.” - Smolensk: Smolensk State Publishing House. Pedagogical Institute named after K. Marx, 1974.

9. Ivanov S.M. "A quick chill of inspiration." - M., 1978.

10. Ignatiev E.I. “Imagination as a means of cognition and control of creative activity.” Sat. “Issues of labor psychology, labor training and education.” Yaroslavl, 1966.

11. “Study of problems in the psychology of creativity.” - M., 1983.

12. “Art history and the psychology of artistic creativity.” - M., 1988.

13. Kaloshina I.P. "Structure and mechanisms of creative activity." - M., 1983.

14. Korshunova L.S. "Imagination and its role in cognition." - M., 1979.

15. Krupnik E.P. "The psychological impact of art on personality." - M., 1999.

16. Luk A.N. "Psychology of Creativity". - M., 1978.

17. “General psychology.” Ed. A.V. Petrovsky. - M., 1970.

18. Petrushin V.I. Psychology and pedagogy of artistic creativity: Textbook for universities. - M.: Academic Project, Gaudeamus, 2006.

19. Ponomarev Ya.A. "Psychological modeling of scientific creativity." Sat. "Scientific Creativity". M., 1969.

20. “Psychology of creativity: general, differential, applied.” - M., 1990.

21. Rubinshtein S.L. "Fundamentals of general psychology." 2nd edition, M., 1946.

22. Smirnov A.A. "Selected psychological works." In 2 volumes - Volume 1. M., 1987.

23. Eisenstein S.M. "Psychological issues of art." - M., 2002.

24. Yakobson P.M. "Psychology of artistic creativity." - M., 1971.

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the emergence of a creative idea;
“nurturing” a plan;
implementation of the plan.

Synthesis, realized in the process of imagination, is carried out in various forms:

agglutination - “gluing together” incompatible qualities and parts that are different in everyday life;

hyperbolization- increasing or decreasing the object, as well as changing individual parts;

schematization- individual ideas merge, differences are smoothed out, and similarities appear clearly;

typing- highlighting the essential, repeated in homogeneous images;

sharpening- emphasizing any individual features.

How can you promote the development of thinking? Let us note, first of all, the special role of self-organization, awareness of the techniques and rules of mental activity. A person must understand the basic techniques of mental work, be able to manage such stages of thinking as setting a problem, creating optimal motivation, regulating the direction of involuntary associations, maximizing the inclusion of both figurative and symbolic components, using the advantages of conceptual thinking, as well as reducing excessive criticality when assessing the result - all this allows you to activate the thought process and make it more effective. Passion, interest in the problem, optimal motivation are one of the most important factors in productivity of thinking. Thus, weak motivation does not provide sufficient development of the thought process, and vice versa, if it is too strong, then this emotional overexcitation disrupts the use of the results obtained, previously learned methods in solving other new problems, and a tendency towards stereotyping appears. In this sense, competition is not conducive to solving complex mental problems.

Let us list the main factors that hinder a successful thought process:

inertia, stereotypical thinking;
excessive adherence to the use of familiar solution methods, which makes it difficult to look at the problem “in a new way”;
fear of mistakes, fear of criticism, fear of “being stupid,” excessive criticism of one’s decisions;
mental and muscle tension, etc.

To activate thinking, you can use special forms of organizing the thought process, for example “ brainstorm" or brainstorming - the method was proposed by A. Osborne (USA), intended for generating ideas and solutions when working in a group. Basic rules for brainstorming:

The group consists of 7-10 people, preferably from different professional backgrounds; there are only a few people in the group who are knowledgeable about the problem under consideration.

“Prohibition of criticism” - you cannot interrupt someone else’s idea, you can only praise, develop someone else’s idea, or suggest your own idea.

Participants must be in a state of relaxation, i.e. in a state of mental and muscular relaxation and comfort. The chairs should be arranged in a circle.

All ideas expressed are recorded without attribution.

The ideas collected as a result of brainstorming are transferred to a group of experts - specialists dealing with this problem, to select the most valuable ideas. As a rule, such ideas turn out to be about 10%. Participants are not included in the “jury of experts”.

The effectiveness of brainstorming sessions is high. “Brainstorming”, which is conducted by a group that gradually accumulates experience in solving various problems, forms the basis of the so-called synectics, proposed by the American scientist W. Gordon. During the “synectic assault”, it is mandatory to perform four special techniques based on analogy: direct (think about how a problem similar to this one is solved); personal or empathy (try to enter into the image of the object given in the problem and reason from this point of view); symbolic (give a figurative definition of the essence of the task in a nutshell); fantastic (imagine how fairy-tale wizards would solve this problem).

Another way to activate the search is focal object method. It consists in the fact that the characteristics of several randomly selected objects are transferred to the object under consideration (focal, in the focus of attention), resulting in unusual combinations that allow one to overcome psychological inertia and rigidity. So, if a “tiger” is taken as a random object, and a “pencil” is taken as a focal object, then combinations like “striped pencil”, “fanged pencil”, etc. are obtained. By considering these combinations and developing them, it is sometimes possible to come up with original ideas.

To enhance creative thinking capabilities, “exotic” techniques are also used: introducing a person into a special suggestive state of the psyche (activation of the unconscious), suggesting in a state of hypnosis to incarnate into another person, into a famous scientist, for example, Leonardo da Vinci, which dramatically increases creativity in an ordinary person .

To increase the efficiency of mental activity, the “mind gymnastics” technique is also used, aimed at activating and harmoniously synchronizing the activity of the left and right hemispheres of the brain with the help of special exercises (see Appendix No. 3).

QUESTIONS FOR SEMINAR CLASSES.

1. Imagination and its role in human activity.

2. Analytical-synthetic nature of the imagination process. Emotions and imagination.

3. What are the main types of imagination?

4. What are the similarities and differences between thinking and imagination?

5. How can you intensify your thinking and creative activity?

LITERATURE.

1. Anisimov O.S., Danko T.P. Game training of mental activity. M., 1990.

2. Berkinblit M., Petrovsky A. Fantasy and reality. M., 1968.

3. Weinzweig P. 10 commandments of a creative person. M., 1990.

4. Vygotsky L.S. Development of higher mental functions. M., 1960.

5. Groysman A.L. Psychology, personality, creativity, regulation of states. M., 1993.

6. Gamezo M.V., Domashenko I.A. Atlas of Psychology, M., 1986.

7. Granovskaya R.M. Elements of practical psychology. L., 1984.

8. Gofroi. What is psychology. M., 1994.

9. Kirnos D.I. Individuality and creative thinking. M., 1992.

10. Natadze R.G. Imagination as a factor of behavior. Tbilisi, 1972.

11. Neurobiological foundations of creativity. M., 1993.

12. Pekelis V.D. Your capabilities man. M., 1993.

13. Psychological studies of ideas and imagination. - “Izvestia of the APN RSFSR”. M., 1956, issue. 76.

Imagination and creativity are closely related. The connection between them, however, is in no way such that one can start from imagination as a self-sufficient function and derive creativity from it as a product of its functioning. The leading one is the inverse relationship; imagination is formed in the process of creative activity. Specialization of various types of imagination is not so much a prerequisite as a result of the development of various types of creative activity. Therefore, there are as many specific types of imagination as there are specific, unique types of human activity - constructive, technical, scientific, artistic, musical, and so on. All these types of imagination, formed and manifested in various types of creative activity, constitute a type of the highest level - creative imagination.

Creative imagination is a type of imagination in which a person independently creates new images and ideas that are valuable to other people or society as a whole and which are embodied (“crystallized”) into specific original products of activity. Creative imagination is a necessary component and basis of all types of human creative activity.

Images of creative imagination are created through various techniques of intellectual operations. In the structure of creative imagination, two types of such intellectual operations are distinguished:

- 1 - operations through which ideal images are formed;
- 2 - operations on the basis of which finished products are processed.

One of the first psychologists to study these processes, T. Ribot, identified two main operations: dissociation and association.

Dissociation is a negative and preparatory operation during which the sensory given experience is fragmented. As a result of such preliminary processing of experience, its elements are able to enter into a new combination.

Without prior dissociation, creative imagination is unthinkable. Dissociation is the first stage of creative imagination, the stage of preparing material. The impossibility of dissociation is a significant obstacle to creative imagination.

Association is the creation of a holistic image from elements of isolated units of images. The association gives rise to new combinations, new images.

1) Imagination plays an important role in every creative process, and its importance is especially great in artistic creativity. Every work of art worthy of this name has an ideological content, but unlike a scientific treatise, it expresses it in a concrete figurative form. If an artist is forced to derive the idea of his work in abstract formulas in such a way that the ideological content of the work of art appears along with its images, without receiving adequate and sufficiently vivid expression within them, his work loses its artistry. The visual and figurative content of a work of art, and only it, should be the bearer of its ideological content. The essence of artistic imagination lies, first of all, in being able to create new images that can be a plastic carrier of ideological content. The special power of the artistic imagination lies in creating a new situation not by violating, but subject to the preservation of the basic requirements of life reality.

It is a mistaken idea that the more bizarre and outlandish a work is, the greater the power of imagination it demonstrates. Leo Tolstoy's imagination is no weaker than Edgar Allan Poe's imagination. It's just another imagination. In order to create new images and paint a broad picture on a large canvas, maximally observing the conditions of objective reality, special originality, plasticity and creative independence of the imagination are needed. The more realistic a work of art, the more strictly it observes the reality of life, the more powerful the imagination must be in order to make the visual-figurative content with which the artist operates a plastic expression of his artistic intent.

Observance of life reality does not mean, of course, photographic reproduction or copying of what is directly perceived. The immediately given, as it is usually perceived in everyday experience, is for the most part accidental; it does not always highlight the characteristic, essential content that determines the individual face of a person, event, or phenomenon. A true artist not only has the technique necessary to depict what he sees, but he also sees differently than an artistically insensitive person. And the task of a work of art is to show others what the artist sees, with such plasticity that others see it too.

Even in a portrait, the artist does not photograph or reproduce, but transforms what is perceived. The essence of this transformation is that it is not removed, but approaches reality, that it, as it were, removes random layers and external covers from it. As a result, its main pattern is revealed more deeply and accurately. The product of such imagination often gives an essentially truer, deeper, more adequate picture or image of reality than a photographic reproduction of the directly given is able to do.

An image, internally transformed by the idea of a work of art so that in all its vital reality it turns out to be a plastic expression of a certain ideological content, is the highest product of creative artistic imagination. Powerful creative imagination is recognized not so much by what a person can invent, regardless of the real requirements of reality and the ideal requirements of artistic design, but rather by how he is able to transform the reality of everyday perception, burdened with random, devoid of expressiveness strokes, in accordance with the requirements of reality and artistic intent. The imagination creates in visual images, so similar and different from our perceptions, faded and erased in everyday life, a miraculously revived, transformed and yet seemingly authentic world than what is given to us in everyday perception.

Imagination in artistic creativity also allows, of course, a significant departure from reality, a significant deviation from it. Artistic creativity is expressed not only in a portrait, it also includes sculpture, a fairy tale, and a fantasy story. Both in fairy tales and in science fiction, deviations can be very large, but in any case they must be motivated by the design, the idea of the work. And the more significant these deviations from reality are, the more motivated they must be, otherwise they will not be understood and appreciated. Creative imagination uses this kind of fantasy, a deviation from certain features of reality, in order to give imagery and clarity to the real world, the main idea or plan.

Some experiences and feelings of people - significant facts of inner life - are often obscured and obscured in the actual conditions of everyday life. The creative imagination of the artist in a fantastic story, deviating from reality, transforms its various aspects, subordinating them to the internal logic of this experience. This is the meaning of those techniques for transforming reality that the artistic imagination uses. To step away from reality in order to penetrate into it - this is the logic of the creative imagination. It characterizes the essential side of artistic creativity.

2) Imagination is no less necessary in scientific creativity. In science it is formed no less than in creativity, but only in other forms.

Even the English chemist Priestley, who discovered oxygen, stated that all the great discoveries that “a reasonable, slow and cowardly mind would never have thought of” can only be made by scientists who give “full scope to their imagination.” T. Ribot was inclined to argue that if we “sum up the amount of imagination expended and embodied, on the one hand, in the field of artistic creativity, on the other, in technical and mechanical inventions, then we will find that the second is much greater than the first.”

Participating together with thinking in the process of scientific creativity, imagination performs a specific function in it, different from the one that thinking performs in it. The specific role of imagination is that it transforms the figurative, visual content of the problem and thereby contributes to its resolution. And only since creativity, the discovery of something new, occurs through the transformation of visual-figurative content, can it be attributed to the imagination. In a real thought process, a visual image also participates in unity with the concept to one degree or another. But the figurative content of perception and the representation of memory, which reproduces this content, sometimes do not provide sufficient reference points for resolving the problem facing thinking.

Sometimes it is necessary to transform visual content in order to advance the resolution of a problem; then the imagination comes into its own.

The role of imagination is shown very clearly in experimental research. The experimenter, when conceiving an experiment, must, using his knowledge and hypotheses, the achievements of science and technology, imagine a situation that would satisfy all the required conditions and would make it possible to test the original hypothesis. In other words, he must imagine carrying out such an experiment and understand its purposes and consequences. One of the scientists who always “conducted an experiment” with his imagination before real experience was the physicist E. Rutherford.

The imagination, necessary for the transformation of reality and creative activity, was formed in the process of this creative activity. The development of imagination improved as more and more advanced products of the imagination were created. In the process of creating poetry, fine art, music and their development, new, higher and more perfect forms of imagination were formed and developed. In the great works of folk art, in epics, sagas, in folk epics, in the works of poets and artists - in the “Iliad” and “Odyssey”, in the “Song of Roland”, “The Tale of Igor’s Campaign” - imagination not only manifested itself, but and was formed. The creation of great works of art, which taught people to see the world in a new way, opened up a new field for the activity of the imagination.

Not to a lesser extent, but only in other forms, imagination is formed in the process of scientific creativity. The infinity revealed by science in the big and small, in worlds and atoms, in the innumerable variety of concrete forms and their unity, in continuous movement and change, provides for the development of imagination in its own way no less than the richest imagination of an artist can provide.

the emergence of a creative idea;

"nurturing" a plan;

implementation of the plan.

Synthesis, realized in the process of imagination, is carried out in various forms:

agglutination - “gluing together” incompatible qualities and parts that are different in everyday life;

hyperbolization- increasing or decreasing the object, as well as changing individual parts;

schematization- individual ideas merge, differences are smoothed out, and similarities appear clearly;

typing- highlighting the essential, repeated in homogeneous images;

sharpening- emphasizing any individual features.

Let us list the main factors that hinder a successful thought process:

inertia, stereotypical thinking;

excessive adherence to the use of familiar solution methods, which makes it difficult to look at the problem “in a new way”;

fear of mistakes, fear of criticism, fear of “being stupid”, excessive criticism of one’s decisions;

mental and muscle tension, etc.

To activate thinking, you can use special forms of organizing the thought process, for example " brainstorm" or brainstorming - the method was proposed by A. Osborne (USA), intended for generating ideas and solutions when working in a group. Basic rules for brainstorming:

The group consists of 7-10 people, preferably from different professional backgrounds; there are only a few people in the group who are knowledgeable about the problem under consideration.

“Prohibition of criticism” - you cannot interrupt someone else’s idea, you can only praise, develop someone else’s idea, or suggest your own idea.

Participants must be in a state of relaxation, i.e. in a state of mental and muscular relaxation and comfort. The chairs should be arranged in a circle.

All ideas expressed are recorded without attribution.

The effectiveness of brainstorming sessions is high. "Brainstorming", which is conducted by a group that gradually accumulates experience in solving various problems, forms the basis of the so-called synectics, proposed by the American scientist W. Gordon. During the “synectic assault”, it is mandatory to perform four special techniques based on analogy: direct (think about how a problem similar to this one is solved); personal or empathy (try to enter into the image of the object given in the problem and reason from this point of view); symbolic (give a figurative definition of the essence of the task in a nutshell); fantastic (imagine how fairy-tale wizards would solve this problem).

Another way to activate the search is focal object method. It consists in the fact that the characteristics of several randomly selected objects are transferred to the object under consideration (focal, in the focus of attention), resulting in unusual combinations that allow one to overcome psychological inertia and rigidity. So, if “tiger” is taken as a random object, and “pencil” is taken as a focal object, then combinations like “striped pencil”, “fanged pencil”, etc. are obtained. By considering these combinations and developing them, it is sometimes possible to come up with original ideas.

QUESTIONS FOR SEMINAR CLASSES.

1. Imagination and its role in human activity.

2. Analytical-synthetic nature of the imagination process. Emotions and imagination.

3. What are the main types of imagination?

4. What are the similarities and differences between thinking and imagination?

5. How can you intensify your thinking and creative activity?

LITERATURE.

1. Anisimov O.S., Danko T.P. Game training of mental activity. M., 1990.

2. Berkinblit M., Petrovsky A. Fantasy and reality. M., 1968.

3. Weinzweig P. 10 commandments of a creative person. M., 1990.

4. Vygotsky L.S. Development of higher mental functions. M., 1960.

5. Groysman A.L. Psychology, personality, creativity, regulation of states. M., 1993.

6. Gamezo M.V., Domashenko I.A. Atlas of Psychology, M., 1986.

7. Granovskaya R.M. Elements of practical psychology. L., 1984.

8. Gofroi. What is psychology. M., 1994.

9. Kirnos D.I. Individuality and creative thinking. M., 1992.

10. Natadze R.G. Imagination as a factor of behavior. Tbilisi, 1972.

11. Neurobiological foundations of creativity. M., 1993.

12. Pekelis V.D. Your capabilities man. M., 1993.

13. Psychological studies of ideas and imagination. - "Izvestia of the APN RSFSR". M., 1956, issue. 76.

QUESTIONS FOR TESTING

IN THE COURSE “GENERAL PSYCHOLOGY”

Brief information about the history of the emergence of psychology as a science.

The structure of psychological science.

Subject and tasks of general psychology.

The place of general psychology in the system of human sciences.

The relationship between scientific and everyday psychology.

Methodological basis of psychology.

Methodological principles of general psychology.

Correlation of the concepts “methodology”, “method”, “technique”. Tasks of psychological methods.

Types of psychological research.

Stages of psychological research.

Criteria for the scientific nature of psychological research.

Methods of general psychology and their classification.

Observation and introspection as methods of psychology.

Survey methods and their characteristics.

Tests as a method of psychological research.

General characteristics of experimental methods.

The concept of the psyche in modern psychology.

Correlation of the concepts “biosphere”, “ethnosphere”, “psychosphere”.

Psyche as a subjective reflection of the objective world.

Development of the psyche in phylogenesis.

Comparison of the human and animal psyches.

Development of the psyche in ontogenesis.

Reflexive nature of the psyche.

Nervous system and its types.

Brain and psyche: principles and general mechanisms.

Morphology and functioning of the human brain.

Neuron, its structure and functioning.

Concept and structure of the analyzer. Receptors and their types.

Structure and functioning of the visual analyzer

Structure and functioning of the auditory analyzer

The role of functional brain asymmetry in perception.

The relationship between genotype and environment, biological and social in the development of the human psyche.

Psyche and consciousness.

Hypotheses about the origin of consciousness. Cultural-historical theory of L.S. Vygotsky.

Higher mental functions and their development.

Processes of internalization and exteriorization in human mental development.

Structure and basic functions of consciousness.

Stages of development of consciousness.

The concept of self-awareness.

The structure of self-awareness.

Mechanisms of psychological defense of the individual.

Developing self-awareness.

The unconscious in the structure of the psyche.

The relationship between the conscious and the unconscious. The role of unconscious processes in the structure of the psyche.

Activity approach to the study of mental phenomena.

Psychoanalysis of S. Freud.

Neo-Freudianism and characteristics of its directions.

Behaviorism and its characteristics.

Neobehaviorism and characteristics of its directions.

Humanistic psychology.

Gestalt psychology.

Cognitive psychology.

General characteristics of cognitive mental processes.

Sensations and their physiological basis.

Types of sensations.

The concept of the absolute threshold of sensations.

The concept of adaptation in sensations.

The concept of synesthesia and sensitization in sensations.

Comparative characteristics of sensations and perceptions.

The concept of perception as a mental process. Physiological basis of perception.

Characteristics of the basic properties of perception.

Classifications of perception in modern general psychology.

Peculiarities of human perception by man.

Illusions of perception.

The concept of memory and its place in the system of mental processes.

Modern theories of memory.

General characteristics of memory processes.

Types of memory.

General and individual characteristics of memory.

Thinking and its place in knowledge of the surrounding world. Signs of thinking.

Types of thinking.

Mental operations as the main mechanisms of thinking.

General characteristics of modern theories of thinking.

The process of solving mental problems and its structure.

Individual characteristics of a person’s thinking.

Development of thinking in ontogenesis.

The concept of language and speech. Physiological foundations of speech.

Functions and properties of speech.

Types of speech.

Development of speech in ontogenesis.

Features and functions of imagination.

Modern theoretical approaches to the physiological mechanisms of imagination.

Types and forms of imagination.

Ways to create images of the imagination.

The concept of attention and its physiological basis.

Types of attention.

Properties of attention.

Mindfulness as a personality trait.

On the unity and connection of cognitive mental processes.

The role of general psychology in the professional development of personality.

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